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Namesake's tale was put forward by Gogol, the same name as the Russian poet. Both in the film and in the book, there is a sequence of coincidences that led to Gogol's naming. The game Settings is in India, where Ashima and Ashoke matured as a result of the 1947 partition when India and Pakistan gained independence from their master colony; the British government. Namesake's book and film have a variety of themes flowing from the beginning to the finish. The paper thus involves describing, demonstrating, and evaluating the usefulness of the most significant theme; as such, it is characterized both in the film and in the book. Finally, the paper evaluates the film in the context of its accomplishment in getting the major theme across by storytelling.
The major theme is the Name and Identity. This is introduced at the beginning of the first Chapter of the book to the end and as well; it appears in the movie in all of its series. This theme is one of the most important since most of characters both in the movie and the book directly illustrates on their names and identity to one another. For instance it is seen at the time when Ashima goes on her husband in the bathroom. She does not call his name in the time she calls him; this is because "it is not the kind of thing wives of Bengali normally does." The names of their husband are regarded as being too intimate to be called (Jaya 158). On the other hand, in the second Chapter of the book, the Bengali custom of favorite names, or dak name and "superior" nouns, or bhaloname, is properly explained. Close family friends only call the favorite name in the retreat of the residence, at the same time the "superior" name is mentioned in formal circumstances such as in the vein of the workplace as illustrated in first movie series. Another example is where both Ashoke and Ashima have to provide their son a favorite name as they keep on waiting for “good” name suggestions to come from the grandmother of Ashima.
In addition, name and identity theme is significant in Chapter three of the book, when Gogol begins kindergarten. Gogol’s parents have it in mind for him to go by the name "Nikhil" in school while at home to be "Gogol"; nevertheless, Gogol is somehow very much confused and he does not feel like to be given a new name. “Gogol is frightened to be Nikhil, somebody he does not recognize." As a youngster, he contacts a new noun with a novel individuality. He is not concerned by the strange personality of his noun until Gogol attains eleven and recognizes, on a class journey to a graveyard, that his new name is very exceptional. Gogol makes abrasions of the other monuments with nouns he has never come across as well as heard before since he recounts to them (Nagaraju et al. 17). Thus, by his birthday of the fourteenth, he hates his name and then Gogol resents to be asked about it. Additionally, in the movie, there are several different names of Sonia and Gogol to recall for their close relatives at Calcutta, "to be a sign of if they are interrelated on their father's side or their mother's, by blood or by marriage." While at the party college, he is unenthusiastic to establish himself to Kim as "Gogol," so Gogol introduces himself as Nikhil. By so doing, it offers him a lot of self-confidence to kiss her: "It had not been him who had done it to Kim... he had no issue to perform it."
On the other hand, Ashima never articulated the name of Ashoke at his scope of disposal and presence; the reader is reminded of the reality as she signalizes his noun to their cards of Christmas. For so doing, this generates a rift between his identity and the name of Ashoke, at least Gogol identity to the wife. This has as well happened after the death of Ashoke. This is indicated when Ashima elucidates to their close allies on what occurred to him, Ashima refuses, "even in a fatality, to articulate the name of her husband." Ashima does not comprehend his husband’s identity as associated with the name; as indicated in the book.
Similarly, the theme of name and identity as illustrated in the movie indicates that, Moushumi recognizes him as "Gogol," and this is surprised when Gogol says that he is being called as Nikhil in the bar. This identity is "the primary instance that Gogol is out with a lady who identified Gogol by the other name." Thus as such, Gogol comes to be fond of the sagacity of fluency that makes between them. The lady still identifies him Nikhil same as anyone as well in Gogol’s life, but the lady understands the initial noun which Gogol ever had, and it appears like a furtive tie that exists between them (Ephratt & Michal 111).
Also, the film illustrates Gogol and Moushumi union within their identities of Bengali and on how the two brings about confusion to people of American. "They converse about on how they are regularly assumed to be Egyptian, Greek, and Mexican." However, no one thought they shall date other Bengali sincerely because it was something their parents sought for them so shoddily (Bhullar & Gagandeep 123). Both recognize that, the relationship they have will appeal to the Bengali parents, but both discover this comforting as well as surprising; they did not at any time contemplated that, they will satisfy their parents in such a manner.
In conclusion, the theme of name and identity had been illustrated in many ways as discussed above. The book and the movie all have illustrated immensely on how the theme of name and identity applied in various scenes within the play and book chapters. Thus Gogol's identity was a major illustration of how the theme both in the book and the movie was appropriately applied by both wives, parents and close associates.
Bhullar, Gagandeep. "Split between Two Identities: an Analysis of Jump Lahore’s The Namesake." International Journal of English: Literature, Language & Skills I jells, April 2017 ISSN 2278-0742, www. Jells. Com Volume 6 Issue.
Ephratt, Michal. "Namesakes: The Experience of Sharing One’s Full Name with a Celebrity." Names 65.2 (2017): 88-103.
Jaya, K. "A Study of Immigration and Diasporic Sensibilities in the Novel of Jump Lahore‟ s „The Namesake‟." Asian Journal of Applied Science and Technology (AJAST) 1.1 (2017): 158-159.
Nagaraju, Ch, and Dr. Sagrada Rajkumar. "Identity Crisis in Jhumpa Lahiri’s ‘the Namesake’and VS Naipaul’s ‘A House For Mr. Biswas’." English Studies International Research Journal 3: 15-18.
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