Olivier Harenda
Olivier Harenda is a PhD graduate from the Nicolaus Copernicus University. In 2022, he defended his PhD thesis with honors. He focuses in his research on the issues of colonialism and (post)colonial literature. His master thesis concentrated on the representations of the Partition of India in historical discourses, literature, and film. His other interests include Gothic fiction, archetypes, Asian cinema, literary adaptation, media and intertextuality.
Awards and Achievements
November 2016
Department of English (NCU) Award for the Best MA Thesis in the field of literature
December 2016
A distinction in the Competition for the Best MA thesis written in 2015/2016 at the Faculty of Languages, NCU in Toruń, Poland
December 2016
Title of the Best Graduate Student 2015/2016 at the Faculty of Languages, NCU in Toruń, Poland
Memberships in Organizations
Faculty of Languages' Representative at NCU's Ph.D. Students Council (2018/2019 term)
Member of the Association for the History of Anglo-Saxon Countries (2015-2018)
Awards and Achievements
November 2016
Department of English (NCU) Award for the Best MA Thesis in the field of literature
December 2016
A distinction in the Competition for the Best MA thesis written in 2015/2016 at the Faculty of Languages, NCU in Toruń, Poland
December 2016
Title of the Best Graduate Student 2015/2016 at the Faculty of Languages, NCU in Toruń, Poland
Memberships in Organizations
Faculty of Languages' Representative at NCU's Ph.D. Students Council (2018/2019 term)
Member of the Association for the History of Anglo-Saxon Countries (2015-2018)
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Papers by Olivier Harenda
her affection to the Other that she does not notice how much the two of them differ. In consequence, the distinction between who is the real Coloniser and the real Colonised becomes ambiguous.
Author's addendum: The last sentence of the first paragraph on page 107 refers to Douglas Rivers.
Author's addendum: The original title of the article was "Carving up the Subcontinent: The Analysis of Depictions of the Partition of India in Scorching Winds (1973) and Earth (1998)"
The article examines the way in which the historical event of the Partition of India was reflected in cinema on the basis of selected motion pictures. In order to conduct this analysis, the article firstly provides introductory information about the development of Partition cinema, because the event influenced a wide variety of representations within the cultural domain. Then, the article proceeds to full analysis on the examples of two movies (Scorching Winds (1973) and Earth (1998)) which place the Partition as the center focus of their plotlines. The methodological approach used for the purposes of this analysis is that of postcolonial criticism. The article aims to provide an evaluation of how the event was represented in the cinematic sphere and thus how it is relevant in the contemporary contexts.
What the Body Remembers (1999). In order to conduct this analysis, the article concentrates first on a brief description of the
Partition event and its reflections within the canon of Indian literature. Then, introductory information about the writer and the novel is provided. Finally, the article focuses on the representation of the event by the writer on the basis of selected passages from her work, analysing the Partition from a woman’s perspective.
Conference Reports by Olivier Harenda
List of Conference Talks by Olivier Harenda
her affection to the Other that she does not notice how much the two of them differ. In consequence, the distinction between who is the real Coloniser and the real Colonised becomes ambiguous.
Author's addendum: The last sentence of the first paragraph on page 107 refers to Douglas Rivers.
Author's addendum: The original title of the article was "Carving up the Subcontinent: The Analysis of Depictions of the Partition of India in Scorching Winds (1973) and Earth (1998)"
The article examines the way in which the historical event of the Partition of India was reflected in cinema on the basis of selected motion pictures. In order to conduct this analysis, the article firstly provides introductory information about the development of Partition cinema, because the event influenced a wide variety of representations within the cultural domain. Then, the article proceeds to full analysis on the examples of two movies (Scorching Winds (1973) and Earth (1998)) which place the Partition as the center focus of their plotlines. The methodological approach used for the purposes of this analysis is that of postcolonial criticism. The article aims to provide an evaluation of how the event was represented in the cinematic sphere and thus how it is relevant in the contemporary contexts.
What the Body Remembers (1999). In order to conduct this analysis, the article concentrates first on a brief description of the
Partition event and its reflections within the canon of Indian literature. Then, introductory information about the writer and the novel is provided. Finally, the article focuses on the representation of the event by the writer on the basis of selected passages from her work, analysing the Partition from a woman’s perspective.
Attachment: Conference Programme.
Translated transcript of the talk (29.11.2018):
Interviewer: What is the topic of your conference paper at this event?
O.H.: [I am going to talk about Japanese medical dramas. We could say that] Japanese dramas present the medical profession in a very unpredictable way. Especially in view of the context of presuppositions: from the Oriental perspective, Japanese dramas are perceived as full of stereotypes. My intention, however, is to show that this is not the case. In fact, our own Polish TV productions (like Na Dobre i Na Złe, Lekarze, etc.) are filled with stereotypical motifs. Japanese dramas actually present doctors as heroes and even elevate their profession to the position of people who are really saving human lives.
The Conference Organizers (Life and Freedom 2017) wish to thank the Indira Gandhi Memorial Trust for their support and acknowledgement of the exhibition devoted to Mrs Gandhi's Centenary. Pictures shared by the courtesy of IGMT are found in the following panels: Childhood, International Activity (2), Family.
The rest of the images was used from public domain sources and with respect to the Copyright and Related Rights Act (February 4, 1994).
Exhibition Project by Olivier Harenda, 2017.
Project Compilation, Printing and Framing: [Address of the Manufacturer allowed to disclose at the event only]
Copyrights 2018: Olivier Harenda
Please contact the author if you want to use the presentation for educational purposes or others. It would be greatly appreciated.