गुरुवार, 26 दिसंबर 2013

When and how English should be taught in schools (हिंदुस्तान टाइम्स से साभार)

The topic of teaching English in India is one that generates a lot of heat, especially around the question of when and how English should be introduced in school. On the one hand, parents’ aspirations for their children’s education are rising and much of this hope links English with better opportunities.

On the other hand, there is a point of view that English will dominate and wipe out cultural identities and submerge the rich linguistic diversity of India. Despite different perspectives, in concrete terms, there are clear policies and practices around English teaching in India today. Some years ago, the National Knowledge Commission recommended that English be introduced as early as from Class 1.

Based on the National Curriculum Framework (NCF 2006) textbook content in different states seems to suggest that by the time a child completes eight years of schooling, he or she will be confident and competent with reading, understanding, and appreciating texts in other languages as well as in English.

Lying under the hopes and expectations, opinions and ideologies, is the reality. But large-scale empirical evidence on how much English people in India actually know is hard to come by. One of the only national sources of data on children and English comes from ASER — the Annual Status of Education Reports brought out each year by Pratham. The last ASER report released in January 2013 had estimates of basic reading in English for all rural districts of India for the age group 5 to 16.

The figures indicate that about half of all rural children in Class 8 can read a set of simple sentences and of those who can read about three-fourths can explain the meaning of what they have read. These numbers range from about 90% of children being able to read in Mizoram, Nagaland, Kerala to around 50% (Bihar, Maharashtra, Assam, Karnataka) to much lower numbers in Gujarat (35%).

Strangely, in India, the debates about English are not linked to actual evidence on what children can do. Nor is there much importance given to understanding where children are and how to build from there. Like in many other domains in India, ideological, political and pedagogical positions are strongly held. But we seem to shy away from anchoring these positions on ground realities.

Strangely, even though the NFC 2006 documents state that ‘English does not stand alone’, most debates in India about the acquisition of English do not happen side by side with any discussion on the challenges of learning other languages, including the regional language.

Much of research on language acquisition available in the world today looks at two languages — such studies have usually taken place in western countries where speakers of other languages are being mainstreamed into a largely monolingual society (For example, in the United States, the main focus is how to help Spanish-speakers learn English — two different languages but the same script).

But this is not the case in India. For many children, even in the so-called Hindi-speaking belt, Hindi is the second or third language and certainly for many not the language they speak at home. Adding to this diversity are more issues — scripts may be different, languages may not even have a script and regardless of language, children’s environment is not rich in print.

Time and again, the NCF 2006 focus group paper on the teaching of English dwells on the need to help children learn their first language well. Looking at our own realities, it is essential that we must develop our own ways of bridging between languages and creating our own processes for language development within and across languages.

Even if you ignore evidence, what about learning from experiences? The work that we in Pratham have done with children and languages suggests promising directions for moving forward. First, the more we encourage children to read, to understand, to discuss and, very importantly, to express themselves in the language they are comfortable with, the better they seem to absorb new languages.

More often than not, the weakness in learning a new language has less to do with the new language and more to do with lack of capability, competence and confidence in the original language. Second, if children have print material around them — books, stories, posters, newspapers, slogans — the more they learn how to deal with print.

This is true regardless of the language. (ASER 2012 figures indicate that apart from textbooks, less than 20% of rural households have any material to read.) Third, often comprehension in a new language is much higher than the ability to write or to speak. This ability needs to be taken into account in building confidence to operate in both the new language as well as in the familiar language.

We have found that children respond well to texts that have both languages interspersed. This is different from bilingual texts where both languages are placed side by side.

The debate in India around when and how English should be taught needs to be widened both in scope and substance to encompass the language skills more broadly. More research needs to be done in India to systematically explore how languages can be learned more meaningfully and how they can grow more organically from what children already know. We must think about how we prepare our children to read, to understand and to express themselves.

We must encourage children to have fun in using language differently and appropriately in different situations for different purposes. Serious investment in building strong foundations in language skills will reap rich dividends in all the languages that children use. Whether Hindi, English or any other language, our approach to children in our fertile language landscape must be connected to our realities and suited to our condition, capabilities, needs and uses.

Rukmini Banerji works with Pratham and leads the ASER initiative

हिंदुस्तान टाइम्स से साभार

रविवार, 22 दिसंबर 2013

Despite pitfalls, publishers bet on translated vernacular Indian literature (इकोनॉमिक टाइम्स से साभार)

When asked on a podcast for the New Yorker's website in 2011 what is untranslatable about Japanese author Haruki Murakami, one of his longtime translators Jay Rubin said, "Pretty much everything. I strongly advise people not to read literature in translation because I know what happens in the process." If his suggestion were to be heeded, most of us would not be edified by the works of Fyodor Dostoevsky, Albert Camus, Italo Calvino and Saadat Hasan Manto.

While more often than not there is a lot in a book, or a movie for that matter, that falls casualty to the exigencies of translation, there is simply no alternative. While Russian, Spanish, French — and even Japanese, thanks to the popularity of Yukio Mishima and Murakami — literature have long enjoyed the patronage of English readers, the same cannot be said of Hindi, Tamil and Kannada books. This is not for lack of literature of merit in these languages, but owing to a sense of apathy and even condescension of the English-speaking lot toward vernacular writings. Author and translator Ira Pande says this angered her and drove her to translate Hindi literature, both her mother Shivani's and others', to English.

Her translation of Manohar Shyam Joshi's T'ta Professor won the Vodafone Crossword Book Award (now called just the Crossword Book Award) for translation in 2008. Pande says translating the book, which chronicles the life of a school teacher in a Kumaoni village who is obsessed with the English language, was not easy. "Joshi's idiom is so brilliant but challenging to translate. I struggled with it for a year-and-a-half," notes Pande, who has also translated a collection of her mother's interviews with the inmates of a women's prison, and is currently working on Shivani's memoir of her childhood at Santiniketan, near Kolkata.

Translations Now and Then

T'ta Professor is part of a welcome trend of translations of literature, both serious and pulp, in Hindi, Bengali, Tamil, Urdu, Malayalam, Kannada and other languages. English translations have been around for decades, but more as an exception rather than the rule. While authors like Rabindranath Tagore, who translated some of his works from Bengali to English himself, and Manto, whose Urdu short stories best captured the horror and absurdity of Partition, could be read in English, other regional authors had to be satisfied with readers from their own language.

"There is no cross-cultural bridge between states here. While you could find [Mario Vargas] Llosa, [ Jorge Luis] Borges and [Gabriel Garcia] Marquez even in Tamil, you couldn't find many Bengali or Hindi books in Tamil or English, " says Tamil writer Charu Nivedita, whose unconventional, post-modernist novel Zero Degree was published by Chennai-based Blaft Publications in 2008.   "Translation should have been a top priority in a country of so many languages but it was ignored. We should have set up an institute for translations and not just into English," says former diplomat Pavan K Varma, who has translated poetry collections of Kaifi Azmi, Atal Bihari Vajpayee and Gulzar. Bengali novelist Mani Sankar Mukherji, who writes under the name 'Sankar', says there was not much interest in English translations earlier. "And I was satisfied with being just a Bengali writer and was also too proud to go to publishers [for translations]," says Mukherji.

Translations in India got a shot in the arm in the 1980s when the Sahitya Akademi started organizing translation workshops across the country, according to a history of translation publishing in India on the website of IIT Madras' National Programme on Technology Enhanced Learning. Moreover Katha, a not-for-profit organization set up in 1989, provided an added impetus to translations, which still did not get their due. But that seems to have changed in the past few years with publishers more actively looking for books to translate.

"If you want to publish the best fiction in India it makes no sense not to publish translations," says R Sivapriya, managing editor, Penguin Books India. Since mid-2011, there has been a particular stress on English translations, she adds.

While in 2012, Penguin's literary fiction list consisted of 14 original English titles, there were nine translations, but this year, there are 13 translations and 12 original titles. Harper Collins, which till last year put out four English translations a year, has 10 this year, according to senior commissioning editor Minakshi Thakur.

The Bengali Advantage

Penguin published the best-selling English translation of recent times, Mukherji's Chowringhee, in 2007. It has since sold 50,000 copies, an enviable number not just for a translated book but also for a work of literary fiction, says Sivapriya.

Chowringhee, whose Bengali original of the same name was published five decades ago, revolves around the goings-on in a hotel and its multi-hued occupants.

Besides commercial success, the book received critical acclaim at home and overseas. Reviewing the book for the Guardian, Sri Lankan-British novelist Romesh Gunesekera wrote Chowringhee "has that essential quality of a good novel: the capacity to escape, and help the reader escape, time. You want to turn the pages, but you do not want the pages to end. The words are fresh, and the world of the novel is completely alive, despite being written over 40 years ago."

Mukherji's Seemabaddha and Jana Aranya were made into films of the same names by Satyajit Ray. Mukherji says Vikram Seth, who had read Chowringhee in Hindi and made no secret of his admiration for it, was the driving force behind the publication of its English translation, which Arunava Sinha had done way back in 1992. "The reception to the book was tremendous but I didn't expect Bengalis to rediscover me through the translation," says Mukherji, who is chief adviser on corporate relations at the RP-Sanjiv Goenka group. French and Italian translations of the book have also been published.

Sinha says Bengali had a head start over other languages in translations. "That was maybe because English language publishing was dominated by Bengalis.

But the gap [between Bengali and other languages] is narrowing," notes Sinha, an online media professional who has translated over 20 Bengali books so far, including those of Buddhadeva Bose and Saradindu Bandyopadhyay, creator of the detective character Byomkesh Bakshi. He has also translated Jana Aranya as The Middleman. The English translation of another of Mukherji's books, Thackeray Mansion, will soon be published by Penguin.

Sanjukta Dasgupta, professor of English at Calcutta University, says Bengali literature became attractive to English readers thanks to the popularity of Tagore, who won the Nobel Prize in Literature in 1913. Other Bengali authors who find takers in English are Ray, whose Feluda stories have been read by more people than those who have seen his movies, Sunil Gangopadhyay and Saratchandra Chattopadhyay, whose most famous creation is Devdas.

Pulp is Literature Too

South of the Vindhyas, too, translations have gathered momentum. Lakshmi Holmstrom, one of the best-known English translators in the country, has translated several notable Tamil authors, including Ambai and Sundara Ramaswamy. Gita Krishnankutty has done the same for Malayalam, translating books like M Mukundan's On the Banks of the Mayyazhi and Anand's Govardhan Travels.   Both Holmstrom and Krishnankutty are recipients of the Crossword Book Award. Among the most exciting literary events in recent years has been the publication of the two-volume Blaft Anthology of Tamil Pulp Fiction. Rakesh Khanna, cofounder of Blaft, says the idea behind the anthology was to go beyond "Sahitya Akademi-sanctioned literature". The first volume, with 17 stories by 10 authors, including Rajesh Kumar and Pattukkottai Prabhakar and published in 2008, contains such delightfully risque lines as "When a voluptuous breast brushes against a man's broad chest, what need is there for special reactors to produce nuclear energy?"

Both the volumes have sold about 21,000 copies, including the e-book version, according to Khanna. Blaft has also published English translations of four novels of Urdu crime writer Ibne Safi. Shamsur Rahman Faruqi, who translated all four books in just five weeks, says there is a demand for translations. "Publishers are business people.

They are not doing it just for love," he adds. Faruqi is translating a collection of Mir Taqi Mir. The book is being published by Harvard University Press as part of Infosys chairman NR Narayana Murthy's $5.2-million donation to publish English translations of Indian classical literature under the label 'Murty Classical Library of India'. But translations don't pay: Rahman says he got Rs 15,000 per Ibne Safi book. "It pays for the occasional holiday," adds Sinha.

The upshot of the newfound interest in translations is publishers are also scouting out literature in languages besides Bengali, Malayalam, Urdu and Hindi. Thakur says the publisher is looking at books in Gujarati, Konkani and Kashmiri. "But it's not easy to find translators," she admits. Hindi crime novelist Surender Mohan Pathak concurs. Two of his novels, The 65 Lakh Heist and Daylight Robbery, were published by Blaft but are now out of print. He has a new Hindi novel and a simultaneous English translation coming out in early 2014. "There was a burst of interest in translations 3-4 years ago but it didn't pan out as well as expected," says Pathak, who has written 275 crime novels over 50 years.

Nivedita says the problem with finding translators is there are not many who are equally conversant with both English and the language they are translating from. He hopes to get the English translation of his novel Exile published next year. Pritham K Chakravarthy, translator of Nivedita's Zero Degree and the Blaft Anthology, says she took to translations because she found that the ones she read "cleansed" the original. "It was as if they were being translated for an invisible reader. That's why when I started translating I didn't want to translate upma as suji porridge or dosa as pancake," she notes.

Vladimir Nabokov, author of Lolita, alludes to the liberties the translator takes in his 1941 essay "The Art of Translation" for the New Republic, an American magazine: "The... sin of leaving out tricky passages is still excusable when the translator is baffled by them himself; but how contemptible is the smug person who, although quite understanding the sense, fears it might stump a dunce...!" To illustrate his point, Nabokov refers to the English translation of Leo Tolstoy's Anna Karenina.

"Vronsky had asked Anna what was the matter with her. 'I am beremenna' [the translator's italics], replied Anna, making the foreign reader wonder what strange and awful Oriental disease that was; all because the translator thought that "I am pregnant" might shock some pure soul, and that a good idea would be to leave the Russian just as it stood," he wrote.

"What I struggle with in translation is direct speech. How do you translate the rhythm of speaking in Hindi to English? For tu, tum and aap, all you have in English is a bland 'you'," says Pande. Rubin calls translation "very, very subjective".

He adds on the New Yorker podcast: "I'm thought of as someone who sticks very closely to the original. Murakami himself has said this. [But] I don't think it's anything like his writing when you get right down to it. It's an interesting imitation maybe." Murakami is best known for his genre-bending "pop lit" novels like Kafka on the Shore, The Wind-up Bird Chronicle and, most recently, 1Q84. Rubin translated the second book and part of the third.

Despite the pitfalls of translation and paucity of able translators, publishers are looking beyond the safe bets of classics to bring contemporary Indian vernacular literature to English readers. For instance, Penguin is publishing later this month Tamil novelist Perumal Murugan's 2010 novel Mathorupagan as One Part Woman and will in 2015 publish the English translation of a Malayalam novel by KR Meera released this year.
While reading, as a habit or vocation, itself is facing an uphill battle against the myriad entertainments of today, getting readers interested in English translations of Indian literature will require more than resorting to classics and will involve encouraging writing in different languages. After all how good can a commendable translation of an awful book be?

इकोनॉमिक टाइम्स से साभार



सोमवार, 18 नवंबर 2013

Translating India (लेखक : के. सच्चिदानंदन)

With India’s plurilingual heritage, translation, with its accretions, adaptations and substitutions, was often a reinterpretation of the “original”. It continues to be a way of having a living dialogue with our past and between our different cultures.

 

IT is well known that India has a translating consciousness and we keep translating every moment of our active lives. It is difficult to come across monolinguals in our country: at least it was, until English medium education began to weaken gradually and destroy our command over our mother tongues. We also mix languages, almost unconsciously, in our everyday speech. Indian literature is founded on direct or free translations since the various Ramayanas, Mahabharatas and Bhagavatas in different languages, including tribal and folk versions and performative improvisations, have been the very foundations of our rich literatures. Even the distinction between an original work and its translation was rather blurred and uncertain in India’s pre-colonial literary discourse. The Ramayanas of Pampa, Kamban, Ezhuthachan, Molla, Premananda, Eknath, Balarama Das, Kritibas, Tulsidas or Madhava Kandali, for example, were taken to be neither translations nor even adaptations but considered original works as they were the most brilliant manifestations of the genius of their respective languages.

The story of Indian literatures until, say, the 19th century, was mostly a story of creative translations, adaptations, retellings, interpretations, epitomes and elaborations of classical texts. Translations from Sanskrit, Persian, Arabic and modern Indian languages knit together communities, languages, regions and cultures. Along with the Ramayana, the Mahabharata and the Bhagavata, collections of folktales, fables and legends, like the Panchatantra, the Vikramaditya tales, the Kathasaritsagara, the Brihatkatha and the Jataka tales travelled from language to language, instilling in their readers a sense of a common narrative heritage.

Magical realism

Later, when the modern novel and the short story came to India, these epics, magical fables and folktales often served as indigenous models for storytelling. I recall Thakazhi Sivasankara Pillai, the great Malayalam realist fiction writer, claiming that his epic novel Kayar was modelled on the Mahabharata. Magical realism, fantasy and allegory have been natural to the Indian narrative imagination, and we were practising them much before we began to hear of the Latin American “magic realists” like Gabriel Garcia Marquez or Mario Vargas Llosa, the fantasies of the Italian writer Italo Calvino or the allegories of Franz Kafka. The translations of Arabian Nights into Indian languages reinforced this oriental tradition of fantasy and magic. It was realism that was more Western than these tendencies. The works of Kalidasa, Bhasa, Bhavabhuti, Visakhadatta, Banabhatta, Sudraka, Jayadeva and others not only got translated into most Indian languages but gave a norm to the critical evaluation of poetry in the beginning. This was also true of the translations and adaptations of Shakespeare’s works in the 19th and 20th centuries. Our sense of modern drama can be traced to these translations, along with those of playwrights like Ibsen, Strindberg, Bernard Shaw, Chekhov and others.

The Indian novel as we know it today—despite our own grand narrative tradition from the folktales and epics to Banabhatta’s Kadambari—has also been deeply impacted by translations. Some of our early novels actually began as translations. O. Chandumenon, who wrote Indulekha in Malayalam in 1889, has confessed that he had begun it as a translation of Disraeli’s English novel Henrietta Temple. Later, he decided to rewrite the novel though it finally turned out to be an independent work of fiction. He has delineated the motifs behind his work in a dedicatory letter to his translator, W. Dumergue: “First my wife’s oft-expressed desire to read in her own language a novel written after the English fashion, and secondly a desire on my part to try whether I should be able to create a taste amongst my Malayalee readers not conversant with English, for that class of literature represented in the English language by novels, of which at present they… have no idea, and… to illustrate to my Malayalee brethren the position, power and influence that our Nair women who are noted for their natural intelligence and beauty, would attain in society, if they were given a good English education and finally to contribute my mite towards the improvement of Malayalam literature, which I regret to observe, is fast dying out by disuse as well as by abuse.”

Nandshankar Mehta also has similar things to say about his Gujarati novel Karan Ghelo (1866): “The former education inspector of our state Mr Russell has expressed to me his desire to see Gujarati books written along the lines of English novels and romances. I have written this novel according to that plan.” Samuel Vedanayagam Pillai says about his Tamil novel Prathapa Mudhaliar Charithram that his object was “to supply the want of prose books in Tamil” and that he has “represented the principal personages as perfectly virtuous, in accordance with the opinion of the great English moralist, Dr Johnson”. Later, the translations of foreign novels by Charles Dickens, R.L. Stevenson, Oliver Goldsmith, George Meredith, George Eliot, Emily Bronte, Joseph Conrad, Herman Melville, Leo Tolstoy, Fyodor Dostoevsky, Ivan Turgenev, Mikhail Sholokhov, Thomas Mann and others and Indian novels by Bankim Chandra Chatterjee, Sarat Chandra Chatterjee, Bibhutibhushan Bandopadhyay, Rabindranath Tagore, Tarasankar Banerjee, Manik Banerjee, Bimal Mitra, Ashapoorna Devi, Shankar, Mahasweta Devi, Krishan Chander, Rajinder Singh Bedi, Amrita Pritam, Premchand, K.A. Abbas, Jainendra Kumar and others provided firm models for realist fiction in India. We also got many new forms and models of writing through translations from English or Persian like the modern lyric, sonnet, ghazal, barahmasa, elegy, satire, haiku, sequence poem, surrealist poetry, symbolic poetry, allegory, epistolary fiction, absurd play, etc.

The translation of the Holy Bible was another important landmark in the development of prose in the Indian languages. In most languages, the Bible got translated in the 19th century by missionaries—who also gave many of our languages their first dictionaries and systematic books of grammar—and the prose of these translations served as a model for native writers. The first printing presses also came to be established mostly by the missionaries for printing missionary literature, but we know how the printing press contributed to the creation of a public sphere in India and how mechanical reproduction helped popularise literature and art.

Formation of movements

Translation has also helped the formation of movements cutting across languages. First, it was the translation of works from abroad. We are aware how Tolstoy’s translations were a major influence on Mahatma Gandhi’s ethical thinking. Translations of the works of the early leaders of the freedom struggle and of Independent India such as Jawaharlal Nehru and B.R. Ambedkar were also impacted by egalitarian Western thoughts and ideas received through original works as well as translations. Later, translations of the works of these and other leaders played a major role in bringing the Indian people together on the common platform of the Indian freedom struggle. This was also a period of translations of literature. The works of Tagore, Tarasankar, Sarat Chandra, Subramanya Bharati, Sumitranandan Pant, Vallathol, Keshavsut, Ghulam Mahjoor, Abdul Rehman Rahi, Premchand, Basheer and a host of other patriotic writers got translated into many Indian languages and helped consolidate the patriotic and anti-colonial feelings among our people and garner support for social reform.

Similarly, the translations of Emile Zola, Guy de Maupassant, Tolstoy, Maxim Gorky and anti-fascist writers inspired the formation of the progressive movement in Indian literature. Later, Indian progressive literature began to be mutually translated among our languages and thus to influence one another. Premchand got translated into almost all major Indian languages; this was also the case with writers like Thakazhi, Basheer, Jayakanthan, Akhilan, Savitri Roy, K.A. Abbas, Mulk Raj Anand, Gurdial Singh and other such realist writers who empathised with the subaltern classes. Their translations from the original into other Indian languages and into English helped reinforce the idea of a pan-Indian progressive literature.

Modernist trends

Later, when modernist trends began to appear in Indian languages, they were also spurred on first by translations from abroad like the poetry of Charles Baudelaire, Stephane Mallarme, Rainer Maria Rilke, T.S. Eliot, W.H. Auden, Octavio Paz , and so on and fiction writers and playwrights like James Joyce, Samuel Beckett, Albert Camus, Jean Paul Sartre, Kafka, Italo Calvino, Louis Pirandello, Eugene O’Neill, Edward Albee, Wole Soyinka and others. In the 1960s and 1970s, Indian modernists began to get translated from their languages into other Indian languages and at times into English. Most of these writers were bilingual or multilingual, so many translations were done by themselves; even if not, they were capable of judging the translations, at least in English. Thus, the translations of Ajneya, Gajanan Madhav Muktibodh, Jibanananda Das, Bishnu Dey, B.S. Mardhekar, Sitanshu Yashaschandra, Suresh Joshi, Ayyappa Paniker, Ka. Naa. Subramaniam, Sri Sri, Gopala Krishna Adiga, U.R. Ananthamurthy, O.V. Vijayan, M. Mukundan, Setu, Nirmal Verma, Krishna Baldev Vaid, Arun Kolatkar, Dilip Chitre, Ismat Chughtai, Qurratulain Hyder and such other pioneers began to get translated into English and other Indian languages, creating the sense of an Indian community of modern writers.

In the 1970s, Latin American and African writers like Pablo Neruda, Cesar Vallejo, Nicanor Parra, Nicolas Guillen, Leopold Senghor, David Diop, Dennis Brutus, Margaret Walker, LeRoi Jones, Langston Hughes and others along with the European and Asian socialist writers like Yannis Ritsos, Bertolt Brecht, Hans Magnus Enzensberger, Gunter Grass, Paul Eluard, Louis Aragon, Vladimir Mayakovsky, Yevgeny Yevtushenko, Faiz Ahmed Faiz, W.S. Rendra, Lu Hsun, Kwo-Mojo, Ai Ching and others began to be translated widely in some of the Indian languages, with a decisive impact on poetry, creating a radical modern poetry that stood up against the vagaries of capitalist and casteist exploitation. The poetry of Dalit Panthers and Maoists was particularly influenced by these writers. Gradually, the Indian radicals also began translating one another’s poetry so that the works of poets like Dhoomil, Pash, Amarjit Chandan, Samar Sen, Saroj Dutta, Varavara Rao, Cherabanda Raju and several others began to appear in languages like Malayalam, where there was a strong people’s cultural movement allied to Maoist revolutionaries.

This is equally true of later movements in Indian literature like Dalit and feminist literatures. Translations, especially in English and Hindi , of the works of Namdeo Dhasal, Laxman Mane, Laxman Gaikwad, Joseph Macwan, Sharankumar Limbale, Om Praksh Valmiki, Balraj Madhopuri and others and the various anthologies of Dalit poetry, autobiography and fiction like Poisoned Bread, No Alphabet in Sight and The Oxford Anthology of Dalit Writing have in fact created a special niche for Dalit writing in India and turned it into a national movement.

This is also happening in women’s writing. Several anthologies of women’s writing like Women’s Writing In India: From 6th Century B.C. to the Present, Inner Courtyards, Inner Spaces and In Their Own Voice, carrying translations of women’s writing and specific works by Rashsundari Debi, Binodini Dasi, Laxmibai Tilak, Ashapurna Debi, Swarnakumari Devi, Sara Joseph, Qurratulain Hyder, Ismat Chughtai, Ajeet Cour, Mridula Garg, Nabaneeta Dev Sen, Kamala Das, Amrita Pritam, Alka Saraogi, Gitanjalisri, K.R. Meera, C.K. Janu, Nalini Jameela, Sister Jesme—many of them autobiographies—translated into English and some other Indian languages have not only enriched the corpus of women’s writing in India but created a cross-cultural and cross-linguistic understanding of women’s issues and helped reinforce the sisterhood of women writers across the country. Even native-looking movements like Deseevad (Nativism) cannot deny the oblique impact of African or Irish literatures that had a strong regional and cultural bias.

Literary criticism

Translation has also played a major role in promoting common trends and the employment of common norms and methods in Indian literary criticism. Translations of fundamental texts of Indian poetics by Bharata, Anandavardhana, Kuntaka, Bhamaha, Mahimabhatta and others from Sanskrit formed the earliest guidelines for the evaluation of poetry in most Indian languages. Later, some Western critical texts right from Aristotle and Longinus to Sir Philip Sidney, Matthew Arnold, I.A. Richards and T.S. Eliot came to be translated, giving rise to treatises of comparative poetics as well as applications of Western theories of mimesis, catharsis, semantics and semiotics to Indian texts of poetry and drama. At least some languages also have translations of structuralist and post-structuralist texts or adaptations and interpretations of these texts (Paul de Man, Roland Barthes, Jacques Derrida, Michel Foucault, and so on). Dalit poetics has been impacted greatly by Black aesthetics and Indian feminist criticism too is most often derived from Western, especially French, models. Even where full texts have not been translated, we find partial translations and quotations that illuminate contexts.

The new eagerness among writers and readers in India to know what is happening in languages other than their own can chiefly be attributed to the recent spurt in translations. Translations have begun to appear recently even from tribal languages that had so far been completely neglected, thanks to the initiative taken by Sahitya Akademi and the interest of scholars like Ganesh Devy. We certainly need more translations of folk and tribal lore, wherein lie the solid foundations of our literatures. Translations have begun to bind our writers together and helped form an Indian community of readers as well as writers that includes even Indians living outside India eager to know the literature of their motherland. Translations have also helped the sharing of concerns among Indian writers across languages, like those for human rights, ecological balance, gender equality, the impact of globalisation, religious and racial violence, the terrorism of the militants as well as the state, and so on. One cannot forget here that modern technologies of communication, which have no doubt done a lot of harm, have also helped meaningful social networking among readers and writers through virtual communities, blogs and social networks. Perhaps, mutual translations among Indian languages are on the wane today chiefly because of a lack of competent bilingual scholars with the necessary skills and sensibility, except between some language pairs. But this has been compensated to some extent by the increase in the translations into English, thanks to the pioneering efforts of the Sahitya Akademi and the National Book Trust, along with the new interest shown by private publishers like Oxford University Press, Penguin, Katha, Orient Longman, Macmillan, East West, HarperCollins, Rupa, and many committed little publishing houses like Navayana.

The strength of multilingualism

The West has a tendency to look at multilingualism as a problem to be tackled, while for India it has been a vital source of creative abundance. The West often looks at translation as exile, as reflected in Hillis Miller’s statement that translation is “the wandering existence in a perpetual exile”. The myth of the Tower of Babel further underlines the idea of multilingualism as a curse. But India has lived with her plurilingual heritage for centuries, and we have seldom been haunted by the fear of being unparadised; translation is a daily act with us, essential and intimate. We have also learnt to admire deviations in translations as we have a long tradition of adaptations, especially of the epics, where the events and characters are localised, episodes omitted, transformed or newly added, metaphors and similes refreshed, and even the whole text reconceived.

Authenticity to the Western scholars often meant literality, a concept close to Platonic mimesis, an attempt to resituate the original through close imitation. India has no martyrs to the cause of translation like Etienne Dolet, the 16th century French translator of Plato, sentenced to death for the freedoms he took with the original text. If we had followed this example, we would have ended up executing most of our epic and bhakti poets, who took every kind of freedom with their original/texts in Sanskrit. Perhaps the idea of the “original” text is not so strong with us because of our strong oral tradition that had only changing texts, where accretions, substitutions and attritions were a common rule.

While colonial Europe found in the translation of exotic “Oriental” texts a way to contain and dominate their creators, India sought through translation a living dialogue between its own cultural past and present as also between its cultures and the cultures of other lands. Translation was looked upon as a revitalisation of the original through the imagination of a writer of another space and time. The original was not specially privileged as the self was in a flux as proposed by the Buddha in his Vajrakhedika (Diamond Sutra). Perhaps, we need to restore the pre-colonial openness to texts today so that we overcome the asymmetrical relations of power that operated in the colonial era, turning translation into a strategy of containment and reinforcement of the hegemonic versions of the colonised as objects without history. Translation to us today is a way of retrieving our people’s histories and recording their past and present.

Email: satchida@gmail.com


फ़्रंटलाइन से साभार

रविवार, 17 नवंबर 2013

Indian Govt To Build Machine Translation System For 22 Indic Languages (मीडियानामा से साभार)

By on Nov 14th, 2013

National Translation Mission is preparing a Machine Translation System (MTS) to instantly translate texts from vernacular Indian languages to English, reports New Indian Express. The report states that scientific and technical terminologies are being developed in 69 disciplines of study in 22 languages as part of this project. Apparently, 25,000 to 30,000 lexicons have been identified in each subject to create the MTS.

Speaking at a media event, Prof V Saratchandran Nair, Director of National Translation Mission said that the project is being initiated to help students who have done their schooling in vernacular languages but have to study in English during college.  He also added that only Tamil currently has translated materials in all 69 disciplines, while Oriya has it in 49 disciplines. In contrast, there is no science material available in Santhali, Manipuri and Konkani languages.

National Translation Mission is a Government of India initiative that intends to establish translation as an industry and facilitate higher education by making available translated study material for students. The program also trains translators in different languages. Interestingly, the website states that it will not replicate the efforts of other organisations like C-DAC, TDIL that are also involved in creating indic support for computers and services. However, it seeks to build technology to directly translate a sentence typed in English into an Indian language. When we checked, we noticed that the website also offers dictionaries and other resources for translators.

Other efforts to provide indic support: In September 2013, the Goa university had entered into a three year memorandum of understanding (MoU) with the Centre for Internet and Society (CIS) for building the Konkani Wikipedia. As part of this partnership, Goa University will be uploading the four volumes of Konkani encyclopedia. This could be a good start to building a repository of translated works for science in Konkani.

In July 2013, Technology Development for Indian Languages Programme (TDIL) of DeitY (Department of Electronics and IT) had developed Urdu language fonts and keyboard drivers for Windows and Android.

In June 2013, DeitY had also created a repository of fonts for all 22 constitutionally recognized languages through TDIL. These fonts are available as a CD that can be procured from TDIL or the entire suite can also be downloaded from the TDIL website.

मीडियानामा से साभार

मंगलवार, 12 नवंबर 2013

हिंदी का बाज़ार (लेखक : दीपक शर्मा)


हिंदी भाषा के लिए काफी समय से एक जुमला प्रचलित है कि ‘हिंदी गरीब की भौजाई है’ लेकिन अब इस जुमले का अतिक्रमण करती हुई हिंदी भाषा गरीब की भौजाई ही नहीं, इस बाज़ार की मां बन बैठी है। बाज़ार को अपनी इस मां का आंचल थाम कर ही आगे बढ़ना होगा। मीडिया के संदर्भ में अगर बात की जाए तो कहना होगा कि आज हर चैनल या तो हिंदी में अपना प्रसारण कर रहा है या करना चाहता है। हॉलीवुड फिल्मों का हिंदी में डब करके प्रसारण हो रहा है और अब तो दक्षिण भारतीय फिल्मों का भी प्रसारण हिंदी में विभिन्न चैनलों पर होता रहता है जो हिंदी की बढती हुई शक्ति को ही दर्शाता है। न केवल कंप्यूटर बल्कि मोबाइल फोन में भी हिंदी के विभिन्न सोफ्टवेयरों का प्रयोग किया जा रहा है और हिंदी भाषा से संबंधित नये-नये कार्यक्रमों को भी निर्मित किया जा रहा है। हर देशी और विदेशी कंपनी हिंदी भाषा में अपना एक निजी हिंदी चैनल लाने की ताक में रहती है। साहित्य के क्षेत्र में भी अन्य भाषाओं से सबसे ज्यादा अनुवाद हिंदी भाषा में ही किये जा रहे हैं। इस बाज़ार आधारित अर्थव्यवस्था और इससे उत्पन्न होने वाली परिस्थितियों ने हिंदी भाषा के संसार को ही बदल कर रख दिया है। यह बदलाव इस गति से हो रहा है कि उसे ठीक से कुछ निश्चित शब्दों में बांधना बहुत मुश्किल कार्य है।



भाषा एक ऐसा माध्यम है जिसके अभाव में संसार की हर संस्कृति और समाज व्यर्थ है। उस समाज और संस्कृति से सम्बंधित हर नियम और संस्कार का कोई मोल नहीं है। भाषा ही है जो हमें वि२व भर से जोड़ने का काम करती हुई लोगों को ग्लोबल अभिव्यक्ति दिलाने में सहायक होती है। संसार से भाषा की अगर विदाई हो जाए तो जीने का कोई महत्व ही नहीं रह जाएगा। भाषा का वास्तविक अर्थ किसी भाव और विचार का सफल सम्प्रेषण होता है फिर भले ही भाषा का स्वरुप कोई भी हो। इस बात को हिंदी भाषा के संदर्भ में रख कर देखा जाए तो कहना होगा कि आज हिंदी भाषा भी अपने पुराने चोले को उतारकर नयी होकर हमारे सम्मुख उपस्थित है। जिस शुद्धतावादी दृष्टिकोण की दुहाई आमतौर पर हिंदी के लिए दी जाती रही है उसे हिंदी भाषा ने काफी पीछे छोड़ दिया है जो आज के परिदृश्य में बहुत ज़रुरी भी था। अगर हिंदी भाषा को इसी शुद्धतावाद के फेरे में व्यस्त रखा तो वह दिन दूर नहीं जब हिंदी भाषा की मृत्यु पर शोक मनाने वाला भी कोई नहीं मिलेगा और न ही कोई हिंदी पढ़ना-लिखना चाहेगा। भाषा का उद्देश्य सरल रूप में भावों और विचारों को अपने लक्षित वर्ग तक पहुंचाना होता है और आज हिंदी यही कर रही है।

हर वर्ष में आने वाला सितम्बर का महीना हिंदी के लिए जीवन बूटी का काम करता है जिसमें हिंदी भाषा के भविष्य को लेकर अनेक तरह के सकारात्मक पहलुओं को सबके सम्मुख रखा जाता है। हर बार की तरह इस बार भी सितम्बर का महीना आने पर हिंदी पखवाड़े में अनेक प्रकार की हलचले हुईं, और ऐसा होना भी लाज़मी है आख़िरकार इस महीने की 14 तारीख को हिंदी दिवस जो आता है। हर बार की तरह इस वर्ष भी हिंदी दिवस आया और चला भी गया। इस दौरान विभिन्न प्रकार की गोष्ठियों एवं सम्मेलनों में हिंदी की चिंता करते हुए अनेक विद्वानों द्वारा बड़े जोर शोर से लंबे-लंबे भाषण दिये गये तथा हिंदी को राष्ट्रभाषा और वि२वभाषा बनाने की घोषणाएं की गयीं। लेकिन अगले ही पल हिंदी से सम्बंधित यह चिंताएं और बड़े बड़े दावे चारों खाने चित्त मिलते हैं। मतलब जिस औपचारिकता के साथ हिंदी के वर्तमान एवं भविष्य की चिंताएं हम सुनते-पढ़ते हैं, वह सब मात्र औपचारिक रूप में ही रह जाता है जिसका व्यावहारिक प्रयोग हमें देखने को नहीं मिलता। मज़ेदार बात तो यह है कि इस प्रकार के सम्मेलनों में हमें केवल हिंदी का अध्ययन-अध्यापन करने वाले लोगों के अलावा इक्का-दुक्का मंत्री और नेता के साथ प्रिंट मीडिया का एकाधा पत्रकार ही नज़र आता है। प्रिंट मीडिया का पत्रकार इस दौरान पूरे तेवर लिए हुए रहता है जो गोया हिंदी से सम्बंधित इन कार्यक्रमों को कवर करके कोई अहसान हिंदी समाज पर कर रहा हो। इसके अतिरिक्त इलेक्ट्रोनिक मीडिया तो यह अहसान करने की भी जेहमत नहीं उठता। यहां प्रश्न यह उठता है कि हिंदी के प्रति यह जागरूकता आखिर किसके लिए है? जिस समाज में हिंदी की आवश्यकता को बताना ज़रुरी है, वही जब इनसे नदारद रहता है तो वह कैसे हिंदी के महत्व को समझ सकेगा? मीडिया की भूमिका भी हिंदी के प्रति उपेक्षित ही नज़र आती है जो हिंदी की खाकर भी हिंदी के प्रति उदासीन रहता है।

वर्तमान समय में हम देखते हैं कि जिस भारत में पहले वेलेंटाइन डे का ही चलन था और जिसकी अप्रत्यक्ष रूप से स्वीकृति के बाद मदर डे, फादर डे, फ्रेंडशिप डे, चोकलेट डे और न जाने कितनी तरह के दिवसों को मनाने का चलन बढता जा रहा है वहीं हमारे अन्य महत्वपूर्ण दिवसों के प्रति हमारे समाज की रूचि या तो कम हुई है या परिवर्तित हुई है। उल्लेखनीय है कि इन अन्य दिवसों की तुलना में हिंदी दिवस या कहे तो हिंदी डे के प्रति एक बहुसंख्यक वर्ग की कोई रूचि ही नहीं रहती। गौरतलब है कि जिन दिवसों का आज हमारे भारत में चलन हो चला है, वे दरअसल अन्य देशों में समयाभाव के कारण उस विशेष दिन पर उस रिश्ते को मनाने के लिए खोजे गये हैं। लेकिन क्या हम भारतीय परिवेश में ऐसा सोच सकते हैं कि हम अपने मित्र से केवल उसी दिन मिले, जिस दिन फ्रेंडशिप दिवस हो। अपने माता पिता को एक विशेष दिन कुछ कार्ड्स या गिफ्ट देकर खुश करें भले ही उन्हें अपने साथ रखने में हमें तकलीफ होती हो। और क्या जिस उद्देश्य और विचारधारा के चलते इन दिवसों को मनाया जाता है, क्या उसी दृष्टि से हमें हिंदी दिवस या कहें तो हिंदी डे को भी मनाना चाहिए तभी जाकर हम हिंदी भाषा का प्रचार प्रसार कर सकते हैं? स्पष्ट है कि यह विभिन्न प्रकार के दिवस इसलिय मनाये जाते हैं ताकि इनके प्रति लोगों को संवेदनशील बनाये रखा जा सके। लेकिन प्र२न यहां फिर यह उठता है कि क्या सच में हिंदी इस स्थिति में आ पहुंची है कि लोगों को हिंदी के प्रति जागरूक करने के लिए समय-समय पर हिंदी दिवसों का आयोजन करना पड़े? कारण, हिंदी दिवसों या अनेक अन्य अवसरों पर हिंदी की दुर्दशा पर रोना रोया जाता है तथा हिंदी भाषा से गायब होने वाले परम आवश्यक तत्व ‘शुद्धतावाद’ के लिए छाती पीटी जाती हैं। अब अनेक हिंदी आलोचकों को तो यह भी बुरा लग जाएगा कि लेखक ने हिंदी डे क्यों लिखा है। खैर, प्रश्न यहां यह है कि साल भर में एक- दो दिन हिंदी भाषा से सम्बंधित समस्याओं की मात्र चर्चा करके हिंदी भाषा का विकास किया जा सकता है।

प्रश्न यह भी है कि आखिर ऐसे क्या कारण हो गए हैं कि हिंदी दिवस को मनाना ज़रुरी होता जा रहा है? इसके जवाब में यह कहना होगा कि हिंदी भाषा को हिंदी समाज की मानसिकता ने ही पीछे किया है। एक विशेष वर्ग ने हिंदी का मतलब केवल साहित्यिक विशुद्ध हिंदी ही माना है और जब तक यह सोच हिंदी समाज में उपस्थित रहेगी तब तक हिंदी की स्थिति को सुधारा नहीं जा सकता। सभी को पता है कि हिंदी भाषा का हृदय बहुत विशाल है जिसके भीतर संस्कृत, पाली, प्राकृत, अपभ्रंश, फ़ारसी, अरबी, तुर्की, अंग्रेजी, फ़्रांसिसी इत्यादि भाषाओं के साथ-साथ भारत की ही अनेक बोलियों के शब्द समाहित हैं जिन्हें हिंदी ने बहुत ही खुले मन से अपनाया है और जो हिंदी भाषा के ही अपने शब्द प्रतीत होते हैं। अब अनेक आलोचक तो हिंदी भाषा से अन्य भाषाओं के साथ-साथ ब्रज, अवधि, भोजपुरी, बांग्ला, खड़ीबोली जैसी बोलियों को भी अलग करने पर जोर देते हैं। इस वर्ग की यह मान्यता है कि इन सबसे विरक्त होकर ही हिंदी भाषा का वास्तविक स्वरुप सबके सामने आएगा और अन्य बोलियों के अस्तित्व को भी बचाया जा सकेगा। लेकिन यहां कहना होगा कि हिंदी भाषा इन बोलियों के अस्तित्व के लिए खतरा न होकर बल्कि उनके अस्तित्व का ही पुनर्निर्माण है जो इन बोलियों को भी एक ग्लोबल अभिव्यक्ति दिलवाती है। इन लोगों को यह क्यों नहीं समझ आता है कि हिंदी में समाविष्ट होकर इन बोलिओं का क्षेत्र विस्तार ही हो रहा है। हिंदी के स्वरुप में रची-पकी यह बोलियां हिंदी से अलग होकर घाटे में ही रहेंगीं क्योंकि जो क्रय-शक्ति एवं बाज़ार आज हिंदी भाषा के पास है वो इन बोलियों को नहीं मिल सकता। वैश्वीकरण ने हिंदी भाषा को जो विस्तार दिया है संभवतः हिंदी को ऐसा विस्तार पाने के लिए कई और वर्ष लगने वाले थे। इसका कारण भी स्पष्ट है कि हिन्दी भाषा के पास एक बहुत बड़ा बाज़ार है जिसे पाने के लिए विभिन्न व्यापारिक निगमों को इस हिंदी भाषा से ही होकर गुज़रना होगा अन्यथा यह निगम भारत में प्रभावशाली रूप से कार्य नहीं कर सकते हैं। इस भूमंडलीकरण का ही प्रभाव मानना चाहिए कि जो हिंदी भाषा अभी तक गरीब एवं पिछड़े वर्गों की भाषा मानी जाती थी अब वह देश और दुनिया में अपनी सक्रिय उपस्थिति दर्ज करवा चुकी है। आज हिंदी गरीब और पूंजीवादी वर्ग, दोनों कि भाषा बन चुकी है। फिर भले ही पूंजीवादी वर्ग हिंदी को मज़बूरी में ही अपना रहा हो। आज तो अनेक पूंजीवादी देशों में हिंदी भाषा सिखायी जा रही है खुद अमेरिकन सरकार अपने देश में हिंदी भाषा को सिखाने के लिए लाखों-करोड़ों डॉलर खर्च कर रही है। इसी क्रम में ब्रिटेन, फ्रांस, जर्मनी इत्यादि देशों का नाम भी लिया जा सकता है।

यह सर्वविदित है कि हिंदी भाषा बोलने और समझने की दृष्टि से मंदारिन के बाद दूसरे नंबर पर आती है और जिस अंग्रेजी भाषा का डंका भारत में बज़ रहा है उसका स्थान तीसरा है। अभी हालिया अनुसन्धान के अनुसार यह तथ्य भी सामने आया है कि चीन में मंदारिन बोलने वाले सभी लोग नहीं है जबकि इसके विपरीत हिंदी भाषा केवल भारत में ही नहीं बल्कि देश-विदेश में भी बोली-समझी जाती है जिसको बोलने और समझने वालों की संख्या लगभग सौ करोड़ के आसपास है। कारण, आज विभिन्न देशों में हिंदी का अध्ययन करवाया जा रहा है ताकि वह हिंदी संस्कृति को समझकर अपने माल की अधिकाधिक खपत भारत में कर सके। इस लिहाज़ से हिंदी को वि२व में सर्वाधिक बोली एवं समझी जाने वाली भाषा कह सकते हैं। भविष्य में हिंदी भाषा के इस विस्तार के बढ़ने की भी अनेक घोषणाएं की जा चुकी हैं जिन्हें नज़रंदाज़ नहीं किया जा सकता है। हिंदी भाषा की लिपि की अगर बात की जाए तो कहना होगा कि यह विश्व की सबसे वैज्ञानिक लिपि है। इस भाषा में जो जैसा बोला जाता है, वैसा ही लिखा जाता है। यह मंदारिन भाषा की लिपि की तरह कोई चित्र लिपि नहीं है कि जिसे समझने में ही सालों-साल लग जाए। हमें यह भी ज्ञात है कि तुर्किश और इंडोनेशियन भाषा को अपने प्रसार के लिए रोमन लिपि को अपनाना पड़ा लेकिन हिंदी भाषा न केवल भारतीय परिवेश में भावों को अच्छी तरह से व्यक्त करने में समर्थ रही है बल्कि तकनीकी स्तर पर भी हिंदी भाषा ने अपार सफलताएं अर्जित की है। इसी के चलते विभिन्न इन्टरनेट एक्सप्लोरर, ऑपेरा ब्राउज़र, नेटस्केप, मौज़िला के साथ-साथ सबसे बड़ा सर्च इंज़न माने जाने वाला गूगल भी हिंदी को स्वीकार करता है।

जिस ‘ब्लॉग’ की चर्चा अभी तक अंग्रेजी भाषा के संदर्भ में ही होती थी और जो हिंदी भाषा एवं हिंदी भाषियों के लिए एक अजनबी दुनिया थी आज उसी ब्लॉग की दुनिया में हिंदी वालों ने तहलका मचा दिया है। रोज़-रोज़ अनेक हिंदी ब्लोगरों का इस हिंदी ब्लोगिंग के क्षेत्र में आना हिंदी की बढ़ती हुई शक्ति को ही बता रहा है। इस क्षेत्र में जो सबसे क्रांतिकारी काम हुआ, वह था यूनिकोड नामक एक हिंदी भाषा से सम्बंधित ऐसा एन्कोडिंग सिस्टम जिसने हिंदी को वही शक्ति प्रदान की जो अभी तक अंग्रेजी भाषा के पास थी। जिस सरलता से अंग्रेजी भाषा का प्रयोग कंप्यूटर और अन्य तकनीकी क्षेत्रों में किया जाता था अब बिलकुल वैसा ही प्रयोग हिंदी भाषा का भी होने लगा है। इस एन्कोडिंग सिस्टम ने हिंदी की सूरत ही बदल कर रख दी जिससे हिंदी भाषा के बाज़ार में बहुत तेज़ी से विस्तार हुआ और हिंदी विभिन्न व्यापारिक निगमों से हाथ मिलाकर उनकी हमकदम बन गयी। यहां फिर यह बात सिद्ध हो जाती है कि हिंदी का हृदय बहुत विशाल और तालमेल बिठाने वाला है जिसने न केवल अन्य भाषाओं बल्कि टेक्नोलॉजी के साथ भी कदम मिलाया है। यही वह शक्ति है जिसकी बार-बार चर्चा हम यहां करना चाहते हैं जिसकी तरफ सबका ध्यान भी आकर्षित करना चाहते हैं।

हिंदी भाषा के लिए काफी समय से एक जुमला प्रचलित है कि ‘हिंदी गरीब की भौजाई है’ लेकिन अब इस जुमले का अतिक्रमण करती हुई हिंदी भाषा गरीब की भौजाई ही नहीं, इस बाज़ार की मां बन बैठी है। बाज़ार को अपनी इस मां का आंचल थाम कर ही आगे बढ़ना होगा। मीडिया के संदर्भ में अगर बात की जाए तो कहना होगा कि आज हर चैनल या तो हिंदी में अपना प्रसारण कर रहा है या करना चाहता है। हॉलीवुड फिल्मों का हिंदी में डब करके प्रसारण हो रहा है और अब तो दक्षिण भारतीय फिल्मों का भी प्रसारण हिंदी में विभिन्न चैनलों पर होता रहता है जो हिंदी की बढती हुई शक्ति को ही दर्शाता है। न केवल कंप्यूटर बल्कि मोबाइल फोन में भी हिंदी के विभिन्न सोफ्टवेयरों का प्रयोग किया जा रहा है और हिंदी भाषा से संबंधित नये-नये कार्यक्रमों को भी निर्मित किया जा रहा है। हर देशी और विदेशी कंपनी हिंदी भाषा में अपना एक निजी हिंदी चैनल लाने की ताक में रहती है। साहित्य के क्षेत्र में भी अन्य भाषाओं से सबसे ज्यादा अनुवाद हिंदी भाषा में ही किये जा रहे हैं। इस बाज़ार आधारित अर्थव्यवस्था और इससे उत्पन्न होने वाली परिस्थितियों ने हिंदी भाषा के संसार को ही बदल कर रख दिया है। यह बदलाव इस गति से हो रहा है कि उसे ठीक से कुछ निश्चित शब्दों में बांधना बहुत मुश्किल कार्य है। लेकिन इस बदलाव ने निश्चय ही हिंदी भाषा के शब्द भंडार को समृद्ध किया है जिसके कारण हिंदी के विस्तार की गति और भी तेज हो गयी है। इसे हम यों भी कह सकते है कि हिंदी स्वतंत्र होकर बिना किसी सरकारी सहायता के आगे बढ़ रही है। हिंदी भाषा में यह दम और साहस इसी बाज़ार ने दिया है जिसे हिंदी साहित्यिक समाज दिन रात कोसते रहते हैं। जिस हिंदी के विकास में सरकारी तंत्र पिछले अनेक वर्षों से प्रयासरत रहा है और जिसने हिंदी सुधार के नाम पर हिंदी को केवल किताबों और पुस्तकालयों तक ही सीमित कर दिया जबकि बाज़ार ने उसी हिंदी का बहुत ही रचनात्मक और व्यावहारिक प्रयोग कर हिंदी का भूगोल ही बदल डाला है। सरकारी कार्यालयों में एक पंक्ति अवश्य देखते हैं – ‘अगर आप हिंदी में बात करेंगे तो हमें प्रसन्नता होगी’। लेकिन इसके अलावा कुछ भी सार्थक काम हिंदी के प्रति नहीं किया गया है। हिंदी भाषा के प्रति जो धिक्कार बोध इसप्रकार की क्रियाओं द्वारा विकसित हुआ है, उसी पर सबसे पहले इस नयी हिंदी ने चोट की है। उसी हिंदी ने आज इससे अलग अपनी एक दुनिया को निर्मित किया है जिसे आज पहचानना बहुत ज़रुरी है। सही मायनों में वही हिंदी की वास्तविक शक्ति है।

हिंदी के लिए अनेक विद्वानों का तर्क रहा है कि हिंदी का वास्तविक अर्थ वह हिंदी है जिसमें अनिवार्य रूप से शुद्धता का ध्यान रखा जाए, जिसमें अंग्रेजी व अन्य भाषाओं के शब्दों का समावेश नहीं होना चाहिए और अगर ऐसा कहीं होता भी है तो उस हिंदी भाषा से उन शब्दों को तुरंत निकाल कर बाहर का रास्ता दिखा देना चाहिए। ऐसे लोगों का उद्देश्य हिंदी को एक विशुद्ध भाषा के रूप में सुरक्षित रखने का होता है। किंतु ये लोग हिंदी के शुद्धतावाद को भले ही संभाल कर रख ले मगर हिंदी को जनसमाज से काट देते हैं। इस विशुद्ध हिंदी से केवल एक विशेष पाठक वर्ग ही जुड़ पाता है जिसका संबंध हिंदी अध्ययन-अध्यापन से अनिवार्य रूप से रहता है। यह ऐसी हिंदी होती है जिसे पढ़कर कोई जन, हिंदी-संस्कृति और हिंदी-व्याकरण को तो भलीभांति समझ सकता है लेकिन हिंदी को उत्पादन एवं व्यवसाय से नहीं जोड़ पाता। हिंदी भाषा के व्यावहारिक बोध से वंचित रहकर, हिंदी के प्रति एक धिक्कार बोध से ग्रसित हो जाता है। अधिक से अधिक वह हिंदी भाषा और साहित्य से संबंधित एक-दो किताबें लिखकर कुछ रूपये-पैसों का इंतजाम तो कर सकता है लेकिन हिंदी की वास्तविक शक्ति से अपरिचित ही रहता है। ऐसी हिंदी ही हिंदी भाषियों में एक ग्लानी बोध को जन्म देती है जिसके चलते हिंदी भाषी स्वयं को अन्यों से पिछड़े हुए मानने लगते हैं। स्वयं को दूसरों की नज़रों से देखना प्रारंभ कर देते है जिसमें उन्हें सिवाए उपेक्षा और कभी सहानुभूति के अलावा कुछ नहीं मिलता। जब तक हम इसी हिंदी के दामन को पकड़कर आगे बढेंगें तब तक हिंदी भाषा और हिंदी बोलने वालों को उपेक्षा और तिरस्कार का सामना करना पड़ेगा। आज उपभोक्तावादी व्यवस्था ने हिंदी भाषियों को एक राह सुझाई है कि कैसे हिंदी का सही इस्तेमाल हो सकता है। हिंदी की शक्ति का कैसे रचनात्मक प्रयोग किया जाना चाहिए। कहना होगा कि इस बाजारवादी अर्थव्यवस्था में भले ही अनेक खामियां हैं लेकिन हिंदी का भविष्य इस अर्थव्यवस्था में सुरक्षित है। हिंदी भाषा को इसी अर्थव्यवस्था ने पुनर्जीवित किया है। हमें आज यह समझना चाहिए कि हिंदी की शक्ति उसकी शुद्धता में नहीं, उसके व्यावहारिक प्रयोग में हैं। हिंदी की प्राणवत्ता अधिसंख्य समुदाय से जुड़ने में हैं न कि उसे कुछ निश्चित मानकों में समेटकर रखने में है।

संपर्क - दीपक शर्मा, शोधार्थी, हिंदी विभाग, दिल्ली वि२वविद्यालय, दिल्ली,  चलदूरभाष – 9811424200, ईमेल –





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