{"id":9341,"date":"2026-02-18T23:08:21","date_gmt":"2026-02-18T17:38:21","guid":{"rendered":"https:\/\/bijmrd.com\/?p=9341"},"modified":"2026-02-18T23:08:23","modified_gmt":"2026-02-18T17:38:23","slug":"incompleteness-in-completeness-negotiating-fragmentation-and-identity-in-karnads-hayavadana","status":"publish","type":"post","link":"https:\/\/bijmrd.com\/index.php\/volume4-issue1\/incompleteness-in-completeness-negotiating-fragmentation-and-identity-in-karnads-hayavadana\/","title":{"rendered":"Incompleteness in Completeness: Negotiating Fragmentation and Identity in Karnad\u2019s Hayavadana"},"content":{"rendered":"\n<p class=\"has-vivid-cyan-blue-color has-text-color\"><strong>Author: Dr. Aparna Das<\/strong><\/p>\n\n\n\n<p><strong>DOI Link:<\/strong> <a href=\"https:\/\/doi.org\/10.70798\/Bijmrd\/04010033\">https:\/\/doi.org\/10.70798\/Bijmrd\/04010033<\/a><\/p>\n\n\n\n<p><strong>Abstract:<\/strong> Post-independence Indian theatre reveals profound tensions between colonial inheritance and indigenous cultural memory, a conflict powerfully dramatised in Girish Karmad\u2019s Hayavadana. The study offers a postcolonial reading of the play to explore the paradox of \u201cincompleteness within completeness\u201d as a central metaphor for fractured identity. Through myth, folktale, and the motif of transposed heads, the play interrogates hybridity, cultural ambivalence, and the instability of selfhood. Drawing on postcolonial theory, the article argues that Hayavadana articulates the psychological and cultural condition of the postcolonial subject through a syncretic theatrical form.<\/p>\n\n\n\n<p><strong>Keywords:<\/strong> Postcolonial theatre, Hybridity, Identity, Incompleteness, Myth, folk tradition, Girish Karnad<\/p>\n\n\n\n<p class=\"has-ast-global-color-1-color has-text-color\"><strong>Page No: 246-251<\/strong><\/p>\n\n\n\n<div class=\"wp-block-buttons is-layout-flex wp-block-buttons-is-layout-flex\">\n<div class=\"wp-block-button\"><a class=\"wp-block-button__link has-ast-global-color-6-background-color has-background wp-element-button\" href=\"https:\/\/bijmrd.com\/wp-content\/uploads\/2026\/02\/246-251.pdf\">download journal<\/a><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Author: Dr. Aparna Das DOI Link: https:\/\/doi.org\/10.70798\/Bijmrd\/04010033 Abstract: Post-independence Indian theatre reveals profound tensions between colonial inheritance and indigenous cultural memory, a conflict powerfully dramatised in Girish Karmad\u2019s Hayavadana. The study offers a postcolonial reading of the play to explore the paradox of \u201cincompleteness within completeness\u201d as a central metaphor for fractured identity. Through myth, &hellip;<\/p>\n<p class=\"read-more\"> <a class=\"\" href=\"https:\/\/bijmrd.com\/index.php\/volume4-issue1\/incompleteness-in-completeness-negotiating-fragmentation-and-identity-in-karnads-hayavadana\/\"> <span class=\"screen-reader-text\">Incompleteness in Completeness: Negotiating Fragmentation and Identity in Karnad\u2019s Hayavadana<\/span> Read More &raquo;<\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-gradient":""}},"footnotes":"","_joinchat":[]},"categories":[43],"tags":[],"rttpg_featured_image_url":null,"rttpg_author":{"display_name":false,"author_link":"https:\/\/bijmrd.com\/index.php\/author\/asraful-alibiswas\/"},"rttpg_comment":0,"rttpg_category":"<a href=\"https:\/\/bijmrd.com\/index.php\/category\/volume4-issue1\/\" rel=\"category tag\">Volume4 Issue1<\/a>","rttpg_excerpt":"Author: Dr. Aparna Das DOI Link: https:\/\/doi.org\/10.70798\/Bijmrd\/04010033 Abstract: Post-independence Indian theatre reveals profound tensions between colonial inheritance and indigenous cultural memory, a conflict powerfully dramatised in Girish Karmad\u2019s Hayavadana. The study offers a postcolonial reading of the play to explore the paradox of \u201cincompleteness within completeness\u201d as a central metaphor for fractured identity. Through myth,&hellip;","_links":{"self":[{"href":"https:\/\/bijmrd.com\/index.php\/wp-json\/wp\/v2\/posts\/9341"}],"collection":[{"href":"https:\/\/bijmrd.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/bijmrd.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/bijmrd.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/bijmrd.com\/index.php\/wp-json\/wp\/v2\/comments?post=9341"}],"version-history":[{"count":1,"href":"https:\/\/bijmrd.com\/index.php\/wp-json\/wp\/v2\/posts\/9341\/revisions"}],"predecessor-version":[{"id":9343,"href":"https:\/\/bijmrd.com\/index.php\/wp-json\/wp\/v2\/posts\/9341\/revisions\/9343"}],"wp:attachment":[{"href":"https:\/\/bijmrd.com\/index.php\/wp-json\/wp\/v2\/media?parent=9341"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/bijmrd.com\/index.php\/wp-json\/wp\/v2\/categories?post=9341"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/bijmrd.com\/index.php\/wp-json\/wp\/v2\/tags?post=9341"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}