Deccan Ulcer
Deccan ulcer refers to the Deccan policy of Aurangazeb which led to his ruin and ultimately the
downfall of the Mughal Empire. Aurangzev adopted an expansionist policy in the Deccan and wanted
to annex the two major Deccani states Bijapur and Golkunda. The other states of the Deccan had
already been annexed to the Mughal Empire. Although Aurangzeb was successful in this endeavor it
proved to be a pyrrhic and far from making the empire stonger, actually weakened it.
Aurangzeb had a single minded focus on conquering the Deccan and this consumed him. He
neglected the administration of his empire in North India as he stayed in the Deccan for 27 years far
away from his capital. Thus there were rebellion by the Jsts and the Satnamis, but he could not quell
the uprisings. Peasant rebellions broke out. The jagirdars became independent and the provinces
broke away.
The annexations of Bijapur and Golkunda on paper completed the conquest of the Deccan. But the
advantage gained did not prove a sufficient counterweight to the drain of resources caused by the
burden of continuous campaign. In fact it brought about the jagirdari crisis as many nobles in the
Deccan had to be made jagirdars but there was not enough fertile land to be given as jagirs. The
revenue that was collected was much less in comparison to the expenditure.
Aurangzeb also felt that he needed to conquer the states of the Deccan as they were helping the
Marathas under Shivaji. However in reality the opposite happened. The Deccani states acted as a
bulwark against Shivaji who was fighting Bijapur and Golkunda intermittenltly. However, with the
destruction of these two states Shivaji and the Marathas now focused on fighting the Mughal state.
Thus this led to more turbulence for the Mughals. Thus it is said that the Deccan ulcer destroyed
Aurangzeb just like the Spanish ulcer destoyed Napoleon.
Title :
The Unfettered Flâneuse: A Psychogeographical Exploration of Feminine Vagrants in Margaret
Atwood's Dystopian Realms
Abstract:
Within Margaret Atwood's dystopian narratives ,characterized by meticulously constructed
totalitarian regimes, lies a fertile terrain for the exploration of the flâneuse—a figure traditionally
associated with male peripatetics, yet reimagined herein as a female protagonist navigating the
urban expanse. This treatise embarks on a psychological and philosophical odyssey into the essence
of the flâneuse within Atwood's literary domain, with a particular emphasis on her seminal opuses
"The Handmaid's Tale" and "Oryx and Crake." It postulates that amidst the constraints of their
dystopian environs, these female wanderers emerge as potent symbols of resistance, hope, and
fortitude.
The paper examines, in introspect, the psychological effects of living in a dystopian society. Atwood's
characters like Offred in "The Handmaid's Tale" are depicted as trapped in a web of alienation and
psychological confinement. Nonetheless, even within the constraints of strict control, the act of
walking takes on a subversive significance. Offred's observations, both corporeal and cerebral, serve
as a conduit for reclaiming agency and preserving a tenuous tether to the world beyond the confines
of Gilead.
Memory, as an enduring companion to the flâneuse, assumes a pivotal role within the dystopian
milieu crafted by Atwood. Offred's introspective reveries metamorphose into a form of mental
flâneuse-ing, wherein she traverses the landscapes of her past freedoms. Similarly, Snowman's
meticulous documentation of the vestiges of a bygone civilization in "Oryx and Crake" becomes an
act of defiance against the enforced amnesia plaguing Craker society.
The gaze, in its multifaceted manifestations, becomes a nuanced instrument of navigation amidst
the omnipresent surveillance apparatus. Offred navigates the vigilant eyes of Gilead by cultivating a
"resistant gaze," utilizing her observations to glean intelligence regarding the clandestine Mayday
resistance movement and forge connections with fellow women. In a parallel narrative, Oryx, in
"Oryx and Crake," assumes the role of a detached observer, scrutinizing the intricacies of Craker
society and unveiling the engineered facades cloaking their existence.
However, the act of observation exacts a toll—a burden of witnessing the harrowing realities
perpetuated by oppressive regimes. Offred, inundated by scenes of suffering, grapples with the
moral imperative of bearing witness. Yet, despite the emotional weight, her observations serve as a
potent critique, laying bare the hypocrisies and atrocities perpetrated by the regime.
In the dystopian landscapes envisioned by Atwood, public spaces serve as arenas of oppression,
tightly controlled and meticulously surveilled. Yet, the flâneuse endeavors to subvert these
constraints through clandestine actions. Offred's astute observations and covert communications
during her walks, along with Snowman's archival endeavors, collectively challenge the regime's
stranglehold over public memory.
The paper culminates in a contemplation of the future trajectory of the flâneuse within Atwood's
dystopian universes. While the prospect of unfettered wanderings in Gilead appears bleak, Offred's
acts of resistance offer a glimmer of hope. In "Oryx and Crake," amidst the uncertainty of the future,
the preservation of memory and critical observation portend the possibility of future generations
rediscovering the art of flâneuse-ing and confronting established power structures.
Embarking on a journey through the complex mental landscape of the flâneuse within Atwood's
dystopian realms, this exposition unravels the intricate interplay of gender dynamics, power
hierarchies, and the nuanced art of observation. It posits that the flâneuse, entrenched within the
constraints of dystopian societies, emerges as a symbol of rebellion—a testament to the unyielding
human spirit craving liberation, enlightenment, and defiance against oppressive regimes.
