General Estimate of Dryden's Essay

Name:Gohil Hetalba C

Paper: 3 Literary Theory and Criticism

M.A 2   Sem 1

Roll: 5

                      Topic: General Estimate of Dryden's Essay

Submitted To,

Dr Dilip Barad

Dept of English

Mk Bhavnagar University

Bhavnagar

General Estimate of Dryden’s Essay 

   The Essay is written in the form of a dialogue concerned to four gentlemen: Eugenius, Crites, Lisideius and Neander. Neander seems to speak for Dryden himself. Eugenius takes the side of the modern English dramatists. Crites defends the ancient. Lesideius defends the French playwrights and attacks the English tendency to mix genres. 

Dryden's definition of drama 

  Dryden's definition of drama really covers a wide range. According to him, drama is a just and lively image of human nature, representing its passions and humours, and the changes of fortune to which it is subject, for the delight and instruction of mankind. He insists on the words 'Just' and 'lively' image of human nature. In support of the words, it must be admitted that material of all topics is drawn from a society. The society is made of mankind or living things, and without them, society is nothing. Dryden implies word 'Image' as an imitation or appearance of human nature must be just. Just means exact or as it is. It means an exact copy of reality. Dryden is different; he does not like only the slavish or exact copy of reality, but it must be lively. John Dryden gives value to labour. If one reveals it as rough as it was, it must be a rough work with a trivial value. If it is represented lively, the work would be lively, and the poet would be valued. John Dryden gives primary importance to delight, and the secondary to instruction. The function of poetry is delight, and to instruct is the function of prose. 

The Ancients versus Modern Playwrights 

      Dryden in his essay, An Essay on Dramatic Poesy, justified the Moderns. The case for the ‘Ancients’ is presented by Crites.He makes us see the achievement of the Ancients and the gratitude of the Moderns to them. The superiority of the Ancients is established by the very fact that the Moderns simply imitate them, and build on the foundations laid by them. The Ancient drama is superior because the Ancients closely observed Nature and faithfully represented her in their work Crites makes special mention of the Unities, of Time, Place, and Action. The Ancients followed these rules and the effect is satisfying and pleasing. 

   Eugenius favors the Moderns and said that moderns have not blindly imitated them. Had they done so, they would have lost the old perfection, and would not achieve any new excellences. Even the Ancients’ observance of the three unities is not perfect. The Ancient critics, like Horace and Aristotle, did not make mention of the Unity of Place. Their plays do not perform one of the functions of drama, which of giving delight as well as instruction. There is no poetic justice in their plays. Ancient themes are equally defective. The proper end of Tragedy is to arouse “admiration and concernment (pity)”. But their themes are lust, cruelty, murder, and bloodshed, which instead of arousing admiration and pity arouse “horror and terror”. 

Lisideius’s view in favour of the Superiority of the French Drama over the English Drama 

    Lisideius speaks in favour of the French. He agrees with Eugenius that in the last generation the English drama was superior. The French do not burden the play with a fat plot. They represent a story which will be one complete action, and everything which is unnecessary is carefully excluded. But the English burden their plays with actions and incidents which have no logical and natural connection with the main action so much so that English play is a mere compilation. Hence the French plays are better written than the English ones. Based on the definition of the play, Neander suggests that English playwrights are best at "the lively imitation of nature" Further; he suggests that English plays are more entertaining and instructive because they offer an element of surprise that the Ancients and the French do not. 

Mixture of Tragedy and Comedy 

    Dryden is more considerate in his attitude towards the mingling of the tragic and the comic elements and emotions in the plays. Mirth does not destroy compassion and thus the serious effect which tragedy aims at is not disturbed by mingling of tragic and comic. Just as the eye can pass from an unpleasant object to a pleasant one, so also the soul can move from the tragic to the comic. And it can do so much more swiftly. 

Rhymed Verse versus Blank Verse Controversy 

    Crites’s attack on Rhyme occurs towards the end of the Essay, Rhyme is unnatural in a play, for a play is in dialogues, and no man without premeditation speaks in rhyme. Drama is a ‘just’ representation of Nature, and rhyme is unnatural, for nobody in Nature expresses himself in rhyme. It is artificial and the art is too apparent, while true art consists in hiding art. Tragedy is a serious play representing nature exalted to its highest pitch; rhyme being the noblest kind of verse is suited to it, and not to comedy. 

Conclusion 

In short, John Dryden in his essay, An Essay on Dramatic Poesy, gives an account of the Neo-classical theory and discusses all the topics in the essay.

Psychological changes in the character of Gulliver

Name:Gohil Hetalba C

Paper: 2  The Neo-Classical Age

M.A 2  Sem 1

Roll: 5

Topic: "Psychological changes in the character of Gulliver"

  

Submitted To,

Dr Dilip Barad

Dept of English

Mk Bhavnagar University

Bhavnagar

Psychological changes in the character of Gulliver

In Lilliput

          Gulliver's possesses moral superiority to the petty and tiny Lilliputians, who show themselves to be a petty, cruel, vengeful, and self-serving race. Morally and politically, Gulliver is their superior.

In Brobdingnag

          In Brobdingnag (Book II), Gulliver is still an ordinary moral man, but the Brobdingnagians are moral giant men. Certainly they are not perfect, but their moral superiority is as great to Gulliver as is their physical size. In his loyalty to England, we see that Gulliver is, indeed, a very proud man and one who accepts the madness and malice of British politics and society as the natural and normal standard. For the first time, we see Gulliver as the hypocrite — he lies to the Brobdingnagian king in order to conceal what is despicable about his native England.

In Houyhnhnms

          In Book IV, Gulliver represents the middle ground between pure reason (as embodied by the Houyhnhnms) and pure animalism (as embodied by the depraved Yahoos), yet Gulliver's pride refuses to allow him to recognize the Yahoo aspects in himself. Therefore, he identifies himself with the Houyhnhnms and, in fact, tries to become one. But the horses are alien to Gulliver; yet Gulliver thinks of the Yahoos as alien and animal. Separating himself from his naturally depraved cousins, the Yahoos, Gulliver also separates himself from the European Yahoos. He is near to madness — because of pride. Gulliver has "reasoned" himself into rejecting his species and his nature: Gulliver is virtually a madman.

          This aspiration to become a horse exposes Gulliver's grave weakness. Gullible and proud, he becomes such a devotee of reason that he cannot accept his fellow humans who are less than totally reasonable. He cannot recognize virtue and charity when they exist. Captain Pedro de Mendez rescues Gulliver and takes him back to Europe, but Gulliver despises him because Mendez doesn't look like a horse. Likewise, when he reaches home, Gulliver hates his family because they look and smell like Yahoos. . His attitudes when he arrives in London make him a source of derision, for Gulliver seeks to change his basic nature by thinking; reason becomes the sole guide of his life.He is still capable of seeing objects and surfaces accurately, but he is incapable of grasping true depths of meaning.

Conclusion

          Gulliver, usually quite sane, is misled when we leave him, but he is like most people. Even dullards, occasionally, become obsessed by something or other for a while before lapsing back into their quiet, workaday selves. Eventually, we can imagine that Gulliver will recover and be his former unexciting, gullible self.

Dialectic of Argumentation in Paradise Lost

Name:Gohil Hetalba C

Paper: 1 The Renaissance Literature

M.A 2   Sem 1

Roll: 5

Topic: Dialectic of Argumentation in Paradise Lost

Submitted To,

Dr Dilip Barad

Dept of English

Mk Bhavnagar University

Bhavnagar

Dialectic of Argumentation in Paradise Lost

  

     In the paradise lost, we find use of rhetoric by different character especially Satan’s argument are very suggestive when he question to god. Even the argumentativeness dialogue of Eve also suggest the feminine inequality at that time.Satan having compassed the earth with meditated guile returns as a mist by night into paradise enters into the serpent sleeping. Adam and eve in the morning go forth to their labours which eve proposes to divide in several places, each labouring apart. Adam consents not, alleging the danger and eve urges to go apart to check her strength. Adam at last yields

Argument between Adam and eve

    

      Adam insist eve should be close to him and they should work together where as eve wants to live an independent life. she wants to live independent without Adam’s supervision.

“Thou where choice/leads thee or where most needs/while I”

“But to delight/he made us and delight to reason joyn’d/for solitude sometimes is best societies.”

     

     Their existence is for the sake of delight and therefore they should not be worried about the duty assign .Adam tries to pursued Eve not part from him. There is threat to their lives from the enemy in the form of Satan .he is likely to attack and take advantage of their separation.

“And what is faith, love, virtue unassaid/alone, without exterior help sustained? Let us not then suspect our happy state/left so imperfect by the maker wise,/as not secure to single or combin’d.one alone/fraile is our happiness.”

    Eve sticks to her decision and remarks that unless her capacity is tasted. it is not capacity if she would not allow herself to move away and prove her strength. If she try and then she tasted .her strength cn be  proved only where it put to taste.

Argument between Satan and eve

   

    Satan is waiting for opportunity to attack. He knows well that Adam and eve together cannot be deceived but eve alone can be his victim. So he approached secretly toward eve

“Fairest resemblance of thy maker faire/thee all things living gaze on”

     

     He uses oil tongue .he tries to eve that he had eaten the apples and obtains the power to speak. Eve is extremely delighted and having glance at the tree. On seeing the tree Eve immediately realizes that it is a tree of knowledge whose fruit is forbidden.

“but of this tree we may not taste nor touch god so commanded/our reason is our low !ye shall not eat”

      Satan uses his logic and flatters her by using the following expression.

“queen of this universe, do not believe .those rigid threats of death ye shall not die”

    

    He cites his example saying that he is alive though he ate the fruit .and she argues that good unknown is us is sure not bad and bay not eating the fruit god forbids us to be good and wise and such limitations cannot bind us. But after death bind us with after-hands then what profit of the freedom inward?

“Forbids us to be good .forbids us to be wise!

Superior or inferior, who is free?

   

      She wants to be equal to Adam but she also argues that after all who is free? Even Adam is superior to her .he is not freedom choice to eat the fruit

Conclusion

    We find best example that how to argue and how to counter argue through the example of argument between Adam and Eve and Eve and Satan.

Problems and strategies

Name:Gohil Hetalba C 

Paper: 5 Translation Study 

M.A 2 SEM 1 

Roll: 5 

Topic: Problems and strategies 

Submitted To, 

Dr Dilip Barad 

Dept of English 

Mk Bhavnagar University 

Bhavnagar 

Problems and Strategies

    Translation is the interpretation of the meaning of a text in one language (ST) and production in another language of an equivalent text (TT).Translation open a pathway to literature written in alien language. Translation is a bridge that makes the journey into never territories of alien literary-scope possible.

Translation is inherently a difficult activity can face additional problems which make the process even more difficult. There are many problems with the source text like

1) Changes made to the text during the translation process

2) Incomplete text

3) Misspelled or misprinted text

4) Illegible or difficult to read text

5) Poorly written text

6) Missing references in the text

7) Obvious inaccuracies in the ST

* Language Problems

1) Dialectic terms and neologisms

2) Unexplained acronyms and abbreviations

3) Obscure jargon

4) Obscure idioms

5) Slang

6) Stylistic differences

For example,

When describing an accident, English speakers often assign an agent who carries out the action (“Julia broke the glass”). On the other hand, in Spanish and Japanese, speakers would likely say “the glass broke.”

7) Difference in punctuation convention

"me tumhare drawing room me nahi hu
to kya?
Aur bahut kuch hai tumhare drawing room me./"
So what,

If I am not in your drawing (living) room.



There are lots of things

In your drawing room.



Here, we can clearly see differences in punctuation marks.



*Other

*Rhymes, Puns and Poetics meters

વીતેલી પળોને ફરી માણવાને વસંતોને નાહક વગોવ્યા કરું છું
બરફના પહાડો સમી જિંદગીમાં
સ્વયં ઓગળું છું ને ચાલ્યા કરું છું
ભર્યુંભાદર્યું ઘર ને હું તો અજાણ્યો
અજબ છે તમાશો: નિહાળ્યા કરું છુ
(In remembrance of past I am blaming spring without intention)


(Life is like snowy-mountain and I am melting myself and walking just like)

(In my own house full of own people I am feeling lonely and observing it like stranger)



* Highly specific cultural references

* Humors

A K Singh opinion

“Translation is a cross cultural event and the translator has to format his translation theories to translate the source text into the target culture”

*Strategies

1) DELETION

While attempting translation, a translator comes across a number of words that are untranstable in the target language .If such words do not carry much important in the ST and if TT can retain the same message then it is better to omit

2) Substitution

When exact equivalent word is not available in the TT the translator may opt for the word nearest in meaning to the word of the ST

3) Retention and addition

In the absence of the exact equivalent in the TL such words can be retain as they are and translator may offer an explanation in the footnote or gloss them.

A K SIGHS opinions that

“He (TRANSLATOR) has to be an extremely creative person with keen senses honed up so that he can use these procedures judiciously and make up for the operational loss”

Conclusion

It is better to have a pool of translator and language experts as no individual except a few gifted one can be a complete translator.

Sri Aurobindo's views on Rebuilding of Nation

Name: Gohil Hetalba C

Paper: 4 Indian Writing in English

M.A 2 SEM 1

Roll: 5

Topic: "Sri Aurobindo's views on Rebuilding of Nation "

Submitted To,

Dr Dilip Barad

Dept of English

Mk Bhavnagar University

Bhavnagar

Kshatriya Spirit

The Kshatriya of old must again take his rightful position in our social polity to discharge the first and foremost duty of defending its interests. The brain is impotent without the right arm of strength.

          What India needs especially at this moment is the aggressive virtues, the spirit of soaring idealism, bold creation, fearless resistance, courageous attack; of the passive tamasic spirit of inertia we have already too much. We need to cultivate another training and temperament, another habit of mind

 Yoga

 Individually, that is yoga; And how do we cultivate that other training and temperament? We can cultivate it on the individual or on the collective level. it means opening ourselves to a wider consciousness and a greater power; it means allowing them to fashion anew our hardly human nature.

Youth

Our call is to young India. It is the young who must be the builders of the new world—not those who accept the competitive individualism, the capitalism or the materialistic communism of the West as India's future ideal, not those who are enslaved to old religious formulas and cannot believe in the acceptance and transformation of life by the spirit, but all who are free in mind and heart to accept a completer truth and labor for a greater ideal.

                         “IF AGE BUT COULD

                  AND IF YOUTH  BUT  KNEW”

 Mingling of Past and Present

 It is education by which starting with the past and making full use of the present builds up a great nation. Whoever wishes to cut off the nation from its past is no friend of our national growth. Whoever fails to take advantage of the present is losing us the battle of life. We must therefore save for India that entire she has stored up of knowledge, character and noble thought in her immemorial past. We must acquire for her the best knowledge that Europe can give her and assimilate it to her own peculiar type of national temperament. We must introduce the best methods of teaching humanity has developed, whether modern or ancient. And all these we must harmonies into a system which will be impregnated with the spirit of self-reliance so as to build up men and not machines.

A German or French or English child will be taught something of Homer’s Iliad and Odyssey, because they are regarded as the root of European culture.But Indian epics, a hundred times richer and vaster in human experience, a thousand times more present in the Indian consciousness, will not be taught to an Indian child. Not to speak of other important texts such as the beautiful Tamil epics, Shilappadikaram and Manimekhalai. Even the Panchatantra and countless other highly educational collections of Indian stories—even folk stories—are ruled out.

The result is that young Indians are increasingly deprived from their rightful heritage, cut off from their deeper roots.

 It would be a tragic irony of fate if India were to throw away her spiritual heritage at the very moment when in the rest of the world there is more and more a turning towards her for spiritual help and a saving Light. No doubt we will win through, but we must not disguise from ourselves the fact that after these long years of subjection and its cramping and impairing effects a great inner as well as outer liberation and change, a vast inner and outer progress is needed if we are to fulfil India's true destiny.

Conclusion

          Indeed the harmony of the ancient culture was built up both of spirituality, philosophy, science, art and intellectual creation .It was never one-sided one as her western rulers wrongly supposed.

Derrida and Deconstruction

Paper no:E-c-203

Topic: Derrida and Deconstruction

Name: Gohil Hetalba

Roll No :5

Class:M.A,Sem-2

Submitted To:

Dr.Dilip Barad

Department of English

Bhavnagar University

Bhavnagar.

    Jacques Derrida was an Algerian-born French philosopher, known as the founder of deconstruction. His voluminous work has had a profound impact upon literary theory and continental philosophy. His best known work is Of Grammatology. Distancing himself from the various philosophical movements and traditions that preceded him on the French intellectual scene (phenomenology, existentialism, and structuralism); in the mid 1960s he developed a strategy called deconstruction. 

    Derrida was one of the most widely revered and widely  reviled thinkers of the mid-to-late twentieth Century

Deconstruction:
     Deconstruction is a school of philosophy and literary criticism forged in the writings of the French philosopher Jacques Derrida. Deconstruction can perhaps best be described as a theory of reading which aims to undermine the logic of opposition within Texts. For Derrida this requires a scrutiny of the essential distinctions and conceptual orderings which have been constructed by the dominant tradition of Western philosophy

Differance

    Differance is a French word coined by the French philosopher and deconstructionist, Jacques Derrida. The word is a play on several other words that illustrate Derrida’s meaning. The concept of differance is a complex theory that tries to illuminate the way words are used and how their specific meaning is derived. Derrida called difference a "neographism," meaning a term that is neither a word nor a concept and is used to describe a literary idea.

   In his theory of deconstruction, Derrida claimed that because each person has different moods, backgrounds, and ways of experiencing things, a word or choice of words will not conjure up the same idea to every person.

‘’….in language there are only differences without positive terms’’
This idea leads him the two key concepts 1) Sign 2) Structure.

Logocentricism and Phonocentricism

     To speak a little bit of Derrida, it might be said that like the logocentrics of old we anal-retentive, logo-phallo-centric philosophers privilege logos – that is, meaning, reason, spirit and we take speech to be prior, in the order of signification, to writing. And by privileging speech over writing, we privilege presence over absence. We hanker after transcendental signified -- signified that transcend all signifiers, meanings that transcends all signs.

  The spoken word to be somehow prior to the written word, we do all that nasty stuff. Studying texts, even the texts of the canon with its oppressive metaphysics of presence, allows us to recognize and acknowledge what is absent.

Metaphysics of Presence

   Derrida borrows this phrase “Metaphysics of Presence” from heideggar.By logos or presence, derrida signifies “ultimate referent” a self-certifying and self-sufficient ground or foundation available to us totally outside the play of language itself that serves to be a “center” to guarantee the structure of a linguistic system.

For instance,

Raft

Boat

Ship

Ocean liner

Its relationship to the other words (a boat is bigger than a raft but smaller than a ship) Derrida focuses on the center of it and then tries to deconstruct that center.

Decentring the center

   According to derrida, the center also closes off the play which it opens up. As center it is the point at which the substitution of contents, elements or terms is no longer possible.Futher says that center is paradoxically “within the structure and outside it” or even “the center is not the center”

  To sum-up, the innate to the theory of meridian and deconstruction are disturbing, provocating and challenging.

Art of Characterization in Oliver Twist

Paper no:E-C-204

Topic:  Art of Characterization in Oliver Twist

Name: Gohil Hetalba

Roll No :5

Class:M.A,Sem-2

Submitted To:

Dr Dilip Barad

Department of English

Bhavnagar University

Bhavnagar

       

Oliver Twist was enormously influential in bringing to light the atrocious treatment of paupers and orphans in Dickens's time. The novel is not only a brilliant work of art but also a tremendously important document in social history.

Oliver Twist 

  A Symbolic character: Oliver is the central character of the novel. He is also a link among the three different worlds depicted in the novel-the workhouse, the crime world and the world of the genteel middle class people. Dickens wanted to make him an instrument of exposing the inhumanity and the callousness o0f the workhouse and the underworld. He belongs to no class. Oliver is symbolic of the principle of good. And Oliver being a deprived and out casting child. Monks He is more a mysterious force than a real character. 

Oliver is the hero of the novel. But he’s also a child, and can’t always act for himself. We often find that we know things that he doesn’t, just by virtue of being older and wiser than he is. We don’t always sympathize with him the way we do with protagonists that are older and more worldly. So Oliver’s status as a child protagonist is one element that bears more consideration. 

Mr. Bumble 

The parish beadle; a rat man and a choleric with a great idea of his oratorical powers and his importance. He has a decided propensity for bullying. He derived no inconsiderable pressure from the exercise of petty cruelty and consequently was a coward. Halfway through the book, bumble changes. When he marries Mrs. Corney, he loses authority. She makes all the decisions. 

The Artful Dodger 

   A talented pickpocket, recruiter, Jack Dawkins, as the artful dodger, is a charming rouge. Fagin’s most esteemed pupil. A dirty snub nosed, flat-browed, common-faced boy (short for his age). Dickens makes Dodger look more appealing by describing his outrageous clothes and uninhibited manners. 

Fagin 

   A master criminal, whose specialty is fenang (selling stolen property),. He employs a gang of thieves and is always looking for new recruits. He is a man of considerable intelligence, though corrupted by his self-interest. His conscience bothers him after he is condemned to hang. He does have a wry sense of humor and an uncanny ability to understand people. He is a very old shriveled Jew, whose villainous looking repulsive five was obscured by a quantity of matted red hair and wit. 

Mr. Brownlow 

 A generous man, concerned for other people. A very respectable looking person with a heart large enough for any six ordinary old gentleman of humane disposition. 

Nancy 

Nancy might be the most complicated character of the novel. Despite being a relatively minor character, she has a very important role to play. Nancy Nancy is a drab (prostitute) working for Fagin’s gang. Only two aspects of her nature are given prominence-.She agrees to respect Oliver and bring him back him back to Fagin’s den. Later when she overhears the conspiracy being hatched by Fagin and Monks, She decides to restore Oliver to the genteel world from where she had captured him. She might have been if she had grown up in a different environment

Socio-Psycho analysis in Tara

Paper no:E-C- 202

Topic: Socio-Psycho analysis in Tara

Name: Gohil Hetalba

Roll No :5

Class:M.A,Sem-2

Submitted To:
Dr .Dilip Barad

Department of English

Bhavnagar University

Bhavnagar

  

  “Tara”, is a play by Mahesh Dattani. This play is a family tragedy in which the members of the family are torn apart in pieces ‘Tara’ a tragic play, based on family relationship and gender discrimination that is totally disheveled and shattered because of Siamese twins Chandan and Tara who are to be considered as a scapegoat for Bharti and Mr. Patel, parents of two children.. Why did not she get two legs during the operation? Why did her mother favor the boy? Why did not Bharti favor Tara? These are the crux of the play.

    Sex and gender should be differentiated before going ahead. Sex is a biological term while gender is decided by social gospels and dogmas. Woman should behave like this and that, keep limit in her behavior. The social psychological bonds in ‘Tara’ lie at the zenith “of the discussion and argument. On one hand if we think for a while that all family members are suffering from gender discrimination, naturally, psychology of the characters is to be blamed. In his plays, Dattani takes on what he calls the ‘invisible issues of Indian society’. Now, here, we can observe Dattani’s use of those stereotypical roles of man and woman. This thing also shows the gender perspective of the Indian society.

   These are stereotypical gender roles in own Indian society and Dattani makes full use of them. Another example, in which we can see this Indian Gender perspective. When Tara to Roopa about the conversation between father and son, she says that, 

“The men in the house were deciding on whether they were going to hunting while the women looked after the caves.”

         Now, here, we can see explicitly the Indian Gender Perspective that man’s work for taking care of his family, where as women have to work only in the house. Her work is to look after her house, husband and children. This is her world. She can’t break this rule.

Mr. Patel: “I was just thinking… It may be a good idea for you to come to the office with me.”

         So, here, we can see that these above words of Mr. Patel represent the male-dominance of Indian society. Mr. Patel says to join the office to Chandan, not to Tara.

Bharti’s dialogues are so long that symbolizes those women who cannot justify their argument. They keep speaking. It suggests that women are not to be focused on. Society does not give even little respect and honors to them. Roopa’s language is frequently abusive, satirical and absurd. She stands for society
 Another example in which we can see the disappeared female gender identity. Dan talks with himself, he utters…

“What is Tara?”
         

   These words question where is Tara’s identity? Her disappeared identity shows her helplessness. The responsible thing for this is male-dominant society. She is the victim of the patriarchal society. In a way, Chandan is responsible for that.
    Because during the operation Bharati and her father favored boy and told the doctor to save the boy. This shows the cruel identity of the Indian society.

It indicates Tara is going to be more and more tragic. One will remember that climax of the drama, Bharti is ready to give her own kidney because she loves very much and then Tara’s reply is very much sarcastic and mordant, ironical and so much symbolic that becomes everyone’s sentence,

“Because you love me so much.” 

Does Bharti love her much? Is the question and answer in disguise? Where was her love when she gave birth to conjoined children? This makes Tara mentally broken and conquered. She is so much fragile and natural that is easily affected by emotions

Tara: “That’s okay. I can handle them.”

 Dattani has shown Tara physically challenged, but mentally strong. Mahesh Dattani has presented an analysis of gender identity in an unbelievable way in “Tara

Culture Studies and its Four Goals

Paper no:E-E- 205

Topic: Culture Studies and its Four Goals 

Name: Gohil Hetalba

Roll No :5

Class:M.A,Sem-2

Submitted To:

Dr.Dilip Barad

Department of English

Bhavnagar University

Bhavnagar.

CULTURAL STUDIES AND ITS FOUR GOALS:-
INTRODUCTION: - “CULTURAL STUDIES”


  The word “culture” itself it so difficult to pin down, “cultural studies” is hard to define. Cultural studies “is not so much a discrete approach at all, but rather a set of practices. As Patrick brantinger has pointed out, culturalstudies in not ‘a tightly coherent, unified movement with a fixed agenda.”But a loosely coherent group of tendencies, issues, and question.” 


1. FIRST :- GOAL
“Cultural studies transcends the confine of a particular discipline such as literary criticism or history.
  “practiced in such journal as critical inquiry , representations, and boundary 2 , cultural studies involves scrutinizing the cultural phenomenon of a text – for example Italian opera, a Latino telenovela, the architectural styles of prisons, body piercing and drawing conclusion about the change in textual phenomena over time.
    Cultural studies are not necessarily about literature in the traditional sense or even about “art”. In their introduction to cultural studies , editors Lawrence grossberg,cary nelson , and Paula trencher emphasize that the intellectual promise of cultural studies lies in the attempts to “ cut across diverse social and political interests and address many of the struggles within the current scene.”


- Intellectual works are not limited by their own “borders” as single texts, historical problems or disciplines , and the critic’s own personal connections to what is being analyzed Amy also be described.


- Hendy Giroux and others write in their Dalhousie review manifesto that cultural studies practitioners are “resisting intellectuals” who see what they do as “an emancipator project.” Because it erodes the traditional disciplinary divisions in most institutions of higher education.


- SECOND GOAL:-


“ Cultural studies is political engaged”
cultural critic see themselves as “ oppositional” not only within their own disciplines but to many of the power structures of society at large. They question inequalities within power structures and seek to disover modles for restructuring relationship many dominant and “minority” or “subaltern” discourses. Because meaning and individual subjectivity are culturally constructed , they can thus be reconstructed. Such a notion , taken to a philosophical extreme , denies the autonomy of the individual, whether an actual person or a character in literature , a rebuttal of the traditional humanistic “great man” or “great book” theory, and a relocation's of aesthetics and cultural from the idal realms of taste and sensibility, into the arena of a whole society’s everyday life as it is constructed.


- THIRD GOAL:-
“Cultural studies denies the separation of high and low or elite and popular culture .
Being a “cultured” person used to mean being acquainted with “highbrow” art and intellectual pursuits. Cultural critics today work to transfer the term culture today work to transfer the term culture to include mass culture, whether popular , folk , or urban.


“The practice of every life”
Studying literature as an anthropologist would, as a
Phenomenon of culture, including a culture’s economy,
Rather then determining which the “best” works are
Produced, culture clinics describe what is produced and
How carious productions relate to one another. They aim to
Reveal the political, economic reasons why a certain
Cultural product is move valued at certain times then
Others.


FORTH GOAL:-
“Cultural studies analyze not only the cultural work, but also the means of production. Marxist critics have long recognized the importance of such par literary questions as these: who supports a given artist who publishes his or her books, and how are these books distributed? Who buys books? For those matters, who is literate and who is not? The impact upon reading such technical innovations as cheaper eyeglasses, electric lights, and trains; the book of the month club; and how writers and texts go through fluctuations of popularity and canonical. These studies help up recognize that literature does not occur in a space separate from other concerns of our lives.
      Cultural studies thus join subjectivity – that is, cultural in relation to individual lives- with engagement, a direct approach to attacking social ills.

Different Approaches in Frakenstein.

Paper no:E-C- 201

Topic:  Different Approaches in Frakenstein

Name: Gohil Hetalba

Roll No :5

Class:M.A,Sem-2

Submitted To:
Dr.Dilip Barad.

Department of English

Bhavnagar University

Bhavnagar

Frankenstein

      Frankenstein was written in 1818 by Mary Shelley, wife of p.b Shelley.There is two different approaches which is used in Frankenstein.

1) Moral and Philosophical Approaches.

2) The Formalist Approaches.

Moral and Philosophical Approaches.

 The moral and philosophical approaches is as old as classical Greek and roman critics.

      Frakenstein is akin to some scientists of our own day against whom ethics bring charges that the scientists attempt and achieve development more and they have the ethical clarity to direct their studies. Frakenstein stoked his ambition by the self-0deluding thought that he would discover the secret of life and create a living being that in turn would be the flower of humanity.

      He does not think through the full range of possibilities, including the possibility of disastrous failure in the midst of his seeming success.

     There is another moral dimension in Mary Shelley’s novel besides the creation of another life; momentonsas being enters the world and society. There the moral dimensions extend to responsibility for one’s own children.Frakensteinis moral culpable for his failure to accept responsibility. Frakenstein refuses to accept responsibility for his progeny and to society for the horrors he himself has inflicted upon it.

        While pursuing the moster we can see absence of love and a person has totally lost his moral compass and if Frankenstein challenges a moral universe, frakenstein, the 19th ceatury novel challenges the 21^st century.

The Formalist Approach.

      The outward form ,almost the visual shape of Mary Shelley’s Frakenstein.Infact ,the entire book is placed within a frame of the letters,so that the frame itself becomes a formalist deviceand especially important at the beginning and the end of the book,with the extensive letters of captain Walton to his sister.We occasionally have a box-within a box effect which in turn introduce a possibility of a shifting  point of view.For a formalist reader,this entails attension to who the speaker/writer is and which perception change accordingly,if any.

     The closer reader of the novel  must  soon perceive two opposing ideas and concept which forms the major theme of the novel.The theme of hope and despair,Frakenstein and walton’s dreams for great scientific successes  but both fails stupendously while sacrificing the lives of other(Frakenstein) or endangering lives(Walton)

The contrast between hubris hopes and human despair form a major theme of the novel.