Thematic Study of Poems Vulture:-
1) Nazism:-
In this theme, we will get to know that Black people were treated at that time by white people. It also deals with soldiers and how they were behaving at that time. if they are not belonging to their cast they were killed. we can also see that criminals used to put them in prison. The term neo-Nazism describes any post-World War II militant, social or political movements seeking to revive the ideology of Nazism in whole or in part. The term neo-Nazism can also refer to the ideology of these movements, which may borrow elements from Nazi doctrine, including ultranationalism, anti-communism, racism.
2) Vulture as Metapher:-
In this poem, we can see that how Vulture is used by white people, and in this poem vulture is shown as they are helping nature and its vulture job to eat human dead bodies so, they are just doing their work.on the other side, we can see that how commandant who is having this type of job that he has seen all died people, we may think that commandant is not having good heart or he is not a good person but we can see his good personality that how he cares for his child and think for his child .on the other side we can also see that vulture is cleaning the earth.
3) Ecology - Vulture:-
we can see that Vulture is useful from the perspective of Ecology. we can also that human is not protecting the ecology . we can see in this poem that how on the one side Vulture is doing his work to eat the human body and help nature and on the other side, Commandant is destroying nature. but we can not deny that the commandant is not a soft-hearted person because we can see that he loves his child but if we see this poem in a large picture then we will realize that human is shown bad and vulture are good in comparison to commandant or Human.
4) Humanism :-
we Can see that Animals are cleaning the earth and as we know that there is a chain of Nature and they are used to clean the earth and its animal job. Humans are threatened with Human and we can see that in this poem how Commandant is living upon killing and how Vulture is leaving upon Dead body. so, we can conclude that either man or Animals are dependent upon watching others.
5) Seavenger:-
Human is killing other Human in comparison to Commandant and we can also see that Vulture is doing his duty to eat denied body. we can also see that how Vulture has two types of capability that they can kill and love. commandant is not thinking much about others or about other life. vulture eat died body by that he can fulfill his hunger and help the environment and on the other side either commandant or all human is only thinking about themself and they want that only my family should be safe they are not thinking about the universe . we can see selfishness in human personality.
Tuesday, January 4, 2022
Thematic Study of Poems Vulture
Sunday, December 26, 2021
Revolution Twenty 20
Hello, Readers,
I am Asari Bhavyang, I am a student of MKBU and recently we completed Revolution 2020 and we got a thinking activity by Dilip Barad sir. so, lets begin......
Chetan Bhagat
Chetan Bhagat, once a mechanical engineer and a banker by profession, kicked off his writing career more than a decade ago in 2004 with the release of Five Point Someone, the first book written by Chetan. Five Point Someone is about three friends â Hari, Ryan & Alok- and their life at the top engineering college â IIT.
Revolution Twenty 20:-
Welcome to Revolution 2020. A story about childhood friends Gopal, Raghav and Aarti, who struggle to find success and love in Varanasi. However, it isnât easy to achieve this in an unfair society that rewards the corrupt. Revolution 2020: Love, Corruption, Ambition is a 2011 novel by Chetan Bhagat. Its story is concerned with a love triangle, corruption and a journey of self-discovery. R2020 has addressed the issue of how private coaching institutions exploit aspiring engineering students.
1) If you have to write fan-fiction, how would you move ahead with the ending of this novel, or what sort of change you would bring at the end of the novel?
fan-fiction is written by a fan of, and featuring characters from, a particular TV series, film, etc. In This Novel "Revolution Twenty 20" I would like to end this story by Aarti revealing her truth to Gopal and Raghav that when Gopal was gone for his studies at that time she was having affair with Raghav and her birthday night she was busy with Raghav in her call. Then Gopal truth should also come out and Raghav and Aarti will get to know that how Goapl is engaged with the wrong business and at the end Aarti will realize that she has not left Goapl but Gopal has left her. because he doesn't want that others to know that he is connected with the wrong work and at the end, Raghav will also realize that all these things were done by Gopal and then he will start planning to ruin his life. on the other side, we will see that now at the end Aarti is now alone because, in the end, they both will realize that she was making fool of them. then Aarti will start her life in a new place and then she will start a new business and she will be having a new partner at the end who supported her.
3) 'For a feminist reader, Aarti is a sheer disappointing character.' Do you agree with this statement? If yes, what sort of characteristics you would like to see in Aarti. If you disagree with this statement, why? What is it in Aarti that you are satisfied with this character?
yes, I also agree that Aarti is a disappointing character in the novel because she is not truthful towards her love because from the starting we know that how when she was in love with Raghav at that time she was also connected with Gopal and when she was busy with Raghav at call then she was telling true to Gopal that where she was busy on the other side Raghav and Gopal was truly loving Aarti. If the character was faithful toward her love then I would like to she that how she would fight with all people for his love and I want to she struggles from Aarti side that how she is crazy to get her love and fight with the world for her love.
4) 'For a true revolutionist, the novel is terribly disappointing.' Do you agree? If yes, what sort of changes would you make in character or situation to make it a perfect revolutionary novel? If you disagree, what is in the novel that you are satisfied?
yes,' For a true revolutionist, the novel is terribly disappointing.' because this Novel is more connected with the love triangle that whom Aarti will choose Raghav or Gopal and not talking about a true revolution which was happening. I would include some Revolutinery things happening in the novel and I would like that some characters will be in favour of that revolution and some will in not favor of that revolution and because of that revolution both lead characters is struggling and they will not able to confess there felling they will died.
Saturday, December 25, 2021
Research
Sunday, December 19, 2021
âNo Means No !â- Analysis of Wide Sargasoo Sea concerning # Me Too Movement
âNo Means No !â- Analysis of Wide Sargasso Sea concerning # Me Too Movement
Introduction:-
The âMe Tooâ movement, focuses on the experiences of
sexual violence survivors, on the response of sexual harassment and sexual
assault. If people are more aware of sexual harassment and how it is treated,
then tolerance will decrease, and support for victims will rise.
In The Pink Movie Loyer (Amitabh Bachchan ) Explain about âNo Means Noâ that No is Not a word but it is a statement it does not need any Explanation if someone is telling No then it means No. If the speaking Lady is Friend, Girlfriend, Sex worker or wife â No Means Noâ.
It is about social change, through social media, where itâs known as #MeToo. It was founded in 2006, it became online in late 2017 when several high-profile actresses opened up about their experiences with sexual harassment in the film industry. Tarana Burke, an American social activist, began to use the phrase âMe tooâ on the social networking platform to highlight the sexual harassment, it targeted women. Burke argues that the Me Too movement works on empowerment through empathy by showing the world just how common sexual harassment is and by telling survivors that they arenât alone and are supported.
Analysis of
Wide Sargasso Sea concerning # Me Too Movement:-
English
Literature has been studied from various angles. Yet there are more hidden
aspects that need to be explored to understand this novel. This research
aims at exploring the growth of the protagonist.
âIt is
self-evident that not all sex is rape or should be criminalized as such since
the criminalization of rape for which feminists fought would lose all meaning
without a rape / not rape distinction.â (Mardorossian,Carine)
Yes, I also
agree with this argument that It does not mean that âAll Sex is Rapeâ.It
derives from âindividual choice â is not criminalized. A humanist rather than a legalistic understanding of power dynamics defining that sexualized violence is
to the âmaking of cultureâ.
So,
Rochester's sexual play with black servants is not to be criminalized because that
sexual play was not done forcefully it was done with their individual
choice if that was done without concern then it might be Rape.
Rape culture
was started in the 19th century. Black women being stereotyped and
victimized through sexual violence was invisible and Black male body Rape was
brought to the public agenda as a serious, criminal issue.
âIt was a
large presence but she took it with no thanks and no expression on her faceâ
(140)) when Antoinette calls him out for the small sum his present entailed.
His behavior actually prompts Antoinette to make the following link explicit
âYou abused the planters and made up stories about them, but you do the same
thing. You send the girl away quicker, and with no money or less money, and
thatâs all the differenceâ.(Mardorossian, Carine)
By this
statement, it is clear that Rochester's stages with Amelie are not Rape but it
was a mutual desire. After that Rochester gave money to Amelia but she tell
him No thanks and No Expression so, which means that Amelia does not want money or
No less money.
Using
Fanon White Skin, Black Masks on race consciousness, this paper argues against
expecting or requiring a clear stance on the issue or even posing it as a
dilemma. Reading Fanon as employing an existential-phenomenological methodology
allows us to see how he exposes injustice by writing about the experience and
projecting a future shared community of hope and freedom without a clear
indication of the role our group identities might play. (Sarkar,Ausmita)
Fanonâs âBlack skimâ, âWhite
mask âis connected with this novel and there is the reference of âwhite niggerâ&
â White cockroach âin that the main protagonist is frightened after seeing a white
cockroach in the novel by that it tries to say that women do not deal with the
small creature. In the next part it also saw that how women look beautiful in a white dress so, his husband wanted her wife to wear a white dress because he wants
her wife's pretty by that it's clear that there is no liberty of women thought or
women opinion. According to a manâs mood, she has to behave.
Black criminals get
punished for the same crime at a higher rate and more harshly than white. Black women have to suffer a lot from the Man and others from white
people because she is Black. In society, men are getting more prevelaze than
women because they are having more power. Rape is not about race .rape and
race both are totally different things . White women and Black women are
used and abused for the re-enactments of racial superiority. Black on white v/s
White on white rape. Black on white rape is anxiety and consolidation and on
the other side white on white rape is no less harsh but it is rape.
It is clear that sexual Violence
is race-based rather than gender-based and white women are suffering for years
in silence alongside. There is any possibility of Rape that whether the âRape
âof white women was consensual sex or not
? and if it is consensual sex then it is not rape. Black-on-white
rape was real or fabricated. It is always seen that Women have to pay the
price.
Thus, the
objective of the paper is not only to contrast the symbolic from the semiotic
in the narratives but also to show the breakdown or over-throwing of the
âsymbolicâ in the âsocial lawâ of the Wide Sargasso Sea in the end (Sarkar, Ausmita)
It discourses the âgeneral Social Lawâ of the
patriarchal, colonizing society and the multiple narratives of their
expressions in the colonized society. From the Novel âBerthaâ the character is the contrast between the patriarchal. In reality, this character does not exist
at all but Rochester is inventing this
character to fell Antoinette mad woman so, he wants to play a mind game with here
wife and wanted to manipulate her mind so, she can think that what is
happening with her and does not take a stand for her rights. It brings the
symbolic, semiotic narrative to this paper. In this Novel when Antionetee is frightened from two rates that represent white England. Till the end, Antoinette
does not submit to his authority.
It also
represents that how the authoritatively patriarchal society of husbands. who
just wants her wife to follow his rules if she wants to do something for herself
then also she needs to take permission from her family and after her marriage, she
has to take permission from her husband. she is not free to put her point in
the novel also same things are happening to Antoinette she is first controlled by
his family his husband. When women say âI Hate u â It proves the breakdown
of the âSymbolic âand a shift in the âWhite maleâ narration to become almost âdisoriented
â and filled with silences and gaps to mimic the ââ Semioticâ narration. Semiotic
prevails over the symbolic. The
epilogue does not belong to the girl Antoinette, with whom the novel began, it
belongs to the stranger âBerthaâ to whom the reader is not familiarized. âBertha
âdoes not exist but when her husband was provoking him calling him Bertha then
she got the power to fight against his cruel behavior and in the end, she has then
her revenge and gave him the punishment that he deserve.
In Wide Sargasso Sea,
Rochester uses his power and causes Antoinette to feel her lack of body. Rochester
has regarded Antoinette as deficient and he thinks that Antoinette has to
choose to become silent and stay in the attic because he has the power.
Rochester sees Antoinette as unstable, dangerous, less intelligent, and
inferior. Antoinetteâs situation is described as an absence, like lack and
incompleteness. Rochester, ignoring two women's thoughts and emotions, uses his
phallus power. His phallus plays a foundational role in the roots of the difference
between Rochester and Antoinette. This difference is supported by patriarchy; this
patriarchy uses its own language in the world.(Wick Ramagamage, Carmen)
This statement analyzes womenâs
situation, madness, and women's struggle in a patriarchal society. Madness is a result of patriarchy and male-dominated societies.
Antoinette has shameful and invisible life but at the same time, her madness is
a protestation against society. Antoinette loss her temper because she was portrayed
as a prostitute, evil, or madwoman. On the other side, his husband was calling
him by another name âBerthaâ. Women should start to use their own language in
the world. she should be the subject of her sentences because the subject is a function of the Language. The male role in
the language is different from the of women. She fit herself in the Phallocentric
world. The malady is called madness in History. Man and Women's identities are
shaped in the masculine perspective. If the Women Reject oppressive structures
and powers so they are called mad.
In this Novel Annette depends on her husband and follows all things which her husband is telling, if they accept
tradition then they are mad. When Antoinette learns the truth and when she tried
to show it to society then she is mad. so, how women can not easily put her point in front of society and when she tries to go against her husband then she has to
face many problems as in this Novel When women try to rebel again his husband
then she is put in Attic for ten years.
There is no looking glass
here and I don't know what I am like now.
Antoinette, (Grace's
Watch)(The Wide Sarragesoo Sea)
Antoinette is locked in the
attic with Grace Poole. She has lost all sense of self and everything is
confused. Her isolation has caused her to lose track of time and place and her
past. She exists at the moment with only fleeting and confused recollections of
the past. She was locked in Attic for a long time that was a resume that she
react like this and burn her house.
Everything was
bright or dark. The walls, the blazing colors of the flowers in the garden,
the nunsâ habits were bright, but their veils, the Crucifix hanging from their
waists, the shadow of the trees, were black. That was how it was; light and
dark, sun and shadow, Heaven and hell, for one of the nuns knew all about Hell, and who doesnât? (1968: 48). (The wide Sarragesoo Sea)
Here, Antoinetteâs confused
mood is tried to be represented using motifs as brightness/dark, sun/shadow, and heaven
and hell. I mean Antoinette tries to find light, brightness just because she
needs them so much however the dark or tragic side of life has already been
shaped for Antoinette
Women should know their rights
and use their rights in an appropriate manner not to harm people. she should be educated so,
she will be aware of the things going on in the world as compared to men. She
should write about their identity without being under the influence of male writers
and literature this way women can struggle with patriarchal societies and their
laws.
The first novel Wide
Sargasso Sea contains womenâs silence, madness, feminist theories, political
and racial oppression against patriarchy.(Gunenc,Mesut)
In This Novel, Bartha is a
victim of patriarchy and colonialism. womenâs social reality is shaped by
gender Female experience in Literature is also gender. In The world, women are
getting less privileged in comparison to men. women are inferior to men and lack independence and do not have their own sense of self. Feminists view it as
not only women who become oppressed but also Black, poor people who are oppressed in a patriarchal society. Feminist deals with not only gender but also race,
Religion, Nationality, Culture, and Age.
In the Novel, Bartha became the
victim of colonialism just because she was a white creole. Bartha's situation
highlights the need for female emancipation and racial equality in patriarchal and
colonial societies.
This Novel represents the voice
of women in any historical period of protesting patriarchy and oppression. No matter
in 19th-century women searching for independence and equality it refers
to Bartha.
Conclusion:-
So, it is clear that how Antoinette
was treated as badly by his Family then his Husband, and after marriage also
she was not happy because his husband does not trust him he feels that she is
hiding about her past but, she has already mentioned her past . Her husband
put her in Attic for ten years and then she lost her passion and then at the
end she burn the house. by doing that she also feels that now she is able to take
revenge for all things from which she has gone throw. This Me too Movement is also about the same type of approach
that if woman has faced any sexual harassment then she should take her to stand.
1. Gunenc, Mesut. 2021, https://www.researchgate.net/publication/283341660_Against_Society_Women_s_Language_Body_and_Madness_in_Wide_Sargasso_Sea_and_Sula. Accessed 20 Dec 2021.
2. Mardorossian, Carine. 2021, https://www.researchgate.net/publication/346022476_Metoo_in_Wide_Sargasso_Sea. Accessed 20 Dec 2021.
3.Sarkar, Ausmita. 2021, https://www.researchgate.net/publication/335652551_Feminist_Theory_in_Rhys's_Wide_Sargasso_Sea. Accessed 20 Dec 2021.
4.Wickramagamage, Carmen. 2021, https://www.researchgate.net/publication/322330327_Another_Side_to_AntoinetteBertha_Reading_'Race'_into_Wide_Sargasso_Sea. Accessed 20 Dec 2021.
Thursday, October 21, 2021
Assignment :-5
Name : Asari Bhavyang .M
Roll no :-3
Enrollment No:-3069206420200002
Course:-M.A (English)Sem3
Subject:-Cultural Studies
Topic:-What are postmodernism and popular culture?
Teacher Name:- Dilip Barad sir
Batch :- 2021-2023
Email:- asaribhavyang7874@gmail.com
Department:- Department of English
Q-1 What are postmodernism and popular culture?
- Postmodernism and Popular Culture:-
Most contributions to the debate on postmodernism agree that whatever else it is or might be, postmodernism has something to do with the development of popular culture in the late twentieth century in the advanced capitalist democracies of the West. That is, whether postmodernism is seen as a new historical moment, a new sensibility, or a new cultural style, popular culture is cited as a terrain on which these changes can be most readily found.
- POPULAR CULTURE AND THE ORIGINS OF POSTMODERNISM:-
It is in the late 1950s and early 1960s that we see the beginnings of what is now understood as postmodernism. In the work of the American cultural critic, Susan Sontag , we encounter the celebration of what she calls a ânew sensibility. As she explains: âOne important consequence of the new sensibility is that the distinction between highâ and âlowâ culture seems less and less meaningful.âThe postmodern ânew sensibilityâ rejected the cultural elitism of modernism. Although it often âquotedâ popular culture, modernism was marked by a deep suspicion of all things popular. Its entry into the museum and the academy as official culture was undoubtedly made easier by its appeal to, and homologous relationship with, the elitism of class society. The response of the postmodern ânew sensibilityâ to modernismâs canonization was a re-evaluation of popular culture. The postmodernism of the 1960s was therefore in part a populist attack on the elitism of modernism. It signaled a refusal of what Andreas Huyssen in After the
Great Divide (1986) calls âthe great divide ⊠discourse which insists on the categorical distinction between high art and mass culture. Moreover, according to Huyssen, âTo a large extent, it is by the distance we have traveled from this âgreat divideâ between mass culture and modernism that we can measure our own cultural postmodernity.â The American and British pop art movement of the 1950s and the 1960s, with its rejection of the distinction between popular and high culture, is postmodernismâs first cultural flowering. As pop artâs first theorist Lawrence Alloway explains:
The area of contact was mass-produced urban culture: movies, advertising, science fiction, pop music. We felt none of the dislike of commercial culture standard among most intellectuals, but accepted it as a fact, discussed it in detail, and consumed it enthusiastically. One result of our discussions was to take Pop culture out of the realm of âescapismâ, âsheer entertainment, ârelaxationâ, and to treat it with the seriousness of art.
Seen from this perspective, postmodernism first emerges out of a generational refusal of the categorical certainties of high modernism. The insistence on an absolute distinction between high and popular culture came to be regarded as the âunhipâ assumption of an older generation. One sign of this collapse can be seen in the merging of art and pop music. For example, Peter Blake designed the cover of the Beatlesâ Sergeant-Pepperâs Lonely Hearts Club Band; Richard Hamilton designed the cover of their âwhite albumâ; Andy Warhol designed the cover of the Rolling Stonesâ album, Sticky Fingers. By the mid-1980s, the postmodern ânew sensibilityâ had become a condition and for many a reason to despair. According to Jean-Francois Lyotard, the postmodern condition is marked by a crisis in the status of knowledge in Western societies. This is expressed as incredulity towards âmetanarrativesâ, such as God, Marxism, scientific progress. Steven Connor suggests that Lyotardâs analysis may be read âas a disguised allegory of the condition of academic knowledge and institutions in the contemporary worldâ. Lyotardâs âdiagnosis of the postmodern condition is, in one sense, the diagnosis of the final futility of the intellectualâ. Lyotard is himself aware of what he calls the contemporary intellectualâs ânegative heroismâ. Intellectuals have, he argues, been losing their authority since âthe violence and critique mounted against the academy during the sixtiesâ. Iain Chambers makes much the same point but from a different perspective. He argues that the debate over postmodernism can in part be understood as âthe symptom of the disruptive ingression of popular culture, its aesthetics, and intimate possibilities, into a previously privileged domain. Theory and academic discourses are confronted by the wider, unsystematized, popular networks of cultural production and knowledge. The intellectualâs privilege to explain and distribute knowledge is threatened.â
Like Chambers, Angela McRobbie welcomes postmodernism, seeing it as âthe coming into being of those whose voices were historically drowned out by the metanarratives of mastery, which were, in turn, both patriarchal and imperialistâ. Postmodernism, she argues, has enfranchised a new body of intellectuals; voices from the margins speaking from positions of difference: ethnic, gender, class, sexual preference; those whom she refers to as âthe new generation of intellectuals. Kobena Mercer makes a similar point, seeing postmodernism as in part an unacknowledged response to âthe emerging voices, practices and identities of dispersed African, Caribbean and Asian peoples [who have] crept in from the margins of postimperial Britain to dislocate commonplace certainties and consensual âtruthsâ and thus open up new ways of seeing, and understandingâ.
For Jean, Baudrillard hyperrealism is the characteristic mode of postmodernity. In the realm of the hyperreal, the ârealâ and the imaginary continually implode into each other. The result is that reality and what Baudrillard calls âsimulationsâ are experienced as without difference operating along a roller-coaster continuum. Simulations can often be experienced as more real than the real itself â even better than the real thingâ, in the words of the U2 song.
The evidence for hyperrealism is said to be everywhere. For example, we live in a world in which people write letters addressed to characters in soap operas, making them offers of marriage, sympathizing with their current difficulties, offering them new accommodation, or just writing to ask how they are coping with life. Television villains are regularly confronted in the street and warned about the possible future consequences of not altering their behavior. Television doctors, television lawyers, and television detectives regularly receive requests for advice and help. Baudrillard calls this âthe dissolution of TV into life, the dissolution of life into TV.
John Fiske claims in Media Matters that postmodern media no longer provide âsecondary representations of reality; they affect and produce the reality that they mediateâ. Moreover, in our postmodern world, all events that âmatterâ are media events. He cites the example of the arrest of O. J. Simpson: âLocal people watching the chase on TV went to O. J.âs house to be there at the showdown, but took their portable TVs with them in the knowledge that the live event was not a substitute for the mediated one but a complement to it. On seeing themselves on their own TVs, they waved to themselves, for postmodern people have no problem in being simultaneously and indistinguishably live people and media people.â These people knew implicitly that the media do not simply report or circulate the news, they produce it. Therefore, in order to be part of the news of O. J. Simpsonâs arrest, it was not enough to be there, one had to be there on television. In the hyperreal world of the postmodern, there is no longer a clear distinction between a ârealâ event and its media representation. In the same way, O. J. Simpsonâs trial cannot be neatly separated into a ârealâ event that television then represented as a media event. Anyone who watched the proceedings unfold on TV knows that the trial was conducted at least as much for the television audience as it was for those present in the court. Without the presence of the cameras, this would have been a very different event indeed.
Fredric Jameson is an American Marxist cultural critic who has written a number of very influential essays on postmodernism. According to his account postmodernism is a culture of pastiche, disfigured by the âcomplacent play of historical allusionâ. Postmodern culture is a world in which stylistic innovation is no longer possible, all that is left is to imitate dead styles, to speak through the masks and with the voices of the styles in the imaginary museumâ. Rather than a culture of pristine creativity, postmodern culture is a culture of quotations. Instead of âoriginalâ cultural production, we have cultural production born out of other cultural production. It is a culture âof flatness or deathlessness, a new kind of superficiality in the most literal sense. A cultureâ ~ images and surfaces, without âlatentâ possibilities, it derives its hermeneutic force from other images, other surfaces. Jameson acknowledges that modernism itself often âquotedâ from other cultures and other historical moments, but he insists that there is a fundamental difference postmodern cultural texts do not just quote other cultures, other historical moments, they randomly cannibalize them to the point where any sense of critical or historical distance ceases to exist â there is only pastiche. Perhaps his best-known example of the postmodern culture of pastiche is what he calls the ânostalgia filmâ. The category could include a number of films from the 1980s and 1990s: Back to the Future I and II, Peggy Sue Got Married, Rumble Fish, Angel Heart, Blue Velvet. He argues that the nostalgia film sets out to recapture the atmosphere and stylistic peculiarities of America in the 1950s. But the nostalgia film is not just another name for the historical film. This is clearly demonstrated by the fact that Jamesonâs own list includes Star Wars. Now it might seem strange to suggest that a film about the future can be nostalgic for the past, but as Jameson explains in âPostmodernism and Consumer Societyâ .
Films such as Raiders of the Lost Ark, Independence Day, and Robin Hood: Prince of Thieves operate in a similar way to evoke a sense of the narrative certainties of the past. In this way, according to Jameson, the nostalgia film either recaptures and represents the atmosphere and stylistic features of the past and/or recaptures and represents certain styles of viewing of the past. What is of absolute significance for Jameson Postmodernism is that such films do not attempt to recapture or represent the ârealâ past, but always make do with certain cultural myths and stereotypes about the past. They offer what he calls âfalse realismâ, films about other films, representations of other representations. In this way, history is effaced by âhistoricism ⊠the random cannibalization of all the styles of the past, the play of random stylistic allusionâ. Here we might cite films like True Romance or Pulp Fiction. More than this, Jameson insists that our awareness of the play of stylistic allusion âis now a constitutive and essential partâ of our experience of the postmodern film. Again, it is an example of a culture âin which the history of aesthetic styles displaces ârealâ history. This relates to a second stylistic feature Jameson identifies, what he calls schizophrenia. The schizophrenic, he claims, experiences time not as a continuum, but as a perpetual present, which is only occasionally marked by the intrusion of the past or the possibility of a future. The ârewardâ for the loss of conventional selfhood is an intensified sense of the present â what Dick Hebdige, in Hiding the Light, calls âacid perspectivismâ.
To call postmodern culture schizophrenic is to claim that it has lost its sense of history. It is a culture suffering from âhistorical amnesia, locked into the discontinuous flow of perpetual presents. The temporal culture of modernism has given way to the spatial culture of postmodernism.
TWO EXAMPLES OF POSTMODERN POPULAR CULTURE
A discussion of postmodernism and popular culture might highlight any number of different cultural forms and cultural practices: television, music video, film, pop music, advertising. I will consider here two prime examples: pop music and television.
POSTMODERN POP MUSIC :-
As Frith and Home point out in Art into Pop, âPop songs are the soundtrack of postmodern daily life, inescapable in lifts and airports, pubs and restaurants, streets and shopping centers and sports groundsâ. Connor argues that pop music is perhaps âthe most representative of postmodern cultural formsâ.Jameson distinguishes between modernist and postmodern pop music, making the argument that the Beatles and the Rolling Stones represent a modernist moment, against which punk rock and the new wave can be seen as postmodern. The Beatles and the Rolling Stones are as different from each other as together they are different from, say, the Clash and Talking Heads. In fact, âit would be much easier to make an argument in which the distinction is made between the âartificeâ of the Beatles and Talking Heads and the âauthenticityâ of the Rolling Stones and the Clashâ.
POSTMODERN TELEVISION
Television, like pop music, does not have a period of modernism to which it can be âpostâ. This claim can be made on the basis of a number of televisionâs textual and contextual features. If we take a negative view of postmodernism, as the domain of Baudrillardian simulations, then television seems an obvious example of the process â with its supposed reduction of the complexities of the world to an ever-changing flow of depthless and banal visual imagery. If, on the other hand, we take a positive view of postmodernism, then the visual and verbal practices of television can be put forward, say, as the knowing play of intertextuality (the way one text is inscribed with other texts) and âradical eclecticismâ, encouraging and helping to produce the postmodern âsophisticated bricoleurâ . For example, a television series like Twin Peaks, both constitutes an audience as bricoleurs and in turn is watched by an audience who celebrates its bricolage.
Collins uses Twin Peaks as a means of bringing together the different strands of the relationship between postmodernism and television. Twin Peaks is chosen because it âepitomizes the multiple dimensions of televisual postmodernismâ. He argues that the postmodernism of the series is the result of a number of interrelated factors: David Lynchâs reputation as a filmmaker, the stylistic features of the series, and, finally, its commercial intertextuality. At the economic level, Twin Peaks represents an attempt by American network television to win back affluent sections of the television audience lost to cable and video. In this sense, Twin Peaks marks a new era in network televisionâs view of the audience. Instead of seeing the audience as a homogeneous mass, the series was part of a strategy in which the audience is seen as fragmented, consisting of different segments â stratified by age, class, gender, geography, and race â of interest to different advertisers. The mass appeal now involves attempts to intertwine the different segments to enable them to be sold to different sections of the advertising market. The significance of Twin Peaks, at least from this perspective, is that it was marketed to appeal to those most likely to have been tempted away from network television by VCR, cable, and cinema. In short, the so-called âyuppieâ generation.
Collins demonstrates this by addressing the way the series was promoted. First, there was the intellectual appeal- Lynch as auteur, Twin Peaks as avant-garde television. This was followed by Twin Peaks as soap opera. Together with the two appeals soon coalesced into a postmodern reading formation in which the series was âvalorized as would-be cinema and would-be soap operaâ. This was supported and sustained by the polysemic play of Twin Peaks itself. The series is, as Collins suggests, âaggressively eclecticâ, not only in its use of conventions from Gothic horror, police procedural, science fiction, and soap opera but also in the different ways- from straight to parody â these conventions are mobilized in particular scenes. Collins also notes the play of âtonal variations ⊠within and across scenesâ moving the audience from moments of parodic distance to moments of emphatic intimacy, continually playing with our expectations. Although this is a known aspect of Lynchâs filmic technique, it is also a characteristic âreflective of changes in television entertainment and of viewer involvement in that entertainmentâ. In other words, this fluctuation in generic conventions âdescribes not just Twin Peaks but the very act of moving up and down the televisual scale of the cable box. Viewing perspectives are no longer mutually exclusive, but set in perpetual alternation.â What makes Twin Peaks different from other soap operas is not that it produces shifting viewing positions, but that it âexplicitly acknowledges this oscillation and the suspended nature of television viewing doesnât just acknowledge the multiple subject positions that television generates; it recognizes that one of the great pleasures of the televisual text is that very suspension and exploits it for its own sake.â In this way, Twin Peaks is not a reflection of postmodernism, nor is it an allegory of postmodernism, it is a specific address to the postmodern condition â a postmodern text â and as such it helps to define the possibilities of entertainment in the contemporary capitalist world.
Assignment:-4
Name : Asari Bhavyang .M
Roll no :-3
Enrollment No:-3069206420200002
Course:-M.A (English)Sem3
Subject:-Contemporary Western Theories and Film Studies
Topic:-What is Deconstruction? Explain with the help of examples?
Teacher Name:- Dilip Barad sir
Batch :- 2021-2023
Email:- asaribhavyang7874@gmail.com
Department:- Department of English
What is Deconstruction? Explain with the help of examples?
Jacques Derrida (1930-2004) is undoubtedly one of the most influential thinkers in the history of western thought. Derrida is responsible for the pervasive phenomenon in modern literary and cultural theory known as âdeconstruction.â While Derrida himself has insisted that Deconstruction is not a theory unified by any set of consistent rules or procedures, it has been widely regarded as a way of reading, a mode of writing, and, above all, a way of challenging interpretations of texts based upon conventional notions of the stability of the human self, the external world, and of language and meaning. Often deconstruction, a French word is described as a âmethodâ of âanalysis,â a âtypeâ of âcritique,â and âactâ of âreadingâ as a âwayâ of âwriting,â deconstruction as a broad phenomenon has become all of the things.Like the New Criticism in the 1940âs and Structuralism thereafter, Deconstruction is the most influential critical movement of our time. According to the theoru of Deconstruction, no work of literature whatsoever has been able to express exactly what it wanted to say and thus the criticsâ business is to deconstruct and re-create them, taking their words as not the outward form of their meaning but only the âtrace of a quest.â (Das 31) The purpose of this paper is to show what the theory of deconstruction means and how it is different from earlier theories of literary criticism particularly New Criticism and Structuralism. The deconstructive philosophy of Derrida is a reaction to the structural anthropology of Claude Levi-Strauss.Derrida moved from a text oriented deconstructive approach through analysis of politics and institution. The work of Jacques Derrida in the 1960âs is generally considered of crucial moment in the rise of post structuralism. In three seminal works â âOf Grammatology,â âSpeech and Phenomenonâ and âWriting and Difference.â Derrida calls into question the notion of centres, unity, identity, signification working at a point where he is intensely self-conscious and self-critical of his own writings, Derrida demolishes the boundaries between literature and non-literature. Derridaâs transatlantic influence can be traced to an important seminar held at John Hopkins University in 1966. A number ofleading French theorists, such as Roland Barthes, Jacques Lacan, and Lucien Goldmann, spoke at this conference. Derrida himself presented what was quickly recognized as a pioneering paper entitled âStructure, Sign and Play in the Discourse of the Human Sciences,â a text which shows both what Derrida owes to structuralism and his paths of divergence from it. Throughout the 1970âs, it remained an influential piece of critical writing in America. In âStructure Sign and Playâ Derridaâs endeavor might be seen as threefold: (i) to characterize certain features of the history of Western metaphysics, as issuing from the fundamental concepts of âStructureâ and âCenter,â (ii) to announce an âeventâ â in effect, a complex series of historical movements â whereby these central notions were challenged, using the work of the structuralist anthropolist Levi Strauss as an example; and (iii) to suggest the ways in which current and future modes of thought and language might deploy and adapt Levi-Straussâ insights in articulating their own relation to metaphysics.
According to Derrida:
âThe whole history of the concept of structure must be thought of as a series of substitutions of center for center... successively, and in a regulated fashion, the center receives different forms as names. The history of metaphysics, like the history of the West, is the history of these metaphors and metonymics. Its matrix . . . is the determination of being as presence in all the senses of this word. It would be possible to show that all the names related to fundamentals, to principles or to the center have always designated the constant of a presence.â (394-5)Derrida asserts the concept of structure that has dominated Western science and philosophy has always been referred as a âCenter or a point of presence, a fixed origin.â(Derrida 278) The function of such center has been both to organize the structure and to limit the free play of terms and concepts within it, in other words, to foreclose such play.
Here in âStructure, Sign and Playâ he directs his critique specifically to the structuralism of Levi â Straussâ structural anthropology. That structuralism, Derrida argues, is based on the tacit assumption that is implicit in all conceptions of structure, of an opposition between the âstructureâ itself and a âcenter,â which as Derrida says, was not only to orient, balance and organizes the structure â one cannot in fact conceive of an unorganized structure but above all to make sure that organizing principle of the structure would limit what we might call the free play of the structure.â Such a centre however is not the structuralism, Derrida asserts, was the rupture and disruption that first became aware of the necessity of âfree playâ of structures what Saussure, for instance, describes as the way signs in the system or âstructureâ of language can be understood as elements âeach suggesting and opposing the others.âBut structuralism failed, he implied to explore âthe desire for the centre in the constitution of structure.â Derrida explores that desire in Levi-Straussâ work itself between the desire for the âfree playâ of functional explanation and at the same time, a tacit desire for center is implicit in the privileging of nature over culture âan ethic of nostalgia for origins, an ethic of archaic and natural innocence.â Derrida makes the deconstructive move of demonstrating that the opposition reversed or not can be seen to non-opposition that âfree playâ and âcenterâ are both functional and organizing principles.
Although the structure thereby depends on the center, the center itself is fixed and âescapes structurality,â since it is beyond the transformative reach of other element in the structure. Hence the center is, paradoxically, outside the structure, and the very concept of a centred structure is only âcontradictorily coherent.â Derrida says that the kind of decentering comes into being with Neitzsche, Freud and Heidegger but they too were trapped in a sort of circles a unique circle. For instance, Neitzsche tried to usher in the death of God and Christianity. He said, God or any absolute reference point, really does âdieâ (does become decentred) for the modern world. Freud engaged in a critique of consciousness and the self identity of the human subject.The word âdeconstructionâ is Derridaâs coinage in response to the philosopher. Martin Heideggerâs idea of âdestructiveâ analysis. Heidegger re-examined the conventional metaphysics of being and time. The discourse of each of these thinkers put into question some of central concepts and categories that have dominated Western thought since Plato and Aristotle. Derrida borrows a set of binary distinctions from Saussurean linguistics (such as nature/culture, raw/woked etc.) to contest the claims of Western metaphysics. Language, Derrida believes, is a system of signs and the relation between language and reality is taken as the relation between a set of signifiers and a corresponding set of signified.
Derrida comments on the Westâs sentimental desire for a guaranteed authority, a finality of essence and meaning the âtranscendental signified.â This transcendental signified is the logos where all truth originates, rests and which is irreducible and unquestionable. Godâs understanding is the other name for logos as self presence. The logos can be infinite and self present and it does not borrow outside of itself the signifier that it emits and that affects it at the same time.Derrida claimed that the Western tradition of thought repressed meaning by repressing the limitless vitality of language and by moving some thought to the margin. Thus, deconstruction deconstructs itself, in a self-contradictory effort, it manages to leave things the way they were, the only difference being our expanded consciousness of the inherent play of language as thought. Derrida groups metaphysics, linguistic and structuralism into one category.The new concept of writing proposed by Derrida has three complex words: âdifference,â âtraceâ and âarchewriting.â Difference has two aspects: differing and deferring. Each sigh according to Derrida performs two functions: differing and deferring, not by signifier and the signified. No sign is adequate and therefore every sign is written âunder erasure,â âsous rapture,â a term that Derrida coins to express the âinadequacy of the sign.â The nature of language which conveys meaning through differences between linguistic signs and where the sign present is marked by the traces of the signs absent precludes the possibility of saying anything with finality. Deconstruction attempts to demolish the myth of language by exposing the metaphysical foundation of our understanding of language. Commenting on Derridaâs concept of writing, Gayatri Spivak states that it is âSomething that carries within itself the trace of perennial alterity; the structure of the psyche, the structure of the sign. To this structure Derrida gives the name writing.â
Thus, according to Derrida, in spite of the âdifferenceâ that the author makes between one word and another, he can never express his meaning accurately and exactly. He must always mean more than and something different from that he indicates through writing. Furthermore, deconstructive readings always seem to start out with a set of conclusion, lacking any sense of suspense about the outcome of the reading. Despite its alleged shortcomings, the value of deconstruction may as a corrective, as some of its cautions are absorbed into other interpretive approaches.
Assignment-3
Name : Asari Bhavyang .M
Roll no :-3
Enrollment No:-3069206420200002
Course:-M.A (English)Sem3
Subject:-The Postcolonial Studies
Topic:-The Representation of Rochester's Character in Wide Sargasso Sea essay ?
Teacher Name:- Dilip Barad sir
Batch :- 2021-2023
Email:- asaribhavyang7874@gmail.com
Department:- Department of English
Jean Rhys, original name Ella Gwendolen Rees Williams. Her first book, a collection of short stories, The Left Bank was published in 1927, , Voyage in the Dark was published in 1934, and Good Morning, Midnight was published in 1939).
- The Representation of Rochester's Character in Wide Sargasso Sea essay:-
It is clear that Antoinette is a beautiful thing with a sad destiny, and that Rochester cannot do anything to control it. The circumstances of the situation and each of their backgrounds is what causes their tragedy. Rochester is not a tyrant who ruthlessly seeks out to destroy her, but a victim with his own dilemmas who tries to make his way in the world. Rochester is often seen as untrusting and selfish, but he is justified in many ways. He is hopeful in his situation, he tries to live up to the English standard, and he is given no other option but to attempt to love a madwoman.
Although Rochester speaks to Christophine and calls Jamaica an that is because Jamaica is a reflection of the demented mind of Antoinette. She appears normal to begin with, but as she progresses further into a state of insanity, Jamaica becomes more menacing. When Rochester and Antoinette first arrive to their honeymoon house, Rochester smiles at a little boy and the boy begins to cry. The town is called âmassacreâ which already has a connotation of death. The man called The Young Bull tells Rochester âThis a very wild place-not civilized. Why you come here?â. Jamaica is unwelcoming towards Rochester, and the hostility of the country does not come from his imagination.
Even after being thrust into a shocking new culture, Rochester manages to open his eyes to the beauty of Jamaica. While he is walking through the village and observing the activity of the town, he says âI felt peacefulâ. He describes the sea as serene, and when Antoinette asks him to taste the mountain water he says âit was cold, pure and sweet, a beautiful colour against the thick green leafâ. In his letter to his father he mentions that it is very beautiful there. âStanding on the veranda I breathed the sweetness of the air. Cloves I could smell and cinnamon, roses and orange blossom. And an intoxicating freshness as if all this had never been breathed beforeâ . He does not criticize everything about Jamaica, and he stops to acknowledge and admire beauty in the strange area he has been placed in. He tries to find some reassurance in his situation.
The foreignness of Jamaica adds distrust to Rochesterâs wide range of emotions because he does not know exactly how to handle himself. âNot night or darkness as I know it but night with blazing stars, and alien moon- night full of strange noisesâ . This passage describes how Rochester perceives the island and how it is not what he is used to. Clara Thomas writes that âAntoinetteâs familiar treatment of Christophine and Antoinetteâs whims, which to Rochester are so exotic and therefore troubling, bring distrust and suspicion into their idyllâ . When the environment is so new, one is not going to feel comfortable and at ease. He does not understand the customs of the country, and even the natural order of the moon and the stars seems strange to him. Clara Thomas writes, âThere is the constant menace of the strange exotic land, the people he distrusts, and something secret that he cannot fathom in Antoinetteâ . After being put into such a bizarre village, surrounded by its mysterious inhabitants, of course he would have doubts and suspicions since the island and his wife are keeping secrets from him.
Much of Rochesterâs removed feelings towards Jamaica are reinforced by his loyalty to England. Rochester finds his identity in England, and being taken out from his homeland affects him deeply. âThe two women stood in the doorway of the hut gesticulating, talking not English but the debased French patois they use in this island. The rain began to drip down the back of my neck adding to my feeling of discomfort and melancholyâ . Rochester is very distant with Antoinette and that is because they come from different cultures. Silvia Capello writes, âAntoinetteâs husband is not depicted as a demonic tyrant but as a victim himself belonging to a patriarchal society, a victim of prejudices, incapable of understanding and acknowledging the ties linking his wife with the black culture and community, thus unable to appreciate and understand the complex personality of Antoinetteâ . It is all a big cultural misunderstanding. Robert Kendrik writes that âBecause Antoinette cannot fulfill the role of a proper English wife, that fact reflects on Rochesterâs role as a proper English husband. She is neither English nor a properly Anglicized Creole, and the possibility of madness and alcoholism in her family further distances her from Edwardâs imagined normalâ. Being in an alien world, Rochester desires to keep a grasp on his identity. Laura Ciolkowski writes that âHis identity is left uncertain by the English laws of primogeniture that leave the younger son with nothing to inherit. Only the English tastes and aversions that shape it continue to remind him of his cultural heritage and the colonial power to which it is linked. He defines himself by English tastes to help secure his identityâ .
Rochester is not in the wrong by being unable to conform to the ways of Jamaica, because none of the islanders can even comprehend the English culture. Antoinette and Christophine go so far as to mock the English culture, when they cannot even understand what it is like. Rochester attempts to compare the red earth in Jamaica to the earth in England and Antoinette mocks him. âOh England, England, she called back mockingly, and the sound went on and on like a warning I did not choose to hearâ . When Christophine is serving coffee to him, she says âNot horse piss like the English madams drink, I know them. Drink, drink their yellow horse piss, talk, talk, their lying talkâ . It is interesting how she says that she knows them when she really does not at all.
On page 69 she contradicts herself by saying âI donât say I donât believe, I say I donât know, I know what I see with my own eyes and I never see itâ. The women ridicule Rochester for his English heritage. The two very different cultures are unable to understand each other. This confusion, and not Rochesterâs actions, is what causes the dysfunction between Rochester and Antoinette.
Rochester is a victim of his circumstance. He entered into the situation not because he wanted to drastically change his life, but because he had no other option. As the second-born son to his father, Rochester was left with no inheritance and agreed to marry Antoinette so that he would be able to survive financially. Clara Thomas writes, âHe has been duped by Mr. Mason, married to a girl who perhaps has a taint of colour and perhaps madness in her blood. He also has to deal with his own self-contempt, the recognition, that following his fatherâs instructions, he married for moneyâhe was boughtâ.The act of marrying Antoinette for financial gain was actually selfless in a way. He is trying to please his father. In the letter to his father he writes, âI will never be a disgrace to you or to my dear brother, the son you love. No begging letters, no mean requests. None of the furtive shabby maneuvers of a younger sonâ . In another letter he writes, âAll is well and has gone according to your plans and wishesâ . Notice he does not include the word âmyâ or the word âourâ. He tries desperately to find legitimacy and acceptance in his fatherâs eyes, and in doing so he puts aside his plans and wishes in order to avoid being a disgrace to the family name with no means of support. Rochester simply has to make decisions according to his birthright.
The way that Antoinette treats Rochester is a signal to the fact that she is undeniably going insane. Antoinette went crazy before she even met Rochester. âI never wished to live before I knew you. I always thought it would be better if I died. Such a long time to wait before itâs overâ . Even while she is married, in the present tense she says âsay die and I will die. You donât believe me? Then try try, say die and watch me dieâ. Rochester says, âI watched her die many times. In my way, not in hersâ . Rochester reads that âa zombie, is a dead person who seems to be alive or a living person that is deadâ . Many times Rochester tries to kiss her fervently, touch her face gently, but she gives no response. Rochester watches Antoinette as she sleeps and he notices how inanimate she looks.
On page 88 he says âI drew the sheet over gently as if I covered a dead girlâ. He describes her as cold in several passages. Antoinette is hard to love because she is unresponsive and she is dead on the inside. While Antoinette is walking through the garden at Coulibri she says âThe paths were overgrown and a smell of dead flowers mixed with the fresh living onesâ . This foreshadows and symbolizes Antoinetteâs world as she is caught between the living and the dead .
There is a lot of truth in Daniel Coswayâs letter to Rochester when he writes âthere is madness in that familyâ . Antoinette is following in the footsteps of her mother. When Christophine instructs her to leave Rochester, Antoinette replies with, âGo, go where? To some strange place where I shall never see him? No, I will not, then everyone, not only the servants, will laugh at meâ . Antoinetteâs mother was always worried about people laughing at her. Clara Thomas says âShe cannot forget the causes of her motherâs ruin and degradation though she does not completely understand them. She dreads the same fate for herself but at the same time, in a doomed way, she expects itâ . The pattern according to the family history was inevitable, and Rochester is not to be held accountable for the fact that he was assigned a bad bargain.
It is impossible to put the âblameâ of the tragedy on a single person or event, due to the fact that every factor contributed to the demise of Antoinette in the end. Rochester is often put to blame, but he was also a victim of a tragedy that they could not foresee. An interesting image tells the story of Antoinette and Rochester. When they are sitting in the dining room, a moth flies into the candle and falls to the floor. Antoinette has been burned throughout her life, but for a brief moment she is taken away from her past, she becomes rescued, and she is still. In the same way that he examines the soft brilliant colors of the wings, just a page before Rochester notices that he can see the red and gold lights in her face. For a moment he can see her beauty, until she is gently disturbed with his handkerchief and she flies away. Antoinette is a fragile zombie, leaning towards death or life at any given moment Rochester is a victim who has tried to prosper with the conditions he was given, but could never succeed.
Rochester's anonymity underscores the implied authority of his account. He is the nameless creator and, as a white man, his authority and privilege allow him to confer identity on others. For instance, he decides to rename his wife, calling her "Bertha" in an attempt to distance her from her lunatic mother, whose full name was Antoinette. Later, he takes away Antoinette's voice along with her name, refusing to listen to her side of the story. As he continues to fragment her identity, he creates the new name of "Marionetta," a cruel joke that reflects Antoinette's doll-like pliability. He ultimately refashions Antoinette into a raving madwoman and treats her as a ghost. Having totally rejected his Creole wife and her native customs, Rochester exaggerates his own cool, logical, and distinctly English rationale; he asserts his total English control over the Caribbean landscape and people.
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