PAPER 8 - ASSIGNMENT

Paper no -8 Cultural studies

Assignment Topic  - New histiricism

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       Name  :  Parmar Darshna V.
          Roll No  :  5
             Year  : 2017 - 2019
                M. A.   :  Sem - 2
                   Paper No :  8 Cultural studies
     Emil Id :           parmardarshana1997@gmail.com
     Enrollment  No :  2069108420180039
         Topic  :  New Historicism
            Submitted by  : Smt. S. B. Gardi.
                Department of English
                    M. K. Bhavnagar  University




                       New  Historicism
       
                     
                The term ‘new historicism’ was coined by the American critic Stephen Greenblatt whose book renaissance self-fashioning: from more to Shakespeare (1980) is usually regarded as its beginning.

A simple definition of the new historicism is that,
           “It is a method based on the parallel reading of literary and non-literary texts, usually of the same historical period”.
Q
        The term ‘new historicism’ was coined by the American critic Stephen greenbelts whose book renaissance self fashioning from more to Shakespeare (1980) is usually regarded as its beginning.

       Meaning and Definition of New Historicism

                A simple definition of the New Historicism is that it is a method based on the parallel reading of literary and non- literary texts, usually of the same historical period. That is to say New Historicism refuses to privilege the literary texts; instead of the literary ‘fore ground’ and a historical ‘background’ it envisages and practices a mode of a study in which literary and non- literary texts are given equal, weight and constantly inform or interrogate echo there. Petre Berry, “Beginning Theory- An introduction to Literary and cultural Studies.”

     New and old historicism - Some  differences  :-
   
   New  historicism
                   
v History has very affects on people; it is subjective to people’s feeling and emotions, making it blased.

v New historicism follows the principal that text is “culture in action” and is constantly moulded and shaped by the culture that surrounds it.

v New historicism looks at history as a fluctuating interpretive aspect rather than a strong component of literature.

v  Parallel reading.

v  A historicist movement. Interested in history as represented and      recorded in written documents – history as text.

v The aim is not to represent the past as it really was, but to present a new reality by re – situating it.

·       Old historicism:
     
v  Before the 1980s, people believed that historical information taken from novels was completely accurate, without any bias.

v  Old historicists believe that if they look into the historical context of the book, they will achieve a better understanding of the text.

v  Old historicism relies on the historical setting to interpret the novel.
v  Hierarchical

v  A historical movement: creates a historical framework in which to place the text.

v  “The words of the past replace the world of the past.
   

      Advantages and disadvantages
 
            It is founded upon poststructuralist thinking. It presents its data and draws its conclusions. The material itself is often fascinating and wholly distinctive. The political edge of new historicist writing is always sharp, but at the same time it avoids the problems frequently encountered in ‘straight’ Marxist criticism.
New historicism juxtaposes literary material with contemporary non –literary text. They ‘defamiliarise’ the canonical literary text. They focus attention on issues of state power and how it is maintained. They make use in doing so of especially Derrida’s notion that every facet of reality is textures as determined by dominant discursive practices.

   
  Example  of Fairies Queen
 
       In Spenser’s fairies Queen, Elizabeth can project herself as the Queen whose virginity has mystical and magical potency because such images are given currency in court masques, in comedies & pastoral epic poetry. The figure oh Elizabeth stimulates the production and promotion of such work and imagery. Thus, history is textualised and texts are historicized.

      New historicism and Foucault

             New Historicism is always anti-establishment, on the side of liberal ideas and personal freedoms.
* Believe in Michel Foucault’s idea of an all-seeing—panoptic—surveillance State.
* The panoptic state exerts power through discursive practices, circulating ideology through the body-politic.
* The State is seen as a monolithic structure and change is nearly impossib

  What new historicists do ?
     

   Example of New historicism

      When we studying Shakespeare's Merchant of Venice, one always comes to the question of whether the play shows Shakespeare to be anti-Semitic. The New Historicist recognizes that this isn't a simple yes-or-no answer that can be teased out by studying the text. This work must be judged in the context in which it was written; in turn, cultural history can be revealed by studying the work — especially, say New Historicists, by studying the use and dispersion of power and the marginalization of social classes within the work. Studying the history reveals more about the text; studying the text reveals more about the history.

  The New Historicist also acknowledges that his examination of literature is "tainted" by his own culture and environment. The very fact that we ask whether Shakespeare was anti-Semitic — a question that wouldn't have been considered important a century ago — reveals how our study of Shakespeare is affected by our civilization.

 New Historicism, then, underscores the impermanence of literary criticism. Current literary criticism is affected by and reveals the beliefs of our times in the same way that literature reflects and is reflected by its own historical contexts. New Historicism acknowledges and embraces the idea that, as times changes, so will our understanding.

     New historicism has come into conflict with some of the anti-historical tendencies of postmodernism. New historicism denies the claim that society has entered a "post-modern" or "post-historical" phase and allegedly ignited the "culture wars" of the 1980s.The main points of this argument are that new historicism, unlike post-modernism, acknowledges that almost all historic views, accounts, and facts they use contain biases which derive from the position of that view. As Carl Rapp states: "[The new historicists] often appear to be saying, 'We are the only ones who are willing to admit that all knowledge is contaminated, including even our own.’
                       Some complaints sometimes made about New Historicism are that in seems to lessen literature to a footnote of history. It has also been said that it does not pay attention to the antiquate details involved with analyzing literature. New Historicism simply states historical issues that literature may make connections with without explain why it has done this, lacking in-depth knowledge to literature and its structures.

ASSIGNMENT New criticism, modernism and Post modernism

 
Literary Theory  and Criticism -2

Assignment Topic -  New criticism, modernism and Post modernism

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      Name : Parmar Darshna V.
    Roll No :  5
        Year  : 2017-2019
       M. A.  :Sem  - 2
Paper No  :  7  Literary Theory and
                      criticism and  Indian Poetics 2     Email ID :                                         Parmardarshana1997@gmail.com
      Enrollment No  :  2069108420180039
  Topic  :  New criticism,  Modernism ,
                       Post modernism
                 Submitted by  : Any. S. B. Gardi
                        Department of English
                              M. K. Bhavnagar
                                  University

   New criticism
          

     What  is new  criticism  ?     

Ans....       The new criticism is a type of formalist literary criticism that reached its height during the 1940s and 1950 and that received its name from John Crowe Rans Son’s 1941 book The New Criticism. New critics treat a work of literature as if it were a self-contained, self-referential object. Rather than basing their interpretations of a text on the reader’s response, the author’s stated intensions or parallels between the text and historical contexts (such as author’s life). New critics perform a close reading concentrating on the relationship within the text that gives it its own distinctive character or form. New critics emphasize that the structure of a work should not be divorced from meaning viewing the two as constituting a quasi-organic unity. Special attention is paid to repetition, particularly of image or symbols but also of sound affects and rhythms in poetry. New critics especially appreciated the use of literary devices, such a irony to achieve a balance or reconciliation between dissimilar, even confliction elements in a text.

             Because it stressed close textual analysis and viewing the text as a carefully crafted, orderly object containing formal observable patterns, the new criticism has sometimes been called an “objective” approach to literature. New critics are more likely than certain other critics to believe and say that the meaning of a text can be known objectively. For instance, reader response either of each reader’s experience or of the norms of that governs or particular interpretive community and deconstructors argue that texts mean opposite things at the same time.

       We can divide New criticism’s theory in three parts according to the three theories on it by three critics, the criticism of T. S. Eliot, Theories of I. A. Richards and Practice of William Empson. These are first critics of seminal. Critics of Second seminal are Cleanth Brooks, R. P. Blackmun, Robert, Penn Warren and W. K. Wimsat.

·  Richards’s Practical Criticism: a study of Literary Judgment (1929)

·   William Empson – seven types of Ambiguity

·  T. S. Eliot – “Traditional and the Individual Talent” and “Hamlet and His Problems”


·   Cleanth Brooks’ the Well-Wrought Um. (1947)

·   Michael Schmidt and Grevel Lindop’s British poetry since 1960 (1972)

·  Calvin Bendient’s Eight Contemporary Poets (1974)

·   P. R. King’s Nine Contemporary Poets : a Critical Introduction (1979)

·   Christopher Rick’s The force of poetry (1987)

         How a new criticism sees a text – A) as a complete work of art B) its example to validate our interpretation and C) source to analyze and get true meaning. The only way to know if a given author’s intention or a given reader’s interpretation which actually represent the true meaning is by carefully examine and close reading. T. S. Eliot wants his readers to have a wide reading for any text. For new criticism the complexity of a text is created by the multiple and often conflicting meaning in it. These meanings are a product primarily of four kinds of linguistic devices:



1.   Parasox

2.    Ambiguity

3.    Irony

4.    Tension

New Criticism sets out to illuminate the organic unity of the overall structure and verbal meaning of a text. The words ‘Tention’, ‘irony’ and ‘paradox’ occure often in New Criticism. The degree to which a work of art achieve a “reconciliation of diverge impulses” or “an equilibrium of opposed farces” is a measure of its literacy value.

When contrasted with other critical theoretical positions, New Criticism may be considered ideologically problematic, theoretically unformulated, and unsystematic. But it none the less occupies a significant place in the development of modern literacy theory and English studies. The New Criticism mounted the first serious challenge to reductionist and impressionistic opproaches to literature, and with its emphasis on rigour and objectivity, it initiated the professionalization and formalization of literary criticism as a discipline. The New Criticism valued the texture of languages and paid scrupulous alternation to the structures within that languages functioned

   Modernism :

             What is modernism ? 
         
   

 Modernism is an artistic and cultural movement that flourished in the first decades of the 20 century. About the time of WWI.

               Modernism was very important in Europe because " founded " postmodernism movement. Which developed in the second half of the 20  century.

Modernism is the term that should be thoroughly understood in order to understand the 20th century culture. Modernism is the name given to the movement which dominated the arts and culture of the first half of the 20th century. The movement of modernism in arts brought down much of the structure of early 20th century practice in music painting literature and architecture. Modernism (1890 – 1910) poses Vienna as centre but it spread in France, Germany, Italy and Britain too. This movement in art Cultism, Dadaism, Surrealism and Futurism. This movement is still felt today. Without understanding  modernism how can the culture be understood ? Traditional realism was rejected in favour of experimental farms of different kinds. High Modernism existed from 1910 to 1930. Some of the Modernisms are T.S. Eliot, James Joyce, Ezra Pound, Wyndham Lewis, Virginia Woolf, Wallace Stevens, Gertrude Stein, Marcel Proust, Franz Kafka. The ‘Modernism as a term is widely used to identity new and distinctive features in the subjects, forms, concepts and styles of literature and the other arts in the early decades of the twentieth century bus especially after words war I (1914-1918). The characteristics of Modernism differs from one user to another user but most of the critics agree  that Modernism includes a deliberate and radical break with some of the traditional bases not only of Western art, but of western culture in general some thinks procured Modernism. They questioned the certainties that had supported traditional moods of social organization religion and morality and also traditional ways of conceiving the human self. Thinkness such as friedrich. Nietzsech (1844-1900) Karl Marx, Freud, J.G. Graze, whose twelve – volume. ‘The Golden bough (1890-1915) stressed the correspondence between central Christian and Pagan, often barbaric maths and rituals.

Some literary figures locate Modernism revolt to 1890s but high Modernism, marked with rapidity of change, came after the first would war. After the first world, around Igzz James Joyce’s ‘Ulysses’, Eliot’s ‘The Wade Land’ and  Woolf’s ‘Jacob’s Room’ are experimented wares that came out.

A prominent feature of Modernism is the phenomenon called avant-garde (advanced gurd), that is a small, self conscious group of artists and authors who dellberately undertake in Ezra Pound’s phrase, to “make it new”.

Those writers broke all rules and regulation and peep into forbidden subject matters. They shocked the sensibilities of the conventional readers and to challenge the norms and pieties of the bourgeois culture. Peater Burger’s ‘Theory of the Anant – Grade’ (1984) is a neo – marxist analysis both of Modernism and of its distinctive cultural formation, the went garde.

Modernism was an aesthetic movement brought about by both a radical shift in consciousness and a violent transformation of social conditions in the late 19th and early 20th centuries. The change in society was abrupt and violent. The capitalists became powerful. Political and economical power went in the hands of capitalists and land owners were devoid of the power which they owed previously, religion had control over people of the society and authorities. This was displaced by enlightenment humanism. People become fully conscious and rational. The immediate effects of the industrial revolution had been a process of urbanization whereby cottage industries and rural areas were swallowed up by the new, encroaching cities and the sense of belonging to a community of sharing a common social bond, was strained as individuals were shocked into anonymity, swallowed by the masses swarming though the cities. The Modern condition is represented by the term ‘alienation’. There is a hazard of noise. It’s the age of Informative Study. The sense of purpose and continuity that had previously held was ruined and fragmented. Modernism was a an artistic attempt to capture this sense of fragmentation and alienation.

The new ‘realism’ was one of experiment and immovation, genre distinctions were collapsed and challaged as poetry started becoming prosaic, and prose become poetic. Novelists such as Virginia Woolf, James Joyce and poets like Ezra Pound and T.S. Eliot revealed that the franmentary nature of modernity is always painful.

Modernism is a literature of mourning, forever, lamenting the tragic loss of the golden age of unity and belonging. One optimist thing is that truth and beauty are still visible in the art of Modernism, but only through the shifting surfaces of the shattered fragments shored against our rain.

Modernism was the art form which captured the experience of Modernity, During the twentieth century, however, the expressive theory of authorship came under sustained attach in the Modernist insistence on the so called impersonality of the poet, Pound undaaneted, he went on to become the unofficial ringleader of literacy modernism in London in the years 1908 – 1920 and eventually achieved a huge influence over modern poetic taste.

The phase of modern literature that we call ‘Modernism’ was marked not only with radical creative experiment but also by economics tic critical declaration and proscriptions issued by poets and novelist : that Milton was a wrathless poet (Pound) that Hamlet was an incoherent play (Eliot), that Arnold Bennet was not interested in people (Woolf) and that Hawtherone and Tolstoy were leans who evaded the aimer truths of their own works (D.H. Lawrence). The initial delight of Modernism lay party in its impatient demand for critical discrimination between the culturally living and the culturally, dead and so in its determination to cast aside cautions academic literary, history in favour of rewriting ‘tradition’ on its own terms. New liking developed for fragmented forms, discontinuous narrative  and random – seeming collages of disparate material. This shift leads to produce a literature which seems dedicated to experimentation and innovation. Modernism never regained it momentum when it returned in the 1960s.

   Post modernism 

       Introduction 

        “Postmodernism” is a term usually applied to the period in literature  and  literary theory since the 1960s, though some regard postmodernism as the prevailing intellectual mood since World War-2 ended in 1945. Numerous Philosophers, critics, and belletristic writers can be seen as precursors or early representatives of the cultural and aesthetic approach that would come to be called postmodernism, among them Martin Heidegger, Walter Benjamin, Bertolt Bretch, Jorge Luis Borges, and Roland Barthes. Postmodernism is characterized by a strikingly radical skepticism toward all aspects of western culture, the impetus for which many practitioners of postmodern theory they trace back to the writings of the nineteenth century, philosopher Frederic Nietzsche. Nietzsche’s spiritual descendants seek, in so many words, a new kind of meaning independent of the prevailing cultural “myth” of objective truth.

Defining Terms:


                                 What exactly is meant by the label “Modernism” and how does Postmodernism differ from it? In the English speaking world, modernism has a very specific meaning among most literature scholars, referring not to the “Modern Age” since the Enlightenment, or to “Modern” in the sense of contemporary, but to the period after World War-1, When T.S.Eliot, James Joyes, W.B.Yeats, Ezra Pound, and Gertrude Stein were in their heyday. Postmodernism offers no suggestion of anything like a comprehensive substitute world- view. Postmodernism means to make a clean break with the past in the sense that the past and its way of looking at the world become the subject of satirical, often sarcastic “play” with historical figures texts, and ideologies. Postmodernism represents a final disillusion with western cultural preconceptions and indulges in a merciless “rethinking of history, pedagogy, and aesthetics in literature, the visual arts, and architecture”. By the same token, postmodernism in the days after the end of the cold war (1945-1989), is no closer to offering direction but asserts only its prerogative to question infinitely and to subvert. 

          The tern ‘postmodernism’ is often applied to the literature and art after world war II (1939-1945). Postmodernism involves counter traditional experiments of modernism post modernism in literature and the arts has parallels with the movement known as post structuralism in linguistic and literary theory’s post structuralisms tries to  find meaningfulness.

For postmodernism, the loss of unity is not something to be mourned but something to be celebrated. It is an announcement of freedom. The tragic becomes farcical, as the search for truth has been discarded with illusions. Thus post modernism’s aesthetic is not only fraclured and fragmented, it is flat. Opposing the surface model of modernism, post modernism’s art denies the possibility of depth, post modernism art seeks to deconstruct the previously held dichotomy between art and pop culture. Post modernism thrives on surplus and promiscus excess. It has no controlling, linear narrative, no predetermined goal or point of clause (tools) and its refusal of internal structural meaning legitimate all possible and potential meanings. Post modernism is anti art, it as a direct challenge to the authority of the expert, and claims to liberate creativity from the predetermined, central discourses of society. Just as modernism was the art form which captured the expeience of modernity, so post modernism is the art form that captural epoch which reflects the triumph of capitalism. Post modernism provided the best references Dick Hebidge, Jurgen Habermas, Terry Eagle ton and Christopher Norris have rallied and railed against the turn towards post modernism. It is a positive light. For Eagleton, post modernism is  a state of post radicalism.
       
          For French intellectuals 1968 is a crucial year and it is impossible to understand the pessimism, defeatism, and quiestism inherent in post modernism without at least some understanding of this historical moment. Post modernism is in many ways, part of the harvest sown in the 1960s. The signs of betrayal and stings of disillusionment have never really headed. But it, in the eyes of Lyotard and his contemporaries, 68 revealed itself as a failure of the revolutionary aims, it was also a triumph for cultural leftism. It the big picture is unchangeable, if the centre is unassailable, then localized strategies of resistance become the only pragmatic option.
       
          Bauman asserts that the move from modernism is post modernism occurred when modernism’s doubt that the evidence is as yet incomplete, that ignorance has not yet been toppled, gave way to the second, always present, always repressed doubt that opened the way to post modernism.

          The problem with post modernism no matter how you approach it, is that both its radical potential and its structural in ability to achieve that potential are undeniable. As a philosophy, it leads to title more than a sterile skepticism. Post modernism offers space for the unlimited potentialities and marginal position to be explored. To achieve anything from the post modernism experience, however the cycle should be broken to act. Post modernism plays an importance role in building up the contradictions in the master narratives and power discourses. It offers a moment of tension a temporary, provisional and always precarious middle ground that is used to see things in a different way. In the world of instant transmission and information overload, in a world where the speed of life has been accelerated, and the attention span compressed post modernism provides a welcome brake example an opportunity to decelerate and to freeze the time to fulfill the imitative and find the critical moment.
     







       

PAPER - 6 ASSIGNMENT

The Victorian literature

 Study (Analysis ) of Middle March

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                  Name  : Parmar Darshna V.
                        Roll No : 5
                 Year :  2017-2019
                    M. A. : Sem - 2
Paper Name :  6 Victorian literature         
Email ID : parmardarshana1997@gmail.com
  Enrollment No : 20691084201800
      Topic : Study (analysis )of Middle March
                    Submitted by : Smt. S. B.. Gardi
                          Department of English
                               M. K. Bhavnagar                                                        University
         
                                       

                                   
  Middle March
                                                           
 George Eliot
                                                       
Author, journalist (1819-1880)

 Born -In South farm, Arbury Hall, Numeaton ,warwickshire,
The United Kingdom  November 22, 1819

 Died  - December 22 , 1880
 About this author :-
                   George Eliot  - 1819 -1880

                  George Eliot was the English novelist, journalist, translator and one of the leading writers of the Victorian era. George Eliot was also known by her pen name "Mary Anne Evans ", she was born on 22, November 1819 and died on 22, December 1880. Her father, Robert Evans, was an overseer at the Arbury Hall estate, and Eliot kept house for him after her mother died in 1836. Her father remarried and Mary Ann had a good relationship with her two stepbrothers.

     Her first novel “Adam Bede “and was a great success. She used a male pen name to ensure her works were taken seriously in an era when female authors were usually associated with romantic novels.
The novels of the first period deal with life in the countryside in which she was brought up; the society is depicted as a strong and stable one. Eliot called them "natural history" or "history incarnate" and not fiction.

Introduction  :-.
   
        Middlemarch” is written by George Eliot who was born on November 22, 1819. Eliot chose to write her novels under a male pseudonym Mary Anne Evans. This is a highly unusual novel. Though it is primarily a Victorian novel it has many characteristics typical to modern novels. The subtitle of this novel is “A study of provincial life.” This means the Middlemarch represents the lives of ordinary people, not the grand adventures of princes and kings. Middlemarch represents the spirit of nineteenth century England through the unknown, historically unremarkable common people.
       
   His  major works :-

-  Adam Bede (1859),
-  The Mill on the Floss (1860),
-  Silas Marner (1861),
-  Middlemarch (1871–72),
-  Daniel Deronda(1876).
 
'  A critical study (Analysis)  of Middle March '        
           

    Middlemarch: A Study of Provincial Life is a novel by George Eliot, the novel is set in the fictitious Midlands town of Middlemarch, thought to be based on Coventry, during the period 1830–32. It has multiple plots with a large cast of characters, and in addition to its distinct though interlocking narratives it pursues a number of underlying themes, including the status of women, the nature of marriage, idealism, self-interest, religion, hypocrisy, political reform, and education. The pace is leisurely, the tone is mildly didactic , and the canvas is very broad.           

      Although it has some comical elements and comically named characters. Middlemarch is a work of realism. Through the voices and opinions of different characters we become aware of various issues of the day: the Great Reform Bill, the beginnings of the railways, the death of King George IV, and the succession of his brother, the Duke of Clarence. We learn something of the state of contemporary medical science. We also encounter the deeply reactionary mindset within a settled community facing the prospect of what to many is unwelcome change.   

        Middlemarch is a novel of epic proportions, but it transforms the notion of an epic. Epics usually narrate the tale of one important hero who experiences grand adventure, and they usually interpret events according to a grand design of fate. Every event has immediate, grand consequences. Kings and dynasties are made and unmade in epic tales. 

        Middlemarch's subtitle is "A Study of Provincial Life." This means that Middlemarch represents the lives of ordinary people, not the grand adventures of princes and kings. Middlemarch represents the spirit of nineteenth-century England through the unknown, historically unremarkable common people. The small community of Middlemarch is thrown into relief against the background of larger social transformations, rather than the other way around.

        England is the process of rapid industrialization. Social mobility is growing rapidly. With the rise of the merchant middle class, one's birth no longer necessarily determines one's social class for life. Chance occurrences can make or break a person's success. Moreover, there is no single coherent religious order. Evangelical Protestants, Catholics, and Anglicans live side by side. As a result, religious conflicts abound in the novel, particularly those centering on the rise of Evangelical Protestantism, a primarily middle-class religion that created heated doctrinal controversy.

    Middlemarch readers will be astonished by the novel's amazingly complex social world. Eliot continually uses the metaphor of a web to describe the town's social relations. She intricately weaves together the disparate life experiences of a large cast of characters. Many characters subscribe to a world-view; others want to find a world-view to organize their lives. The absence of a single, triumphant world-view to organize all life is the basic design of Middlemarch. No one occupies the center of the novel as the most important or influential person. Middlemarch social relations are indeed like a web, but the web has no center. Each individual occupies a point in the web, affecting and affected by the other points. Eliot's admirable effort to represent this web in great detail makes her novel epic in length and scope. Unlike in an epic, however, no single point in the web and no single world-view reign triumphant.

Major  themes of Middle March

        Responsibility

This is a major theme of Fred’s story, and he must become responsible for his finance and his choices. Bothe men must learn how to rely on themselves, not infringe upon others. He also must learn how to become independent in many ways. Bestrode tries to give him money to repent for hiding his existence from his grandmother. He refuses the money because he knows it come through thievery. He worships Dorothea. He doesn’t care for money and loves everything that is beautiful.
·     
The imperfection of Marriage:

Most character in novel “Middlemarch” Marry for love rather than obligation, yet marriage still appears negative and unromantic. Marriage and the pursuit of it are central concerns in Middlemarch. In many novels of the time, Marriage is not considered the ultimate source of happiness. As none of the marriage reach a perfect fairy tale ending. ‘Middlemarch’ offers a clear critique of the usual portrayal of marriage as romantic and unproblematic.
·     
Stubbornness:

In Novel a big issue of character Rosamond is extremely stubborn. The meaning of this sentence is that if things aren’t done her way, she will go behind other people’s backs to do things the way she thinks they should be done. Societal stubbornness is responsible for Lydgate’s failure with his medical practice.
·     
Prejudice:

This theme that Lydgate and Ladislaw can’t seem to beat. People in Middlemarch dislike anyone who is not from Middlemarch or anyone whose reputation seems questionable. Ladislaw and Lydgate are both good people, but it is initial prejudice. Sometimes based on invalid or circumstantial reasons, those mean that they are never liked or accepted in Middlemarch.
·     
Conformity:

An issue that is related to societal expectation but it is somewhat different. People are supposed to conform to certain social ideas and norms. Dorothea is supposed to be a proper wife and then a proper widow, and follow society’s set guidelines about how to fill each position.
·     
Love:

Love keeps people together, or the drift apart. Those who are truly in love like Ladislaw and Dorothea, Mary and Fred are bound together by it. They are very alike in temperament and outlook. Those who lake it like Lydgate and Rosamond, Casaubon and Dorothea are ill-suited to each other in marriage and they are very disappointed by their unions. Will is the grandson of Casaubon’s disinherited aunt Bestrode tries to give him money to repent for hiding his existence from his grandmother. He refuses the money because he knows it came through thievery.
·     
Vanity:

Especially relevant to Rosamond and her suitors. Rosamond s is exceptionally vain about her charm and her appearances. So much her so that it is a shock to her when her friend Ladislaw says he doesn’t love her. Her unsuccessful suitors are all equally vain, and blame Lydgate rather than Rosamond’s lack of interest, when she will not return their favor.
·     
Money:

Money is the root of many evils but much good, in the novel. Lydgate get desperate for want of it, Fred despairs when he has little, Dorothea becomes generous when she carefully since their money is limited. Money has a profound effect on character within the novel.
 

The moral  standards and centre of the novel -The Garth  family

                   As a matter of fact, even “Middlemarch”, an imaginary provincial town, has a symbolical not a topical significance. It is provincial, because it is bereft of the glamour of heroic adventure and passionate dedication to high ideals; and this not because the characters are no longer capable of dedication, but because the time for uncommon fits is forever gone. Those who still crave for them look quixotically ridiculous and helpless. Provincial, because intellectual enterprise no longer leads to momentous scientific systems and discoveries but only to provisional results and diminutive steps in collectively undertaken projects.

         If the Dorothea and the Lydgate plots unfold as twin studies in defeated aspirations  it is not because they lack natural endowments or noble cravings, but because bourgeois existence was so monotonous and science so empirically mediocre. There was no more opportunity for either religious or speculative quests in the post-industrial and post-metaphysical age. A modest sort of happiness is still possible, according to Eliot, Swinburne (Songs before Sunrise), Meredith or Hardy, through a careful avoidance of romantic idealism, egotistic self-absorption. There is one family that would seem to be the moral standard and centre of the novel - the Garth family. Mrs Garth is introduced to us teaching Latin to the children while cooking dinner.

         This is portrayed as being a very worthwhile activity, and is contrasted with the somewhat silly parenting attitude of both Celia and the Vincy's. Mary Garth's insistence that Fred find a worthy profession before she will marry him is also held in high esteem - she is putting the good of others above her own desires. The only trouble that the Garth family goes through is a result of their virtue rather than their vice; Caleb, out of kindness and of love, backs Fred, and so when the reditors want their money, the future of one of the Garth children is put in jeopardy .     

          The Garth family, providing the moral centre of the novel, are prudentially steering a middle course between idealistic aspirations and the disenchanted realism nourished by an age of material prosperity. There is something enduring and substantial in the things they value or accomplish. Whereas the ladies of the time are instructed in the graceful way of getting into and out of a carriage and in the rank flavour of speech (tone of voice, accent, use of particular phrases), emulating manners before morals, Mrs. Garth instructs her children in English grammar or Roman history.

         She finds such accompaniment to her cooking in the kitchen as proper as having taught before marriage. With them, the absolutes are tamed, and the religious notions recast in human terms. Caleb knows values well, the value of practical achievement, his idea of the devil being a slack workman, but also some higher notion about a sort of Kantian self-legislating will. Even if God winked at Bulstrode's evil past, he would not work for him any more.So many critics, following the misleading Prelude, take Dorothea to be the moral centre of the novel. The Garth family are the only major characters in Middlemarch who are not educated by experience, they do not change. This is because they are already in possession of the moral education that matters by the time the novel opens.

           This is a significant clue. The Dorothea-Casaubon story and its aftermath, and the Lydgate-Rosamond story, are of course more important in the pattern of the novel’s action than the Mary-Fred story or than anything which involves the Garth family, but the Garth family establishes the criteria to which most other actions are referred.H.J.Harvey: “The Garths are the one solidly happy family in the book and as such provide a standard whereby the failings fo the other marriages can be measured. Apart from the devious contrasts with the Casaubons and he Lydgates, the Garths relate especially – because of Fred – to the Vincy household. The different relationships of parents to children is especially well illustrated. The different ractions of Mrs. Garth and Mrs. Vincy to the news of Fred’s decision to work for Caleb illustrate George Eliot’s mature control over that difficult and complex area of human experience where likeness and unlikeness merge into each other. Comparison and contrst always involve a fine sense of psychological and moral discrimination.”


     Middle March chart :-
        
 

           

      Middle March as a subtle and Rich study of females

                George Eliot exhibited a rare insight in the presentation of female characters and her female figures have a feminine attitude towards life. They are all vividly and convincingly drawn. Nearly always, the subject is studied from the woman’s point of view; the women are so vastly superior to their lovers that it is difficult for the reader to appreciate all that it means for them. Main aim of Eliot is to study the psychological of people and individual that how they dominated by nature.  Outwardly, women did not have power in nineteenth-century  society, or even much respect or recognition. However, they still had “soul hunger,” even if they had no outlet for their spiritual yearning as St. Theresa did (see Prelude).

         Following the French positivist philosopher, Auguste Comte (the father of sociology), Eliot believed that it was women who held society together and guided its progress altruistically, from behind the scenes. She did not advocate working for political “rights” because a woman’s power and goodness were profoundly subtle. Sympathy was the antidote to competition, and women have this quality in abundance. They are the ones who encourage it in others and who use love and sympathy to ameliorate the harshness of the world.

       MIDDLEMARCH EXPLORED THE WAYS IN WHICH SOCIAL AND SPIRITUAL ENERGY CAN BE FRUSTRATED

            I do not believe that it is sufficient to say that Middlemarch explores the ways in which social and spiritual energy can be frustrated; it would be more appropriate to say that Middlemarch explores the ways in which social and spiritual energies (ideals if you will) are completely destroyed and perverted. One need only look to Lydgate to see an example of idealism being destroyed by the environment in which it is found. At the start of the novel, we are introduced to the "young, poor and ambitious" and most of all idealistic Doctor Lydgate, who has great plans for the fever hospital in Middlemarch. Throughout the novel, however, we see his plans frustrated by the designs of others, though primarily the hypocritical desires of Nicholas Bulstrode. The second example of the idealism of the young being destroyed by the old is that of Dorothea. This can be seen by her continuing desire to "bear a larger part of the world's misery" or to learn Latin and Greek, both of which are continually thwarted by Casaubon, though this ends after his death, with her discovery of his selfish and suspicious nature, by way of the codicil.

           The character who has their ambitions and ideals brought most obviously low is Lydgate. The earliest example is when he has to make the choice between Fairbrother and Tyke. Both of these characters are rather poor examples of the clergy (Fairbrother because of his gambling, and Tyke because of his rather lazy attitude). Our sympathies are clearly with Fairbrother for a number of reasons; he doesn't gamble because he wants to, but because the wage he receives from running his parish alone is too small to support him and the various members of his family that rely on him. Lydgate has to make the choice between some one he likes as a person (Fairbrother) and someone who he needs help from (Bulstrode). It is clear that Lydgate is very similar to Fairbrother in a number of ways; both are scientists, and both have great hopes for the future. It would therefore seem to be the case that Lydgate would automatically support Fairbrother.

           However, Bulstrode uses his money and his influence to ensure Tyke's success. Bulstrode is another example of a character that has had his idealism and destroyed, though not by Middlemarch. He was once a great and trusted minister, but the lure of money from the pawn shop, and the possibility of inheriting all of Ladislaw's mother's money proved too great for him. He is no longer the honourable and trusted man, but something all together darker and more sinister: There are many coarse hypocrites who consciously affect beliefs … for the sake of guilling the world, but Bulstrode was not one of them. He was simply a man whose desires had been stronger than his theoretic beliefs, and who gradually explained the gratification of his desires into satisfactory agreement with those beliefs. He does not lie to others, but to himself; he continues to try and justify his desires, though puts them in such ways that they appear to be morally sound and justifiable.
                 
   Conclusion
      
            According to the learned critic, the obvious moral of Dorothea’s story is “that the describe thing is to your work well in the position to which providence has assigned you and not to bother about ideals at all. Such a moral seems satiric at the end of a story which is to give us a Modern Theresa.” Thus Dorothea is becomes an ironical portraits of young ladies with lofty ideals and noble aspirations.

            Middlemarch has retained its popularity and status as one of the masterpieces of English fiction, although some reviewers have expressed dissatisfaction at the destiny recorded for Dorothea. In separate centuries, Florence Nightingale and Kate Millett both remarked on the eventual subordination of Dorothea's own dreams to those of her admirer, Ladislaw. However, in the epilogue George Eliot herself acknowledges the regrettable waste of Dorothea's potential, blaming social conditions. Virginia Woolf gave the book unstinting praise, describing Middlemarch as "the magnificent book that, with all its imperfections, is one of the few English novels written for grown-up people". Martin Amis and Julian Barnes have cited it as probably the greatest novel in the English language.






Thank You
           
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A

(Assignment Sem 2) Paper No 5 (Romantic literature)

 Assignment Topic :-John Keats as a romantic poet

To evaluate my assignment click here 


           Name : Parmar Darshna V.
                     Roll No : 5
                       Year    : 2017-2019
                      M. A.    :  Sem -2
     Paper Name   :  (5) Romantic literature
 Email ID :parmardarshana030@gmail.com
Enrollment No. : 2069108420180039
Topic  : John Keats as romantic poet.
                    Submitted by : Smt. S. B. Gardi
                       Department of English
                       M. K. Bhavnagar University





Introducation


    About John Keats
   

 
       John Keats ( 31 October 1795-23 February 1821) was an English Romantic poet. He was one of the key figures in the second generation of the Romantic movement. The poet of Keats is characterized by sensual imagery. Keats as the supreme lover of beauty says, " A thing of beauty is joy forever. Before Keats was fifteen years he served his apprenticeship and for two years more. He was surgeon's helper in the hospitals but he disliked his work and his thoughts were on other thing the other day during lecture he said to a friend " There came a sunblem in to the room and with it a whole troop of creatures floating in the ray; and I was off with them to Oberon and fairyland.

John Keats life and works
     
     In the short life John Keats wrote some of the most beautiful and enduring poems in the English language. Keats was intoxicated with vision of greatness. His poetry called as "a poetry of sensation. His poetry makes us, see, hear, smell, tests and touch the object he describes. Keats had begun writing as early as 1814 and his first volume of poetry was published in 1817.

            In 1818 Keats took a long walking tour in the British liles that led to a prolonged sore throat, which was to become a first symptom of the disease that killed his mother and brother, tuberculosis. After he concluded his walking tour. Keats settled, in homestead. Here he and Fanny Brawne met and fell in love. However, they were never able to merry because of his health and financial situation. Between the fall of 1818 and 1820 Keats produces some of his best known so severe that he had to leave England for the Warner climate of Italy. In 1821 he died of tuberculosis in Rome. He is buried there in the protestant cemetery.

       John Keats believe the genius of the poet lay in the transcendence of the ordinary self In the loss of identity this way he was could imagine himself in a thousand different lives and from island despise the bed poetry mental masturbate for him sensation experience was the key to the creative imagination vial in  was a very different kinds of romantic  from his earliest experience.
             
          The key to the creative imagination was unpretentious. John Keats was a different kinds of romantic  from his earliest ears he experience the solitude and emptiness of death but thought them he reached towards beauty and meaning on the 15 of April 1804 the first in a long line of tragedy that would affect his life.
                   
        Occurred here on city road in London Keats was only eight years old spotted of idleness Horace astray on the word this disturbing  image meant tragedy the watchman went up the street and buy the doorway of the near by chapel he discovered the body of a man frustrating on the pavement he was covered in blood.
                         
    Form a deep wounds to the head the man name is Thomas Keats died the following morning John Keats had lost his father it was the beginning of a pilgrimage thoughts grief that would also be a journey in to the soul do you not see how necessary a word of pains and troubles is to school and intelligent and Mack it a soul by the time keep was 23 he had witnessed the deaths of her mother and his brother and he suffered list of depression but there were moment here at his house.
               
      In Hampstead when his experience of death made him more intensely in love with life then Evan.

                    How astonishing does a change of Living the word impressive sense of it natural beauties on us Keats imagine birds song going for time in hearing for bird in experience Infinity for a fetching movements he's one bottle like it short and the sensation of living where all the more intense kids believe imaging is the dream and reality.

   Of life and death haunt this poem as thing hunt keep is being and on the thunder is heard of February 1820 he was visited by and image that will pursue him until his death kids return to Hampstead  from town on a big night even thought he was suffering from a called he had that can I keep that exposed to the element on the top of the Coach.


Foremost work of John Keats

-" A Thing of Beauty (Endymion) "
-"Bright star "
-"La Belle Dame Sans Merci "
-"Ode on a Grecian Urn "
-"Ode to a Nightingale "
-" To Autumn "
-"Ode to melancholy:
-"Ode on a Indolence"
-"Ode to psyche"

     Romantic theme
       
          The themes of Keats’ poetry are romantic in their nature. Most of his poetry is devoted to the quest of Beauty, Love, Chivalry, Adventure, Pathos —these are some of the themes of his poems. Another strain that runs through his poetry is the fear of death that haunts him constantly and which finds beautiful expression in his sonnet, When I have fears….   Another favorite theme of his poems is disappointment in love and its desolation as we find in La Belle Dame Sans Merci. Again, the rich and sensuous descriptions scattered all over his poetry are romantic in tone.

John Keats foremost Theme

* Beauty
*Love
*Nature
*Power
*Fancy
*Pain

 Love of Nature

          Like all romantics, Keats loves nature and its varied charms.. He has a vivid sense of colour, and he transfigures everything into beauty that he touches with “the magic hand of chance.”

 Love and Beauty
           
           Keats is called the poet of beauty or some critics address him as ‘the worshiper of beauty’. Keats’s notion of beauty and truth is highly inclusive. That is, it blends all life’s experiences or apprehensions, negative or positive, into a holistic vision. Art and nature, therefore, are seen as therapeutic in function. Keats was considerably influenced by Spenser and was, like the latter, a passionate lover of beauty in all its forms and manifestation. This passion for beauty constitutes his aestheticism. Beauty, indeed, was his pole-star, beauty in Nature, in woman, and in art. He writes and defines beauty:
“A think of beauty is joy for ever”

    In John Keats, we have a remarkable contrast both with Byron and Shelley. He knows nothing of Byron’s stormy spirit of antagonism to the existing order of things and he had no sympathy with Shelley’s humanitarian real and passion for reforming the world. But Keats likes and worships beauty. In his Ode on a Grecian Urn, he expresses some powerful lines about his thoughts of beauty. This ode contains the most discussed two lines in all of Keats's poetry:

    “Beauty is truth, truth beauty," - that is all
Ye know on earth, and all ye need to know.”
The exact meaning of those lines is disputed by everyone; no less a critic than TS Eliot considered them a blight upon an otherwise beautiful poem. Scholars have been unable to agree to whom the last thirteen lines of the poem are addressed. Arguments can be made for any of the four most obvious possibilities, -poet to reader, urn to reader, poet to urn, poet to figures on the urn. The issue is further confused by the change in quotation marks between the original manuscript copy of the ode and the 1820 published edition.
What is makes John Keats a Romantic poet
       
    " Beauty is truth, truth beauty ,  that is all ye know on earth, and all ye need to know "(" Ode on a Grecian Urn ").
 
     Keats cynicism about his life and his impending doom was seldom of his work. Though he was depressed about death, he wrote with a strong appreciation of life. Love and beauty.
 
     In a letter to his lover fanny Brawne, keys writes ", I have two luxuries to brood over in my walks, your loveliness and the hour of my death. I hate the world : It betters too much the wrings of my self will, and would I could take a sweet poison from your lips to send me out to it " (1818)

     Nature v/s culture is the number one rule of romanticism.
 
    Keats was heavily influenced by ancient mythology texts by

-Homer
-Dante
-Virgil
-Shakespeare

     Death ,sorrow, love and nature are signature trails of romanticism.

  Lyric and transcendent, that which is beyond human understanding.

   Creation of art and role of poet.

 Ode to a Nightingale
       

        With "Ode to a Nightingale," Keats's speaker begins his fullest and deepest exploration of the themes of creative expression and the mortality of human life. In this ode, the transience of life and the tragedy of old age ("where palsy shakes a few, sad, last gray hairs, / Where youth grows pale, and spectre-thin, and dies") is set against the eternal renewal of the nightingale's fluid music ("Thou wast not born for death, immortal bird!"). The speaker reprises the "drowsy numbness" he experienced in "Ode on Indolence," but where in "Indolence" that numbness was a sign of disconnection from experience, in "Nightingale" it is a sign of too full a connection: "being too happy in thine happiness," as the speaker tells the nightingale. Hearing the song of the nightingale, the speaker longs to flee the human world and join the bird. His first thought is to reach the bird's state through alcohol--in the second stanza, he longs for a "draught of vintage" to transport him out of himself. But after his meditation in the third stanza on the transience of life, he rejects the idea of being "charioted by Bacchus and his pards" (Bacchus was the Roman god of wine and was supposed to have been carried by a chariot pulled by leopards) and chooses instead to embrace, for the first time since he refused to follow the figures in "Indolence," "the viewless wings of Poesy."

         The rapture of poetic inspiration matches the endless creative rapture of the nightingale's music and lets the speaker, in stanzas five through seven, imagine himself with the bird in the darkened forest. The ecstatic music even encourages the speaker to embrace the idea of dying, of painlessly succumbing to death while enraptured by the nightingale's music and never experiencing any further pain or disappointment. But when his meditation causes him to utter the word "forlorn," he comes back to himself, recognizing his fancy for what it is--an imagined escape from the inescapable ("Adieu! the fancy cannot cheat so well / As she is fam'd to do, deceiving elf"). As the nightingale flies away, the intensity of the speaker's experience has left him shaken, unable to remember whether he is awake or asleep. In "Indolence," the speaker rejected all artistic effort. In "Psyche," he was willing to embrace the creative imagination, but only for its own internal pleasures. But in the nightingale's song, he finds a form of outward expression that translates the work of the imagination into the outside world, and this is the discovery that compels him to embrace Poesy's "viewless wings" at last. The "art" of the nightingale is endlessly changeable and renewable; it is music without record, existing only in a perpetual present. As befits his celebration of music, the speaker's language, sensually rich though it is, serves to suppress the sense of sight in favor of the other senses. He can imagine the light of the moon, "But here there is no light"; he knows he is surrounded by flowers, but he "cannot see what flowers" are at his feet. This suppression will find its match in "Ode on a Grecian Urn," which is in many ways a companion poem to "Ode to a Nightingale." In the later poem, the speaker will finally confront a created art-object not subject to any of the limitations of time; in "Nightingale," he has achieved creative expression and has placed his faith in it, but that expression--the nightingale's song--is spontaneous and without physical manifestation.


        In ‘Ode to a Nightingale’ one can discern the consciousness of the use of nature, symbolized in the bird and its melodious song, not only for poetic composition, but also for advancing the poet’s philosophical speculations. Both bird and song represent natural beauty, the poetic expression of the non-verbal song signaling the harmony of nature. Apart from the ecstasy that the bird’s song generates, the unseen but vivid pictorial description of the surrounding landscape adds to the bliss and serenity of the atmosphere:

   I cannot see what flowers are at my feet,
Nor what soft incense hangs upon the bough,
But, in embalmed darkness, guess each sweet
Wherewith the seasonable month endows
The grass, the thicket, and the fruit-tree wild;
White hawthorn, and the pastoral eglantine;
Fast fading violets cover’d up in leaves;
And mid-May’s eldest child,
The coming musk-rose, full of dewy wine,
The murmurous haunt of lies on summer eves.

(Stanza V, L. 41 – 50)
     These lines express the splendor of spring while foreshadowing the approach of summer, which will have its own store of nature beauty and luxury. As earlier said, nature here seems to be a springboard for intense speculations in the face of the impermanence and mutability of life which strongly preoccupies the poet.

     To put it in other words, the song seems to engender a phenomenological process of self-transformation or a psychological metamorphosis that enhances a deep desire for the eternal and unalterable through death. Yet the poet submits to a stoical fortitude, apparently emphasizing the material and sensuous realm of existence rather than the struggle to maintain a permanent and idealistic state. This has often been problematical as imaginative failure, or as a characteristic Keatsian trademark of ambivalence between reality and imaginative illusion.

 Conclusion

     The brief span of Keats’ life fell within, what is known as the age of Romantic Revival in English Literature, and Keats fully imbibed the spirit of his age. His poetry is a fine example of highly romantic poetry; in fact, it touched almost all the aspects of romantic poetry—love for beauty, love for nature, love for the past, supernaturalism, glow for emotions, and last but not the least in importance, the revealing power of imagination.
 

       

Derrida : Thinking Activity

Derrida :   Thinking Activity

             

 

 The term Deconstruction is not easy to define because Derrida himself doesn't define what is the actual meaning of Deconstruction. Derrida Deconstruction the metaphysics of presence. Deconstruction breaking something down into smaller parts. Deconstruction as the systematic undoing of understanding.


    Post structuralism is a response to structuralism
It is closely related to the to Post modernism. It is derived from philosophy. They also gave idea of supplementarity or decentring the center.


   If I were a post - Structuralism critic I would like to analyze :-

      The Ekta kapoor serials, all of Ekta kapoor serials mostly focuses on the melodramas of ' Saas and bahu '( Mother -in-low and Daughter -in-low ) The serials mostly keeps boys above than girls. 

Northrop Frye : Thinking Activity

  Northrop Frye : Thinking Activity


 Ans 1) Archetype criticism is a literary turms. Signifies narrative ,designs, symbols, character, dreams, collective image, myths, variety  of work of literature.. As well as in dreams and social rituals.

     In literary term but more simple it means...

- Image from collective unconsciousness
- Desing of narrative 
- Patterns of action
- Types of character
- Themes
- Images
- All are wide varieties of works of all literature .

Ans 2)   Northrop Frye talk about physics to nature and criticism to literature. 'Physics 'is an organized body of knowledge about nature and criticism 'physics ' help us to understand nature. As, same, learn literature but transitively is the critism of literature. Criticism is a systematic study of literature.


Ans 3)    Archetype criticism is based on philosophy and history of people. Frye says that criticism is an organised Body of knowledge like physics that helps to understand literature. Relation of literature with history and philosophy any text has the image connected with events and philosophy connected with ideas.


Ans 4)    The Inductive method of analysis deals with particular to general. Inductive method means physics of electric or magnetic induction. Shakespeare 'S Hamlet grave - digging scene in which applied inductive method. In this Shakespeare play we look Hamlet was represented of a archetype hero.


Ans  5)     The deductive method is rule to examples. There is an example of music and painting ,music can not be understand by only rhythms it needs lyrics and paintings can not be understood only one by patterns needs thoughts which literature provides to them.


Ans  6)    Here the example of Indian seasonal Gazal

     In the Gazal there is representation of the season of monsoon. Water is an archetype symbol of life, cleansing. Rebirth and fertility.

      Here I'm sharing one my favorite Gujarati Gazal "Pan lilu joyu ne tame  aavya " as an example of archetype criticism .


          પાન લીલું જોયું ને તમે યાદ આવ્યાં
જાણે મૌસમનો પહેલો વરસાદ ઝીલ્યો રામ
એક તરણું કોળ્યું ને તમે યાદ આવ્યાં

ક્યાંક પંખી ટહુક્યું ને તમે યાદ આવ્યાં
જાણે શ્રાવણના આભમાં ઉઘાડ થયો રામ
એક તારો ટમક્યો ને તમે યાદ આવ્યાં

જરા ગાગર છલકી ને તમે યાદ આવ્યાં
જાણે કાંઠા તોડે છે કોઇ મહેરામણ હો રામ
સહેજ ચાંદની છલકી ને તમે યાદ આવ્યાં

કોઇ ઠાલું મલક્યું ને તમે યાદ આવ્યાં
જાણે કાનુડાના મુખમાં બ્રહ્માંડ દીઠું રામ
કોઇ આંખે વળગ્યું ને તમે યાદ આવ્યાં

કોઇ આંગણે અટક્યું ને તમે યાદ આવ્યાં
જાણે પગરવની દુનિયામાં શોર થયો રામ
એક પગલું ઉપડ્યું ને તમે યાદ આવ્યાં.
     

   Here in this Gazal  all incidents are associated with the someone.        

Online Discussion Mario Vargos Llosa

Online discussion

Centemporay Debates and Mario Vargos Llosa

  My point of view on contemporary issues. Cultural studies produce problem on nationalism, liberal, thinkers, stimulation honesty, literate and morality, political corrector and freedom.

    Mario Vargos Llosa is a Peruvian writer, politician, journalism, essayist ,and college professor. Vargas llosa of one of Latin America 'S most significant novelist and essayist and one of the leading writers of his generation seven influentail authors :
Adam Smith, Jose ortegay gasset, Friedrich von hayek, karl popper, Raymond aron, Isaiah Berlin and Jean - Francois revel.


  *...... Liberal

     Liberal or liberalism a political philosophy founded on ideas of liberty and equality. Liberal reject nationalism because it is incompatible with freedom. Liberals believe that nationalism involves a kind of racism.


  *........  Populism

        Populism shatters democracy is from with in populism, that is a main issue of populism.

Online discussion

Online Discussion
 Cultural studies and Post colonialism

            

       A girl in the River : The price of forgiveness is a 2015 Documentary film directed by sharmeen obaid chonoy about honor killing in Pakistan. The documentary follows the story of a nineteen -year -old girl, who survives an honor killing attempt by her father and uncle. The protagonist has a solid stance on not forgiving her attackers.

     Sharmeen and Arvind adiga both show are the reality and dirty image of their nation sharmeen shows the reality of women killing for honor of family and Arvind adiga portrayed the harsh reality of India. There is an argued Arvind adiga that why he portrayed ugly and negative image of India.

      There are many places where the writer try to show the reality. Many people not like Arvind adiga because he shows the reality of India. Bad side of India. So people who like to see the glory of their nation not accept him.

       The film was second Oscar for Pakistani
Producer and director shrmeen Obaid Chinoy and won the award for best short documentary.

     In this documentary ,she has presented reality of women's Life that women in Pakistan are suffering by the honour killing which may bring change in women 'S life after showing the  true picture of it. Once reality come out, we can change the bad situation but if it is still hidden we can't do anything as there are so many crimes. Happen with women daily which can't reported in news or by any documentary like... 

Fiction and lies

FICTION AND LIES

Deference between fiction and lies

 Fiction and lie both are interwoven. In fiction and lies we think that truth, fiction, imagination all are same thing but it is quite different.

*......   Meaning of Fiction

      Fiction means imagination which is most of poet, writer are do in their work. Ne can see that fiction in children literture. When talk about literature is seems like there were more fictions than truth or reality. Fiction can remove from reality but at the same time it shows many different  things is one. Every time it is not harmful some times it heals also.


*......     Meaning of lies

            Lies means the untruth things in literary work. As above said lies are told, or order to reassure oneself, or to fool, or scare, or manipulate others, Telling lies as a politician in order to gain votes when you have no actual intent of doing what you promised the people that you were going to do.lie can be harmful. It might turn out in disaster. Lie most probably the negative term. 

T. S. Eliot Tradition and Individual Talent

T. S. Eliot Tradition And Individual Talent : Thinking Activity

           

       
Ans..1)      Yes I'm agree with Eliot 'S view. Tradition does not mean the blind adherence of the past or slavish imitation of the past. Eliot's idea about process of poetry, made in mind on poet which drive to main concept of poet mind, emotion, feeling,.....Eliot's sees it in very positive sense.

        Eliot's tradition has a three fold significance

1)  Tradition can not be inherited and involves a great deal of labour and erudition.

2)  It involves the historical sense which involves apperception not only of the pastness of the past, but also of its presence.

3)  The historical sense, write not only with his own generation in mind, but with a feeling that the whole of the literature.

A concept of learning literature and literary thinges.


Ans ..2)  Historical sense means past is also presented in  the present time historical sense means the awareness of the past and it's application in the present, timeless means it does not present past of present and temporal means ever exist today.


Ans.. 3)  Individual talent is a part of tradition and individual talent both are related to each other. It means that both are not saprat but both are helps each other.


And.. 4)  Shakespear is one of the greatest poet. Who can get knowledge and pedantry. Obervation of any writer's work creat new thing in our mind so only study is not require. The quote describe that we should work hard and some become distinct by their power.


Ans..5)  This quotation itself says that poetry cannot be judge by its poet. Highlight the poetry one should remove the poet artist from work of art. One should tried to see what ward tried to say rather than tend to poet. It means we cannot hate or love poet because honest criticism is depend on the poetry.


Ans.. 6)  Eliot theory depersonalization is related with the chemical process. Explain it  the.                                      Catalyst
               So3  +         H2O                = H2 SO4 Sulfuric dioxide  Water  Platinum= Sulfuric
                                            (Poet mind )  Acid

  It is the relevance of scientific chemical reaction with arts and humanities. In the process platinum is the poet mind get higher impact but as a conclusion it disappears.


Ans.. 6)  Pretty is not a turning loose of poet's emotions.Emotion is not necessary for any poet. Poet wants to escape her personal emotion and personality. Poet write poetry not realize his emotion but he want to escape from his emotion.


Ans.. 8)  According to me Eliot gives an idea.
       T. S. Eliot as a critic can be analyzed on the basis of
  (1)  Theory of Depersonalozation  : In his essay he was also proves concept to tradition.

  (2) ' Honest criticism ' and sensitive appreciation is directed not upon the poet but upon the poetry...

I. A. Richard -Figurative language

 I. A.RICHARDS -FIGURATIVE LANGUAGE
             
                        
     I. A.. Richard four type of misunderstanding.
   1  Careless reading
   2  Prosaic reading
   3  Inappropriate metaphor
   4  Difference in meaning

 My favorite Gujarati Gazal is 'Pan lilu joyu ne tame yaad aavya '. So I would like to compare on of the Gazal with I. A. Richard 'S figurative language. In the difference meaning of word in Gazal.

 Here is some information about this Gazal..

 There is an example of music and paintings music can not be understood by only rhythms it needs lyrics and paintings can not be understood only by patterns need thoughts which literature provides to them .

   In the Gazal monsoon is the them. In which seasons. This poem like monsoon which is very romantic and the concept of new life comes form the seasons.

  Here I am sharing one my favorite Gujarati Gazal "Pan lilu joyu ne tame yaad aavya " as example
           

   
      પાન લીલું જોયું ને તમે યાદ આવ્યાં
જાણે મૌસમનો પહેલો વરસાદ ઝીલ્યો રામ
એક તરણું કોળ્યું ને તમે યાદ આવ્યાં

ક્યાંક પંખી ટહુક્યું ને તમે યાદ આવ્યાં
જાણે શ્રાવણના આભમાં ઉઘાડ થયો રામ
એક તારો ટમક્યો ને તમે યાદ આવ્યાં

જરા ગાગર છલકી ને તમે યાદ આવ્યાં
જાણે કાંઠા તોડે છે કોઇ મહેરામણ હો રામ
સહેજ ચાંદની છલકી ને તમે યાદ આવ્યાં

કોઇ ઠાલું મલક્યું ને તમે યાદ આવ્યાં
જાણે કાનુડાના મુખમાં બ્રહ્માંડ દીઠું રામ
કોઇ આંખે વળગ્યું ને તમે યાદ આવ્યાં

કોઇ આંગણે અટક્યું ને તમે યાદ આવ્યાં
જાણે પગરવની દુનિયામાં શોર થયો રામ
એક પગલું ઉપડ્યું ને તમે યાદ આવ્યાં

   
      In  the first line we found." Pan lilu joyu ne tame yaad  aavya ".In Gazal to see that green It reminded me of you and first mansoon rain drops as fell on me ,and  one grrass leaf blossomedand it reminded me of you.