Major Movement of Modern Age paper no-9

Name: Gohil Umaba B

Sem: 3

Roll No: 16

Paper No : 9 Modernist Literature

Topic: Major Movement of Modern Age

Email id : umabagohil123@ Gmail.com

Submitted by: Smt S.B.Gardi maharaja Krishnakumarsinhji Bhavnagar university

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Major movement of the modern age
The literary period of Modernism (1900-1945) followed the Realist movement. This period was not the typical literary movement (signified by a somewhat universal ideology of the writers of the period). Instead, the Modernist movement existed as numerous small groups of writers. Historically, the most significant event during this literary period was that of World War I. In a sense, the literature of the period mirrored the conflict, division, and destruction of the war. Writers of this period tended to speak out against conformity (acting as literary rebels).
Human events which fueled the movement were also ground in the war. Prior to WWI, literary texts illustrated the breaking away from conformity (as seen in James Joyce's Ulysses), while, after the war, texts illustrated the reality behind destruction (as seen in T.S. Eliot's "The Waste Land").
The themes of the period placed value on the human experience. Alienation, the past, and the stream of consciousness all played a part in many Modernist texts. Given that the period led America into the human rights era, it is of no surprise that Modernist texts forced readers to examine life from a very different perspective. Modernists relied upon the flow of thoughts (stream of consciousness) which led readers through the texts. This mode of narration illustrated more than one's literal experience in life. Instead, it illustrated how people thought about things such as conformity, war, violence, destruction, and change.
The most influential movements of "modern art" are (1) Impressionism; (2) Fauvism; (3) Cubism; (4) Futurism; (5) Expressionism; (6) Dada; (7) Surrealism; (8) Abstract Expressionism; and (9) Pop Art.
(1) Impressionism (1870s, 1880s)
Exemplified by the landscape paintings of Claude Monet (1840-1926), Impressionism focused on the almost impossible task of capturing fleeting moments of light and colour. Introduced non-naturalist colour schemes, and loose - often highly textured - brushwork. Close-up many Impressionist paintings were unrecognizable. Highly unpopular with the general public and the arts authorities, although highly rated by other modern artists, dealers and collectors. Eventually became the world's most famous painting movement. See: Characteristics of Impressionist Painting (1870-1910). The main contribution of Impressionism to "modern art" was to legitimize the use of non-naturalist colours, thus paving the way for the wholly non-naturalist abstract art of the 20th century.



2) pop Art.
Pop Art is thought to be an art style that returned to the material realities of everyday life, to popular culture (this is where the “pop” term comes from) which derives from most of the visual pleasures of people – like television, magazines or comics.
A style of art whose images reflected the popular culture and mass consumerism of 1960s America. First emerging in New York and London during the late 1950s, it became the dominant avant-garde style until the late 1960s. Using bold, easy to recognize imagery, and vibrant block colours, Pop artists like Andy Warhol (1928-87) created an iconography based on photos of popular celebrities like film-stars, advertisements, posters, consumer product packaging, and comic strips - material that helped to narrow the divide between the commercial arts and the fine arts. The main contribution of abstract expressionism to "modern art" was to show that good art could be low-brow, and could be made of anything.
3) Fauvism

In modern art, the term Fauvism refers to a highly fashionable, if short-lived, art movement associated with the Ecole de Paris, which formed around friendships between French artists around the turn of the century. Famous above all for their bold use of colour, the 'Fauves' received their name at the 1905 Salon d'Automne exhibition in Paris, from the influential French art critic Louis Vauxcelles, who insultingly described their vividly coloured canvases as being the work of wild beasts (in French, fauves), and the name stuck.
Curiously, while Matisse (1869-1954) and his French colleagues were dubbed fauvists, neither Wassily Kandinsky nor the 'Russian Matisse' Alexei von Jawlensky - both of whom exhibited alongside the Fauves at the Salon - were given the same treatment.
4) cubism

Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century. The term is broadly used in association with a wide variety of art produced in Paris (Montmartre, Montparnasse and Puteaux) during the 1910s and extending through the 1920s.
The movement was pioneered by Georges Braque and Pablo Picasso, joined by Andre Lhote, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris primary influence that led to Cubism was the representation of three-dimensional form in the late works of Paul Cézanne.
The impact of Cubism was far-reaching and wide-ranging. Cubism spread rapidly across the globe and in doing so evolved to a greater or lesser extent. In essence, Cubism was the origin of an evolutionary process that produced diversity; it was the antecedent of diverse art movements
5) Futurism

The most important Italian avant-garde art movement of the 20th century, Futurism celebrated advanced technology and urban modernity. Committed to the new, its members wished to destroy older forms of culture and to demonstrate the beauty of modern life - the beauty of the machine, speed, violence and change. Although the movement did foster some architecture, most of its adherents were artists who worked in traditional media such as painting and sculpture, and in an eclectic range of styles inspired by Post-Impressionism.
Nevertheless, they were interested in embracing popular media and new technologies to communicate their ideas. Their enthusiasm for modernity and the machine ultimately led them to celebrate the arrival of the First World War.


The Futurists were fascinated by the problems of representing modern experience, and strived to have their paintings evoke all kinds of sensations - and not merely those visible to the eye. At its best, Futurist art brings to mind the noise, heat and even the smell of the metropolis.
Unlike many other modern art movements, such as Impressionism and Pointillism, Futurism was not immediately identified with a distinctive style.
6) Expressionism

Expressionism was a modernist movement, initially in poetry and painting, originating in Germany at the beginning of the 20th century. Its typical trait is to present the world solely from a subjective perspective, distorting it radically for emotional effect in order to evoke moods or ideas. Expressionist artists sought to express the meaning[3] of emotional experience rather than physical reality.
Expressionism was developed as an avant-garde style before the First World War. It remained popular during the Weimar Republic,particularly in Berlin. The style extended to a wide range of the arts, including expressionist architecture, painting, literature, theatre, dance, film and music.

7) Dada

Dada was the first conceptual art movement where the focus of the artists was not on crafting aesthetically pleasing objects but on making works that often upended bourgeois sensibilities and that generated difficult questions about society, the role of the artist, and the purpose of art.
So intent were members of Dada on opposing all norms of bourgeois culture that the group was barely in favor of itself: "Dada is anti-Dada," they often cried. The group's founding in the Cabaret Voltaire in Zürich was appropriate: the Cabaret was named after the eighteenth century French satirist, Voltaire, whose novella Candide mocked the idiocies of his society.

Dada artists are known for their use of readymade objects - everyday objects that could be bought and presented as art with little manipulation by the artist. The use of the readymade forced questions about artistic creativity and the very definition of art and its purpose in society.
8) sur realism

movement in visual art and literature, flourishing in Europe between World Wars I and II. Surrealism grew principally out of the earlier Dada movement, which before World War I produced works of anti-art that deliberately defied reason; but Surrealism’s emphasis was not on negation but on positive expression. The movement represented a reaction against what its members saw as the destruction wrought by the “rationalism” that had guided European culture and politics in the past and that had culminated in the horrors of World War I.
9) Abstract Expressionism

Abstract expressionism is a post–World War II art movement in American painting, developed in New York in the 1940.It was the first specifically American movement to achieve international influence and put New York City at the center of the western art world, a role formerly filled by Paris. Although the term abstract expressionism was first applied to American art in 1946 by the art critic Robert Coates, it had been first used in Germany in 1919 in the magazine Der Sturm, regarding German Expressionism. In the United States, Alfred Barr was the first to use this term in 1929 in relation to works by Wassily Kandinsky.

Ciatation ; www.enotes.com

www.artyfactory.com

www.wikiepedia.com

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Old Man and The Sea Characters and Theme paper no.-10

Name – Umaba Gohil B

Paper no. - 10 American Literature

Topic:- Old Man and The Sea Characters and Theme

Roll No.- 16

Email id- umabagohil123@gmail.com

Submitted by; - Department of English M.K.B.U University

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       Old
Man and The Sea; Characters

         1)
Santiago: 

The
hero of the story. He is an old Cuban fisherman who is a
perfectionist when it comes to fishing. Despite his precise methods,
he has no luck at sea. Santiago wants to be unique: a greater and
stranger person than his peers out at sea. He loves baseball and
dreams of lions. He is alone, except for the company of Manolin. He
is determined to catch one big fish. Going eighty four days without a
catch, Santiago embarks on a journey initially to prove himself as a
fisherman but later discovers that it was not the material
possessions but rather the experience gained.

Round
character changed throughout the story: initially set off to prove
himself but later found that it only mattered that he knew the great
things he did and that he was safe in the end.

Dynamic
protagonist.

         During
his battle with the great fish, the old man recalls an arm-wrestling
match that he finally won after an entire day of ferocious battling.
The sea also reminds him of numerous encounters with marlins, sharks,
seabirds, turtles, and all other forms of life that make their home
in the sea just like he does. These thoughts give him the strength to
endure the vicious trials of his three-day confrontation with the
great fish. Although some of the other fishermen pity, and sometimes
even make fun of, his old age and lack of luck, Santiago is never
resentful. 

He
is a simple man who loves the sea for all it has given him and deeply
respects the great fish, his worthy, noble, and beautiful adversary.
Through his interactions with Manolin, the old man demonstrates his
kind, compassionate side. Although he is victorious in his battle
with the great fish, the wound that proves fatal leaks blood into the
sea that attracts sharks, which eventually tear all of the meat off
the prized catch. Despite the odds against him, Santiago refuses to
give in to the predators, as he fights off the sharks with any weapon
he can fashion on his boat until there is nothing left to the great
fish except its skeleton. 

   2)
Manolin (The Boy) :-

 Even
though his parents have ordered him to work with fisherman with
better luck, Manolin remains Santiago's loyal caretaker. For the
first few weeks of Santiago's fishing drought, the boy was by his
side on the skiff every day, helping him carry the mast, tie the
line, hoist the sail, and push the boat off in the early morning.
Now, when Manolin returns from his sailing duty on another vessel, he
faithfully returns to the old man. The boy uses his own credit to get
food, coffee, and bait for the old man, who could not survive without
such generosity. Manolin also listens to all of the old man's stories
and learns all of his fishing techniques from him. Santiago is deeply
grateful for the boy's friendship. Throughout his three-day battle
with the great fish, the old man evokes thoughts of the boy as
motivation to help him endure. He often wishes that the boy was
there, and when he feels that he may not have the strength to defeat
the great fish, he is rejuvenated by thinking about the lesson his
endurance would teach the boy. When Manolin discovers Santiago
prostrate on his bed with his hands mutilated by the line, he breaks
into tears several times. Although other members of the fishing
community are supportive, Manolin is the only one that empathizes
with the Santiago's great ordeal. In the final scene, Manolin
lovingly watches over the old man while he sleeps in recuperation
from his days at sea.

3)The
Marlin - 

Santiago's
worthy opponent succumbs to Santiago, and to the chagrin of all,
becomes a tasty snack.Other than the 1997 and 2003 Florida Marlins
who won the World Series, Santiago's marlin has achieved more
notoriety than any other marlin ever to live. He presents Santiago
his greatest challenge. He is admired and, like Santiago, becomes
heroic in defeat. In a 1972 interview with the Undersea Times,
Frankie the Hammerhead claims that Santiago's marlin may have been
the tastiest fish he had ever eaten. 

4)
The Shark

 When
you're out at sea during most of the novel, there aren't too many
humans to talk to, so you start talking to fish.The sharks represent
life's trials and the predatory nature of humans. Regardless of
individual success, the sharks will eventually get you. It's
inevitable. That doesn't mean, however, that one must simply give up.
Santiago fights the sharks, regardless of the predetermined outcome.
Some claim the sharks symbolize literary critics who had viewed
Hemingway's more recent works negatively. To those literary critics,
I say shut up! Look who won a Nobel Prize in Literature. To the
sharks I say thanks for not eating me when I swam in the ocean last
week.

           Old
Man And The Sea
:- Themes

Pride:-

Hemingway’s
treatment of pride in a novella is ambivalent. A heroic man like
Santiago should have pride in his actions, and as Santiago shows us.”
Humility was not disgraceful and it carried no loss of true pride.”
It is apparently Santiago’s pride which presses him to travel
dangerously far out into the sea,” beyond all people in the world,”
to catch the marlin. While he loved the marlin and called him
brother, Santiago admits to killing it for pride, his blood stirred
by battle with such a noble and worthy antagonist. Some have
interpreted the loss of the marlin as the price Santiago had to pay
for his pride in travelling out so far in search of such a catch.
Contrarily, one could argue that this pride was beneficial as it
allowed Santiago an edifying challenge worthy of his heroism. In the
end, Hemingway suggests that pride in a job well done, even if pride
drew one unnecessarily into the situation, is a positive trait.

Heroism

Triumph
over crushing adversity is the heart of heroism, and in order for
Santiago the fisherman to be a heroic emblem for humankind, his
tribulations must be monumental. Triumph, though, is never final, as
Santiago's successful slaying of the marlin shows, else there would
be no reason to include the final 30 pages of the book. Hemingway
vision of heroism is Sisyphean, requiring continuous labor for
essentially ephemeral ends. What the hero does is to face adversity
with dignity and grace, hence Hemingway's Neo-Stoic emphasis on
self-control and the other facets of his idea of manhood. What we
achieve or fail at externally is not as significant to heroism as
comporting ourselves with inner nobility. As Santiago says, "
Man is not made for defeat....A man can be destroyed but not
defeated".

Perseverance

Bringing
man and fish together since 1952. The old man’s battle with the
fish is not only a battle of strength, but a battle of wills. The old
man makes up for his old age with incredible endurance, willing to
withstand hunger, physical pain, and isolation from the rest of the
world as he battles the fish. Endurance becomes a way we connect the
old man and the fish he fights, as they share a determination that,
in its magnitude, separates them from other people and creatures.

Manhood:-

Heming
way’s ideal of manhood is nearly in separable from the ideal of
heroism discussed above. To be a man is to behave with honor and
dignity and to be a man is to suffering, to accept one’s duty
without complaint, and most importantly to display a maximum of
self-control. The representation of femininity, the sea is
characterized expressly by its caprice and lack of self-control. If
she did wild or wicked things it was because she could not help them.
The representation of masculinity, the marlin is described as great,
beautiful, calm, and noble. Santiago steels him against his pain by
talling himself.

“Suffer
like a man, or a fish.”

In
Hemingway’s ethical universe, Santiago shows us not only how to
live life heroically but in a way befitting a man.

His
Christian virtues:-

There
is something of the Christian saint about Santiago. He has achieved
the most difficult and saintly of all Christian virtues, that is
humility. It is humility so absolute that is involves” no loss of
true pride.” There is even in him a suggestion of Saint Francis, in
his attitude to animal life, and especially to birds. Moreover at
various moments in the story Santiago affirms the major Christian
virtues like faith, hope and charity. In the very first dialogue
between Santiago and the boy marlin we learn that the boy’s father
has not much, faith, Santiago and mandolin have it:

“He
hasn’t much faith.”

“No,”
the old man said. “But we have. Haven’t we?”

“Yes”,
the boy said.

Towards
the close of the novel, the old man tells himself:

“It
is silly not to hope. Besides it is a sin.”

As
for charity we see it clearly in his generous love of men and
animals.

Success:-

The
novel is indeed remarkable for its stress on what man can “do”
and on the world as an arena where heroic deeds are possible. In this
universe everyone has a role to play and Santiago’s role is to
pursue the great marlin: “that which I was born for”, he
reflects. To be a hero means to dare more than other man. To be a
hero means to expose oneself to greater dangers and therefore more
greatly to risk the possibilities of defeat and depth. Santiago
fulfils this test of heroism about such a man it would be absurd to
say that things are done to him and that he does little. On the
eighty-fifth day Santiago rows far beyond the customary fishing area.
That is itself doing something big. Because he goes out too far in
the sea, he catches the great fish. The fish is so powerful it pulls
his skiff even farther out so far that he cannot get back in time to
prevent the marlin being eaten up by the sharks. The greatness of the
experience and the inevitable nature provides human beings with
unlimited opportunities for the great experience. The experience
carries with it a heavy tragic price. Santiago’s achievement
creates a sensation among the fishermen in his village. The tourists
of the story mistake the marlin for a shark but they too are struck
by a sense of the extraordinary.

Conclusion:-

There
are many themes in this novella but the main theme is heroism. We can
see some heroic deeds which are done by the character Santiago.

Citation:
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www.brighthubeducation.com

www.bookrags.com

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my presentation sem 2

Paper 5  Romantic literature
Topic ;use of five senses in Keats odd

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Use of five sense in keats odd from umabagohil

Paper 6 Victorian literature
topic; Women character in Oliver twist

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paper no 7 criticism
topic :New Historicism

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Paper 8 cultural studies
topic: Marxism

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Paper 6 ( Theme of the novel “Middle March”)

Name: Gohil Umaba B

 Roll No:  15

                 Email id: Umabagohil123@gmail.com

Paper No:   Victorian literature

Topic:  Theme of the novel “Middle March”

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             Theme of the novel Middlemarch

             1.  The imperfection of marriage

               Most characters in Middlemarch marry for love rather than obligation yet marriage is still appears negative and unromantic. marriage and  the pursuit  of it are  central concern  in Middlemarch  but unlike in many  novels  of the time , marriage  is considered the ultimate  source  of happiness . Two examples are the failed marriages of Dorothea and Lydgate. dorotheas’s marriage  is failed  because  of her youth  and of her disillusions  about marrying  a much  older man , while lydgate’s marriage fails because of  irreconcilable personalities . Mr and mgrs. Bulstrode  also face a material crisis due to  his inability  to tell her about past  and fred vincy  and Mary garth  also face a great  deal of  hardships  in making  their union .as none  of the marriage reach a perfect  fairy-tale ending , Middlemarch offers a clear critique  of  the usual  portrayal of marriage as a romantic unproblematic.

marriage is one  of the major themes in  Middlemarch as according to critic  Francis George  Steiner  both principle  plots  are case studies  of unsuccessful  marriage  within  this account  is suggestion  that  the  lives of dorothea  and lydgate  are unfilled because of  these disastrous marriage . this  is arguably  more  the case  for lydgate  than for dorothea , Who obtains a second  chance  through  her  eventual marriage to will ladislaw, however a favourable  interpretation  of this marriage is dependent upon the  character of ladislaw himself, whom numerous  critics have  viewed  as dorothea’s sister CeliaBrooke  to sir James  chettam and more significantly  fred Vinci’s  courting  of Mary garth  will not  accept  fred  until he abandons the church and settles  on a more suitable  career .

2. The harshness of social expectations

 The ways in which people conduct themselves and how the community judges them are closely linked in Middlemarch. when the  expectations  of the social  community  are not  met , individuals  often  receive harsh public criticism .for example  the community judges  ladislaw  harshly because  of his mixed pedigree . Fred vincy is almost disowned because he chooses to go against his family’s wishes and not join clergy. It is only when vincygoes againstthe wishes of the community by foregoing hid education that he finds true love and happiness. Finally rosamond;s need  for gentility and the desire to live up to social standards becomes her downfall.incontrast ,dorothea’s decision to act against the rules of society allows her to emerge as the most respectable character in the end.

3. Self –determination vs. Chance

In Middlemarch self-determination and chance are not opposing forces but rather a complicated balancingact. Whencharacters strictly adhere to a belief in either chance or self-determination, bad things happen. When rosamond goes against the wishes of her husband and writes a letter asking for money from his relative, her act of self-determination puts Lydgate in an unsavoury and tense situation coupled with a refusal to help. On the flipside, when a fred vincy gambles away his money, relying solely on chance, he falls into debt and drags with him the people who trust him only when he steps away from gambling and decides not to go into a clergy do good things begin to happen for him.in particular, the character of fare brother demonstrates the balance between fate and self-determination. This balance is exemplified in his educate gamble in the game of whist through combination of skill and chance; he is able to win more often than not. His character strikes a balance between chance and role in determining that fate. The complexity of the tension between self-determination and chance is exemplary of the way in which the novel as a whole tends to look at events from many vantage points with no clear right or wrong, no clear enemy or hero.

4.  Responsibility

This is major theme ofFred’s story and he must become responsible for his fiancés and his choices. Will does too certain extent. Both men must learn how to rely on themselves, not infringe upon others and how to become independent in many ways.

5.  Stubbornness

 A big issue of character. Rosamond is extremelystubborn, meaning that if things aren’t done her way. She will go behind other people’s back to do things the way she thinks they should be done. Societal stubbornness is responsible for Lydgate s failure with his medical practice; people want what they want for whatever reason, which means that they are blind to things that might be best for them.

6. Prejudice

  A theme that Lydgate and will ladislaw cannot seem to beat. People in Middlemarch dislikeanyone who is not from Middlemarch, or anyone whose reputation seems questionable. Will and lydgate are both a good people , but it is initial prejudice , sometimes based on invalid or circumstantial reasons, that means that they are never liked or accepted in Middlemarch.

7 Love

Love keeps people to gather or the lack or it lets them drift apart. Those who are truly in love like will and Dorothea. Mary and Fred are bound together by it, and are veryalike in temperament and outlook. Those who lack it like lydgate and rosamond, Casaubon and dorothea are ill-suited to each other inmarriage and are very disappointed by their unions .

8. Unity of Middlemarch

The decisions made by every person in Middlemarch seem to have direct effect on at least one other person’sMary’s decision to marry Fred means that fare brothers is without a wife. dorothea‘s decision to choose Casaubon leads sir James to choose Celia. Balustrade’s dirty dealing with regard to raffes mean disgrace to both Lydgate and will ladislaw. Everyone in Middlemarch is intimately connected, and it seems that no one can move around without disturbing someone else.

.9. Social position

Social position means a great deal in Middlemarch. it means how much respect a person gets , how people treats them , how they regarded , etc.  people of high status  are generally  treated  more delicately than people with little money , like lydgate and will ladislaw . Birth and connections are also important in determining a person’splace, and also what benefits they will receive from society.

10. Family obligation

People  within  the novel  have varying ideas of family obligation in the novel , though  it is strong  force in Middlemarch society .mr.featherstone;s relation believes  that she must help  and advise her  family in order to show a support . SirJamesshows his regard for his family by being a very protective andconstant advisor as well. Casaubon dispenses of his obligation throughmoney. And bulstrode attempts also to do the same.

11. Pride

 This is something which both helps and hinders many people in thebook, and is most applicable toDorothea,will, ladislaw and Lydgate. WithLydgate, pride is a tumbling block, something that keeps him from putting his affairs in order, and sometimes doing what is necessary in his marriage and practice. dorothea and will’s pride  is more involved in who they are  personally neither  of them likes to be regarded poorly , will defend themselves  and their decisions if needed, and follow their own course  with regard to everything.

12. Societal expectations

Closely linked tosociety‘s hierarchy are ideas about howeveryone should act in certain situation. Lydgate proposes to rosamond because societyexpects that he should do it. Dorothea is pushed to live with someone else marry again after she is widowed, because society expects that it is right. People don’t necessarily follow these expectations, nor should they; but they do exist and play a part in people’s lives

13. Progress

Much ischanging in the world of middlemarch; English society evolving in social,economic, technology areas. Socially ideas of gender and class are in flux, as women are proving more competent and the industrial revolution is causing a greater amount of social mobility. The economy of England  is changing , from aristocratic , inheritance  based system of  holding wealth and land , to one based on commerce , business and manufacturing . Technology is also changing, in Medicalscience, and in areas like transportation, and these are changes that are beginning to sweep through Middlemarch.

14. Money

Money is the root of manyevils, but much good in the novel. lydgate gets  desperate for want of it , fred despairs when he has little , dorothea  becomes generous  when she  has too much , and the garths saves carefully since their money is limited . Money has profound effect on character within the novel, and though many people are judge by how much money they have, many of the best people in the novel, like will ladislaw  and fare brothers , have very little.

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paper 8 Limitations of cultural studies

Name:  Gohil Umaba. B

Roll No: 15

Email id:Umabagohil123@gmail.com

Topic:  Limitations of cultural studies

Paper No:         cultural studies

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Limitations of Cultural studies

Cultural studies is a field of theoretically , politically, and empirically engaged cultural analysis that was initially  developed by Britishacademics in the late 1950s 1960s and 1970s and has been subsequently taken up and transformed by scholars from many different disciplines around the world. Cultural studies are avowedly and even radically interdisciplinary and can sometimes be seen as interdisciplinary. as cultural studies scholar toby miler has written “ cultural studies is tendency  across disciplines , rather than discipline itself”. Although most practitioners of cultural studies are professional academics, gilbert rodman has argued in his 2015 book why cultural studies? That the field must be understood to include some non- academic cultural analysts and practitioners is the examination of the forces within and through which socially organized people conduct and participate in the construction of their everyday lives.

Cultural studies can at times seems merely an intellectual smorgasbord in which the critic blithely combines artful helpings of text and objects and then finds deep connections between them. Without adequately researching what a culture means or how cultures have interacted. Cultural studies concentrates upon the political dynamics of contemporary cultural, its historical foundation, defining traits, and conflicts. cultural studies views cultural studies views cultures not as fixed , bounded , stable and discrete entities , but rather as constantly interacting and changing sets of practices and processes. Cultural studies combines  a variety of politically engaged critical approaches drawn from and including semiotics, Marxism, feminist theory, ethnography, critical race theory, postructualism, post colonialism, social theory, political theory, history , philosophy, literary theory, media theory, film/ video studies communication studies ,politicaleconomy,translation studies , museum studies and art history/ criticism to study cultural phenomena  in various societies and historical period . thus , cultural studies seeks to understand how meaning is generated , disseminated, contested, bound up with systems of  power and control, and produced from the social, political and economics spheres within  a particular  social formation or juncture.

Cultural studies practitioners  often know lot of interesting  things and possess the intellectual ability to play  them off interestingly against each other’s , but they sometimes lack adequate knowledge  of the “ deep play” of meaning or “thick description” of a culture that ethnographer Clifford Geertz  identified in his studies of the Balinese. Sometimes students complains that professors who over emphasizes cultural studies tend to downplay the necessity of reading theclassics, and that they sometimes coerce students into “politically correct “views.

During the rise of neo – liberalism in Britain and the US, cultural studies both became a global force/movement, and attracted the ire of many conservative opponents both within and beyond universities for a variety of reasons. Some left –wing critics associated particularly with Marxist forms of political economy also attacked cultural studies for allegedly overstating the importance of cultural phenomena. The aim of cultural studies is to examine cultural practices and their relation to power,. For example, a study of a subcultural wouldconsider their social practices against those of the dominant culture the middle and upper classes in London who control the political and financial sectors that create policies affecting the well-being of white.

The objective of cultural studies includes understanding culture in all its complex forms and analysing the social and political context in which cultural which culture manifests it. Cultural studies are a site of both study/ analysis analysis and political criticism/ action. Only would a cultural studies scholar study an object, buts/he wouldconnect this study to larger, progressive political project. Cultural studies attempts toexpose and reconcile constructed divisions of knowledge that purport to be grounded in nature.in the late 1990s restructuring at the University of Birmingham led to the elimination of Birmingham school and the creation of a new department of cultural studies and sociology in 1999. Then in 2002 theUniversity of Birmingham’s senior administration abruptly announced the disestablishments of css, provoking a substantial international outcry.

Marxism has played animportant originating roleas being a one of the firs critiques of culture- and has a hence been reflected in the history of cultural studies. The early Frankfurt school of sociology were particularly influenced by Antonio Gramsci, and the members of them later Birmingham school were in the early 1970s influenced by structuralism of althussser.

The development of hegemony theory in cultural studies was in some ways consonants with work in other fields exploring agency, a theoretical concept that insists on the active, critical capacities of subordinated peoples. Insistence on accounting for the agency of subordinated peoples runs counter to the work of traditional struucturalists. Some analysts have however been critical of some work in cultural studies that they feel overstates the significance of or even romanticizes some forms of popular cultural agency .cultural studies often concerns itself with agency at the level of the practices of everyday life and approaches such research from a stand point of radical contextualism. In other words, cultural studies reject universal accounts of cultural practice, meanings and identities. The move from a structuralise account in which capital is understood to structure social relations in relativelyhomologous  ways  to review  of hegemony which power relations are  subject to repetition, convergence  and reticulation brought the question of temporality into the thinking of structure . It has marked a shift from a althusserian theory that takes structural totalities as theoretical objects to one in which the insights into the contingent possibilities of structure inaugurate a renewed conception of hegemony as bound up with the contingent sites andstrategies of the reticulation of power.

In recent decades , as a capitalist culture has spread throughout the world via contemporary forms of globalization, cultural studies has generated  important  analyses of local sites  and practices of  negotiation with and resistance  to western hegemony .cultural studies criticizes  the traditional view of the passive consumer, particularly by underlining the different ways people read , receive and interpret cultural texts or appropriate other kinds of cultural products , or otherwise participate in the production and the circulation of meanings . On this view a consumer can appropriate, actively rework or challenge the meaning circulated through cultural texts. Cultural studies drawing upon the developing semiotics , uses the concept of text to designate not only written language but also televisions programs , films ,photographs, fashion, hairstyles, and so forth ; the texts of cultural studies comprise all the meaningful art effects of culture.

The task of cultural analysts  is to engage with both the knowledge system, and the text , and observe and analyses the ways in which the two interact with one another – and with one other  knowledge systems, including the one being deployed by the analysts him herself. This engagement represents  the critical dimensions  of the analysis, its capacity to illuminate  the hierarchies within and surroundings the given text and  its discourses .cultural studies  has evolved through the confluence  of various disciplines- anthropology, media and communication studies , literary studies , education, geography, philosophy, sociology, politics and others . While some areas of the cultural studies have meandered into political relativism and ‘postmodern’ conception of the subject and emancipation, at its core cultural studies provides a significant conceptual and methodological framework for cultural, social and economic critique.

Cultural studies has also diversified  its own  interests  and methodologies , incorporating a range of studies on media policy , democracy , design, leisure, tourism, warfare and development .many cultural studies practitioner’s work in department of English  or comparative literature. A cultural study has also had substantial impact on sociology.There are some differences between sociology as a discipline and field of cultural studies as a whole while sociology was founded upon   various historicworks purpose fully distinguishing the subject from philosophy or psychology, cultural studies had explicitly interrogated and criticized traditional understandings and practice of disciplinarily.
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Paper 7 queer Theory

Name: Gohil Umaba. B

Roll No: 15

Email id: Umabagohil123@gmail.com

Topic: Queer Theory

Paper No:   07   Criticism

Queer theory
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Queer theory is a set of ideas based around the idea that identities are not fixed and do not determine who we are. It suggests that it is meaningless to talk in general about “women” or any other group, as identities consist of so many elements that to assume that people can be seen collectively on the basis of one shared characteristic is wrong. Indeed, it proposes that we deliberately challenges all notions of fixed  identity, in varied and non-predictable  ways.queer theory , in part  is reaction to a school of 1970s feminism that believed each sex comes with its own essential characteristics. Sex and gender are always strange and they’re never simple .so here’s what queer theorists most want you to understand .whatever you think know about gender roles, what it means to be gay or straight, and so on can be destabilized. Nothing is what it seems.

Riffling the ideas of Foucault Judith butler and eve Sedgwick then developed the ground work for queer theory in the early 90s. One of their central ideas is gender performance. queer theory tells us are learned by watching other guys and girls do “girlie” and “manly”- not through some secret of genetics . Plus, in reality, peoples gender and sexuality expressions are very diverse. They’remuch morefluid and unpredictable than society’s constructed categories would suggest. Queer theory loves destabilizing popular cultural narratives and by that, we mean taking the character out of place. And saying nothing is what it seems. This theory is rebel with acause. It teaches us that language and human expression, in all its forms, are stranger than we ever thought possible.

Queer theory deals with much more than just sex. It goes to the heart of a person’s identity, encouraging us to ask ourselves this question over and over again; who am I really?If we perform manhood and women hood thenmaybe we perform a bunch of other things as well. Queer theory focuses on mismatches between sex, gender and desire. Queer has been associated with simply those who identify as lesbian and gay. Unknownto many queer is association with more than just gay and lesbian, but also cross dressing, hermaphroditism, gender and ambiguity and gender corrective surgery. In KarlUlrich’smodel, homosexuality is understood to be an intermediate condition, a third sex that combines physiological aspect of both masculinity and femininity.queer theory explores and contests the categorisation of gender and sexuality.

The term “gay” normalized homosexuality.” queer” marks both a continuity and break with the notion of gayness emerging from a gay liberationist and lesbian feminist models . “ gay “ vs. “queer “ fuelled debates about LGBT identiy.queer  studies, sexual diversity studies or  LGBT studies is the study of issues relating to sexual orientation and gender identity usually focusing on lesbian , gay, bisexual, trans gender , queer, questioning and intersex people and culture. Originallycentred  on LGBT history and theory , the field has expanded  to include the academic  study of issues  raised  in biology ‘ sociology, anthropology, the history of science , philosophy, psychology, sexology, political science, ethics and other field by an examination  of the identity , lives , history ,and perception of queer people.

The first meeting of British gay liberation front took place at the London school of economics on 13 November 1970 and the first annual gay pride March on 1 April1972. Since then the gay liberation movement has sought to fight social, legal, medical, and religious oppression and tried to locate a whole new cultural space for the thus far marginalized community. Gay and lesbian theory assumes that sexual orientations play a prominent role in the construction of social identity. Sexual orientation is the fundamental category of analysis and understanding. Gay and lesbian studies suggests that the patriarchy which feminism contests is actually “heteropatriarchy”. Kinship and marriage are deemed to be completely heterosexual.

Queer theory argues that following Michel Foucault that the homosexual as asocial category emerges essentially in the post renaissance period. Homosexuality was projected as the dark other of heterosexuality. Thus it is not so much sexuality of the homo/ hetero individual than the political and cultural context in which these sexualities are lived that need to be studied. Queertheory suggests the possibilities of political change where gay / lesbian identities find a voice. Gay/ lesbian theories are sensitive to racial and class categories within sexuality. the assumption here is that gay/ lesbian individuals of  say the economically  disadvantage  working class Asian – immigrants population, are doubly marginalized ; by the white race for  being the  racial others  and within their  own community  for being not- heterosexual.

Contemporary cultural studies of gay and lesbian sexualities speak of a situational homosexuality’s; same sex practices that result from circumstance’s-imprisonment and thebarracks, for instance. This is supposed to be different from truehomosexuality, which is supposed to be having psychic or somatic origin. The idea of situational homosexuality brings up the issue of cultural and social factors in matters of sexuality and sexual preference. There is marked reluctance on the part of even socialconstructivists and historians of same – sex desire to analyse the historical conditions of situational homosexuality. This is somehow renders it ‘TIMELESS’ and therefore in the realm of nature rather than culture. What is required isstudy of how social scientists effectively foreclose the discussion of situational homosexuality in order to understand how even so called cultural historians fallpreys to methods they claim to eschew or reject

 Queer theory in cultural studies looks at various cultural constructions of the gay/ lesbian as deviant, sick or criminal and ask us to interrogate the ways in which an entire range of sexuality has been excluded through the politics of identity, apolitics that informs and governs popular culture representations of queer. Queer theory interrogates the modes by which sexualboundaries of the inside and outside are constructed, sexual identities assigned and sexual politics formulated. Language and law regulate the establishment of heterosexuality as both a practice and as a system. it is the language of defence and protection : heterosexuality secures itself against  the  intrusion of the homosexual contaminant. The homosexual is the excluded.

In addition to framing a homosexual canon were gay or lesbian, but whose works have been queer theorists detect a veiled homosexual thematic in apparently heterosexual works. Woman’s friendship and male bounding are located within classics such as JaneEyre  as an extension they also detect the homophobic tendencies in classic literary works .queer theory emphasizes the liminal nature of identity  they stress  the gay/ lesbian  identity as crossing over. The work of Judith butler iscrucial herebecause itoffers a new way of dealing the problems of identity is not a stable entity. Gender identityis performed and is performed repeatedly. Butler argues that feminism has presupposed the category of woman as astable and unitary subject. Feminismby treating the very fact ofbeing a woman as the defining factor of identity  , ignores  others equally  crucial factors of identity such as race or sexuality. Butler is suggesting that even feminist theory cannot assumes that being ‘ female ‘ or ‘male’ creates  certain  kinds of identity.

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Paper-5 Narrativetechnique in Frankenstein

Umaba B

Roll No: 15

Email id: Umabagohil123@gmail.com

Topic:  Narrative technique in Frankenstein

Paper No:   05( The Romantic Literature)

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Narrativetechnique in Frankenstein

Frankenstein is a novel with a complex narrativestructure. the gothic  novel Frankenstein , or the modern Prometheus is the result of MaryShelly’s travels to Geneva , Switzerland with her future husband P.B.Shelly ,Dr.john polidori and lord Byron , themselves famous authors , and an entertaining contest between those friends about who could write the best horror story ,convinced of a nightmare after reading German ghost stories by the fire and conversing about Darwinism , occult ideas ,galvanism and science , the only nineteen year old Mary shelly put this piece of art down  on paper and published it anonymously.

 In the core of the novel the creature‘sstory ispresented to us framed victor Frankenstein’s story which itself isunframed by Robert Walton’s epistolary narrative. The overall structure of the novel is symmetrical it begins with the letters of Walton, shifts to victor’s tale, then to the creature’s narration, so as to switch to victor again end with the records of Walton. In this manner reader gets different versions of the same story from different perspectives. Mary Shelley’s rather atypical approach not to stick to only one narrator and one defined narrative situation throughout the book creates various impressions on the reader of the novel. The narrative situation of a text describes the structure of how the content,plot, characters and events are being mediated to the reader and is often referred to as the point of view. The narrative situation is one of the main categories in literary analysis.

The novel opens with an epistolary form and in a sense, this continues for the entire novel. It is easy to forget that everything in the novel is told through Walton’sletters to his sister. Victor tells him of his own misery and also relates the creature’s tale to Walton. This shows shelly makes use of embedded narratives in the novel- both victors story are embedded within Walton’s letters.so this sets Walton up as our main narrator and source of information thought the novel. He’s an interesting character, and arguably very similar to victor. Furthermore as we get deeper and deeper into the embedded narratives, we distance ourselves from the original word of Walton, even though he is still guiding the entire novel. By the time we are at the heart of the novel, and the creature is giving us itstale, we are right in the middle of all the embedded narratives. This narrative distancing May be reflective of other ‘distances’ in the novel ‘it may reflect the geographical distance and how all three characters are isolated in their own ways, it may reflect the moral distance between victor and his fellow men or it may reflect Shelley’s desire to be distance from any sort of female voice in the novel- perhaps in fear that a female voice would be seen to reflect her own views and beliefs, which would arguably be frowned upon at the time of writing. By escaping into the multi- layered narratives of three male characters.

It is also interesting to note that creature’s narrative is heart of the novel. It is at very centre. This could be suggestive of many things. Perhaps by having the creatures tale at the heart of the story, shelly is suggesting that the creature is an integral part of all of us .perhaps shelly is suggesting that the creature reflects the other two characters and serves as a ’mirror’  being slotted in between victor and Walton’s narratives .

The three narratives are also very similar they all warn of certain dangers such as overreachingambition, andthey all appear to highlight male dominance and quests where as women are pushed to the side . Walton uses the women in his story-sister- as his audience .similarly, victor relegates Elizabeth to be a correspondent rather than a companion. And the creatures yearns for a female companion that he is never given. Considering that Shelly’s mother,MaryWollstonecraft, was an advocated of feminist philosophy, it seems odd that Shelley has mistreated women in such a way in her novel. A theme that is echoed throughout all three narratives. But the absence of the women is one of the males have tragic stories – perhaps men are too hung up on their own ambitions and desires for power. Furthermore, victors tale is strangely feminist it subverts the female role and presents victor as a warped mother figure.

The narrative structure of Frankenstein also arguably suspends the reader’s disbelief  at the seriously unlikely events of the novel . by using embedded narratives and employing these narrative so carefully and delicately , shelly is able to bridge  asignificance gap betwwen what is believable and what is not . if this story was a told from one long narrative perspective, it wouldn’t be long before we start to think ‘ this is just ridiculous’.but by putting unbelievable  character of creature against victor and putting victor’s unbelievable situation against the believable character of Walton, each narrative seems to ease the reader into appreciating what is essentially a hard to believe a story.

Frankenstein presents  us with a chinese box style narrative – this means that  there are narrations within nararration. This style of narrator creats  a lot of meaning and Also helps to foresahadow the events within  the novel.one of the main effect this style of narration has on the narrative , is it makes it unreliable . we are told different versions  of the same story and what we are told by Walton is third person. Before meeting the delacey’s he was inarticulate and childlike.similarly it is difficult for the reader to fully accept victors version of events. Victor throughout the novel .,brought the label of mad upon himself . he secluded himself and obessed over unconventional things . the people around him picked up on these things and thought he was psychotic. From erratic  mood wrings to depression, there was  a sense of insanity that was associated with victor throughout the novel. As an omniscient reader, we understand that he has reason for his depression and crazy mood swing; but there is still an underlying sense of madness that made him fixated with such unconventional interests. Shelly chose to use this style of the narration.

There are a lot of ideas about why shelly chose to use this style of narrators. Victor says he wants to ‘penetrate the secrets of nature’-clarifying that science is all about trying to find out how the worldworks. In this sense, it could be said that victor is trying to adopt the roll of god …all knowing, and all seeing. by having multiple narrators , it is the reader that becomes all-knowing and all seeing , highlighting how victor is fighting  a losing battle against science. Another idea, in keeping with the theme of science, is the idea offoreshadowing. The narrative is put together from a collection ofvoices, not of which would hold any real significance on their own. When victor is creating his monster he uses stolen body parts and stitches them together .one missing body part and creature would be incomplete. The same goes for the narratives. If one voice is missing. Thestory wouldn’t make any sense. Science is about finding out how the world works; the idea of knowing everything .because of multiple narration s , the narration becomes restricted for everyone expect the reader. In doing this, shelly is allowing the reader to play the role of the scientist forcing us to piece the narrations together to find out the truth.

Victor and creature have separate narration, just as they have separate narrations just as they have separate lives. Victor created the creature, and so therefore had the responsibility to take in the roes of the mother; the protector instead of facing up to what he had done, he ran away from his responsibilities and left the creature to fend for himself. Victor and creature going their separate ways reflect their separate narrative. The only narrators we have are victor. The creature and Walton. We do not receive the narrative voice of the female we shows the objectification of women, trues to that of the time period –long before the feminist movement.

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