Friday, March 13, 2020

View about the Marriage

💠 Hello readers !


               Criticisms of marriage are arguments against the practical or moral value of the institution of matrimony or particular forms of matrimony. These have included the effects that marriage has on individual liberty, equality between the sexes, the relation between marriage and violence, philosophical questions about how much control can a government have over its population, the amount of control a person has over another, the financial risk when measured against the divorce rate, and questioning of the necessity to have a relationship sanctioned by government or religious authorities.

👉Here I would like to put some people's view about the marrage :-


Marriage is the beginning—the beginning of the family—and is a life-long commitment

Marriage is a bond like no other. It gives us a life partner, a teammate, as we move through the challenges of life together.

The bond of marriage gives us the support to defeat temptation by engaging in deep, satisfying love—a love that gives to, and receives from, our mate physically, emotionally, and spiritually.

Marriage is designed to mirror our Creator’s unconditional love for us. It’s a love that will always be there and will never leave us or forsake us. When a man and woman love one another unconditionally, contentment and joy follow.

Marriage is important part of life. it is a trans formative act, changing the way two people look at each other, at the future, and at their roles in society.

Marriage is one of the most important institutions we have, it binds society and families together, it is a building block that promotes stability. This bill supports and cultivates marriage.

      ~ Sailesh Dhundhvaliya

Wednesday, March 11, 2020

Cyberfeminism


Hamlet as a cultural study


Culture and Anarchy by Matthew Arnold

Hello readers!

            Welcome to my blog. This blog is part of my thinking activity task which is based on Culture and Anarchy by Matthew Arnold, assigned by Dr. Dilip Barad sir. In this blog I have tried to put some key points and my understanding of each chapter of the essay in brief. So, let's go.

💠 Culture and Anarchy by Matthew Arnold :-




                   Culture and Anarchy was written as a series of periodical essays from 1867 to 1868 and published in Cornhill Magazine, Matthew Arnold's Culture and Anarchy was collected as a book in 1869. In the book, Arnold examines Victorian culture in England. He questions how culture and society are intertwined -- if they are at all -- and even questions if culture (which he calls the "study of perfection") is necessary and does any good. Ultimately, though, Culture and Anarchy is a historical study of the time. The Culture and Anarchy divided in following chapters like,


  • Preface : what is culture
  • Sweetness and Light
  • Doing as One Likes
  • Barbarian, Philistines, Populace
  • Hebraism and Hellenism
  • Porro Unum Est Necesssarium
  • Our Liberal Practitioners

(1) preface : what is culture :-

🔺 Key points :-
- Culture as a study in Perfection

🔺 Understanding :-
       
         In the Introduction to his essay Arnold clearly mentioned that the whole scope of the essay is to recommend culture as the great help out of our present difficulties. Culture being a pursuit of our total perfection by means of getting to know all the matters which most concern us, " the best which has been thought and said in the world. "

(2) Sweetness and Light :-

🔺 Key points :-
- A Study of Perfection
   - sweetness and light

🔺 Understanding :-
             In the study of perfection Arnold's essays have shown " to conceive of true human perfection as harmonious perfection. For Arnold Culture is connected with the ideas of Sweetness and light. He tries to explain this idea with the help of Greek words aphuia & euphuia. The euphyes is the man who tends towards Sweetness and light. The aphyes means is our Philistine.

(3) Doing as one likes :-

🔺 Key points :-

- Personal liberty and Anarchy
- Middle class and working class

🔺 Understanding :-

First Matthew Arnold said that Culture is the study and pursuit of Perfection; and Sweetness and light. Freedom of doing as one likes according to Arnold was one of those things which English thus worshipped in itself, without enough regarding the ends of which freedom is to be desired. Again Arnold gives examples of the Middle class and working class, to prove how " doing as one likes " may bring Chaos and Anarchy in society.

(4) Barbarian, Philistines, Populace :-

🔺 Key points :-
- The Aristocrats with their own Individualism
- The working class people

🔺 Understanding :-
              
         The Aristocratic class Arnold calls the Barbarians. Who have their own personal liberty, they have their own Individualism, field sports and mainly exercise as a fashion with them.


According to Arnold the Philistines are the middle class people. Generally they are shopkeepers, worldly wise men, captains of industry busy in trade and commerce.

The working class who help the Empire builders are the Populace in Arnold's parlance. Populace wherever they engaged in running the wheels of industry.

(5) Hebraism and Hellenism :-

🔺 Key points :-
- Renaissance and Reformation

🔺 Understanding :-

The final aim of both Hebraism and Hellenism is man's perfection or salvation. So, the aim and end of both Hebraism and Hellenism is admirable. The emphasis of Hebraism is on doing more a knowing. While Hellenism means thinking clearly, seeing things in their essence and beauty. In England we find both moral and Intellectual awareness sharpened by Reformation and Renaissance.
(6) Porro Unum Est Necesssarium :-

🔺 Key points :-
-Porro Unum est Necessarium in Arnold's Culture and Anarchy
-Culture Diffuses Directness and light.
-Malaise of the age

🔺 Understanding :-
          The term is a Latin title means " But one thing is necessary " One banal system of action, issuing out of the very concepts of Democrat existence is the liberal notion of doing freely as one likes. Now culture diffuses Sweetness and light and religion, fire and strength. Arnold warns us of the besetting blindness of fanaticism either in culture or religion. Arnold has come to the defence of culture and says, " No man, who knows nothing else, knows even his Bible "!


              

Theory of Indian poetics

ASSIGNMENT
PAPER No. 3
The Literary Criticism

  • Dabhi Rita A.
  • M. A Sem :- 2
  • Roll no. :- 20
  • Topic :- The theory of Indian poetics
  • email : dabhirita1198@gmail.com
  • Enrollment no. :- 2069108420200007
  • Submitted :-Department of English                             Maharaja Krishnakumarsinhji Bhavnagar
  •                       University



♦️ Introduction :-

             The Sanskrit word for literature is Sahitya, which etymologically means coordination, balance, concord, and  contrast. Literature is defined by one school of Indian poetics as the art where the word and sense meet an equal term and enhance one another's beauty and worth. The word Sahitya was taken by Abhinavagupta when he described poetry as an overflowing of some emotion of a poet's heart into the heart of his readers or hearers. Indian Aesthetics takes its start from the projections of Bharata in his magnificent work entitled "Natyashastra". We have noted that Indian literary theories carry out a sustained analysis of how meaning is constituted in language, of form and devices. So, let's discuss the major theories of Indian poetics.


School
Thinkers
Texts
  • Rasa
Bharata
Natyashastra
(Second century B.C.)
  • Alamkara
Bhanaha
Kavyalankara
(Sixth century A.D.)
  • Riti
Vamana
Kavyalankarasutra
( Ninth century A.D.)
  • Vakrokti
Kuntaka
Vakroktjivita
( Eleventh century A.D.)
  • Guna - Dosa
Dandin
Kavyadarsa
( Listed above)
  • Dhvani
Anandavardhana
Dhvanyaloka
( Ninth century A.D.)
  • Aucitya
Ksemendra
Aucityavicaracarca
Eleventh century A.D.)

📖 Rasa :-

                 Rasa literary means taste, relish, aesthetic, emotion etc. The theory of  rasa originated with Bharata in Natyashastra.  It claims that the object or meaning that is sought to be conveyed in literary compositions is in the nature of an  emotional effect of diverse human experience on men's mind and heart.The word 'rasa' is proved to have been in use as early as 200 BC. The Vedas and Upanishads explain the term in different yet congruous ways. Rasa signifies the aesthetic pleasure that the audience enjoys while witnessing the successful enactment of a play. Rasa is thus the favourable response to art.

                       The theory thus becomes in effect a theory of literary experience which is strongly rooted in the empirical human reality. Bharata , the first announcer of the theory, gives the most comprehensive analysis of its sources, nature and its categories. The rasa theory has been accepted as the core literary theory by all major poeticians  both before and after Abhinavagupta. Subsequently, the theory found major commentators in Dhanika Dhananjaya who re-examined Bharata's typology of drama and added to it a typology of uparupakas, subplay, play within plays, and one act plays.

📖 Alamkara :-

                       Bhamaha is the first alamkarika poetician. Bhamaha ( Kavyalankara)  talks of the pleasure of multiplicity of meaning inherent in certain alamkaras such as arthantaranyasa , vibhavana and samasokti. In Chapter 2 and 3 of Kavyalankara, he describes 35 figures of speech. Others who continued the tradition are Dandin, Udbhata and Vamana.  In anandavardhana, alamkara was sought to be integrated with dhvani and rasa.  There is a form of suggestion (dhvani) which is evoked by figures of speech and which  thus contributes to aesthetic experience (rasa). The literal meaning of alankara being embellishment, it can be equated with the western "metaphor". Alamkara are like beautiful jewels on a pretty woman; they enhance the beauty of literary  piece. They also help to draw a line of demarcation between prose and poetry.
                               
                            The categories of alamkara have been classified by different poeticians into different kinds of systems. For example, Rudrata divided all alankaras into two types-- those based on phonetics (shabdalankar) form and those based on meaning ( arthalankara). And then further subdivides each into four and five subtypes respectively. Further subclassification of these leads to a total of sixty-eight alamkaras. Ruyyaka classified alamkaras into seven classes on the basis of their content, on the basis of how meaning is constituted :

  • Sadrsya ( similarity)
  • Virodha ( opposition)
  • Srnkhalabadha ( chain- bound)
  • Tarka nyaya ( reasoning, logic)
  • Lokanyaya ( popular logic)
  • Kavyanyaya ( logic of poetry ) and
  • Gudhartha pratiti ( inference of meaning)

 Mammata enumerates sixty-one figures and groups them into seven types.
  •  Upma ( simile),
  •  Rupaka (metaphor),
  • Aprastuta prasamsa (indirect description),
  •  Dipaka (stringed figures),
  •  Vyatireka ( dissimilitude),
  • Virodha (contradiction), and
  • Samuccaya ( concatenation ).

📖 Riti :-
               Riti stands for the different styles of writing each of which portrays a different emotion. Riti is a theory of language of literature. Riti is described for the first time in Bharata's Natyashastra itself under the rubric of vrtti, it is Vamana who developed it into a theory. Vamana believes that Riti is a soul of poetry-- " ritiratma kavyasya".

                 Two other words used for riti are marga and vrtti. Letter Anandavardhana distinguished these styles on the basis of the use of particular kinds of compounds. Dandin uses the term marga and talks of two margas. Mammata designates the different modes as vrtti. Vishvanatha considers proper organisation of language as riti words and phrases have to be properly selected and organised in poetry and this is necessary for rasas and bhavas. Ritis are defined by gunas as well. Riti may be called 'diction', particularly when guna/ Dosa become part of the discussion. Here we find that Riti correlates with themes, effect on the heareres and sentiments. The riti theory is important because it is style that makes statements poetic.
📖  Dhvani :-

                       The dhvani theory was first stated by Anandavardhana in the ninth century in the Sanskrit treatise Dhvanyaloka. As articulated in dhvanyaloka, dhvani become an all embracing principle that explains the structure and function of the other major element of literature- the aesthetic effect (rasa),  the figural mode and devices (alankara), the stylistic values ( riti) and excellences and defects ( guna-dosa).
Dhvani theory is a theory of meaning, of symbolism, and this principle leads to the poetry of suggestion being accepted is the highest kind of poetry. Anandavardhana uses the term dhvani to designate the universe of suggestion,

'Kavyasya atma dhvani '
                                                          ~ ( Dhvanyaloka)

                    In Dhvanyaloka, Anandavardhana has presented a structural analysis of indirect literary meaning. In Todorov's view, Anandavardhana " was perhaps the greatest of all theorists of textual symbolism". And also here we find two main types of dhvani like, Sphota ( grammar) and Vyanjana  ( kavyashastra poetics).  Anandavardhana is openly indebted to Bhartrhari's Sphota theory and he acknowledged it in Dhvanyaloka. And also he proposes three levels of meaning, abhidha, laksana, Vyanjana. Here the literary meaning of  vyanjana, may be communicated by words, sentences, discourse, gesture and even sounds. The rasa theory was popularised by the dhvani theorists who linked it to the principle of dhvani. Dhvani is the method, the means for achieving or evoking rasa.Anandavardhana gives us extensive examples of practical criticism and literary analysis. His principle of dhvani, to be precise, means that, if there is more suggestion ( vyanjana) than statement ( vacya) in a literary piece, it contains dhvani. The dhvani theory meaning came in for criticism at the hands of natya and mimamsa thinkers.

📖  Vakrokti :-

                           Vakrokti (deviant speech) deals with syntax, and also Vakrokti is a theory of language and literature.  Kuntaka made vakrokti a full-fledged theory of literariness.  Kuntaka who gave the definition of vakrokti is "both words and meanings marked by artistic turn of speech" ( Vakroktjivita). Vakrokti literally means deviant or marked expression.  Kuntaka classifies vakrokti into six heads (1) in syllables, or their arrangements, (2) in the base substances, (3) in inflected forms of substantives, (4) in sentences, invading figure of speech, (5) in topics or sections, and (6) in the whole composition. These cover the entire range of literary compositions. Six gunas are identified in literary style : aucitya (propriety), saubhagya (splendour), abhijatya ( classicality), madhurya (sweetness), prasada (perspicuity), lavanya ( grace). These are defined as a kind of language used to achieve particular effects. Kuntaka incorporates rasa, alamkara, riti and Gina theories into his vakrokti siddhanta. And also vakrokti theory is a useful framework for stylistic analysis of literature.

📖  Aucitya :-

               Ksemendra  made aucitya the central element of literariness. Ksemendra defines aucitya as the property of an expression (signifier) being an exact and appropriate analogue of the expressed (signified).  The theory of property or appropriateness claim that in all aspects of literary composition, there is the possibility of a perfect, the most appropriate choice of subject, of idea, of words, of device. So, Ksemendra in his Aucityavicaracarca comments: aucityam rasasidhasya sthiram kavyasya j1vitam (aucitya is the life of rasa). The concept of propriety with reference to custom, subject, character and sentiment recurse in almost all theorists and is often discussed in association with figure of speech, guns/ Dosa and ritis. Anandavardhana relates this principle specifically to rasa.

📖  Conclusion :-

                       After discussing all schools or we can say that theory we find that, it is a very important point that all the critics tried to find the soul of poetry. And also each and every critic has their own belief and their own counterpoint to convince the readers. And also the rasa siddhanta occupies the pride of place among the school of Indian poetics.

📖 Work cited :

  • Chaudhury, Pravas Jivan. “Indian Poetics.” The Journal of Aesthetics and Art Criticism, vol. 19, no. 3, 1961, pp. 289–294. JSTOR, www.jstor.org/stable/428071. Accessed 8 Mar. 2020.




  • Raghavan, Venkatarama, and Nagendra. An Introduction to Indian Poetics. Macmillan and Company Limited, 1970.


Tuesday, March 10, 2020

Oliver Twist and The Workhouse


Postcolonial theory and Cultural Study

ASSIGNMENT
PAPER No. 4
The Cultural Study

  • Name :- Dabhi Rita A.
  • M. A Sem :- 2
  • Roll no. :- 20
  • Topic :-  Postcolonial study.
  • email : dabhirita1198@gmail.com
  • Enrollment no. :- 2069108420200007
  • Submitted :-Department of English
              Maharaja Krishnakumarsinhji       Bhavnagar University




💠 Postcolonial theory and cultural            study.

💠 Beginning :-


                     Postcolonial theory is a body of thought primarily concerned with accounting for the political, aesthetic, economic, historical, and social impact of European colonial rule around the world in the 18th through the 20th century. Postcolonialism refers to a historical phase undergone by third world war countries after the decline of colonialism : for example when countries in Asia, Africa, Latin America and the, Caribbean separated from the European empires and were left to rebuild themselves. Many third world writers focus on both colonialism and the changes created in a postcolonial culture. Among the many challenges facing postcolonial writers are the attempt both to resurrect their culture and combat the preconception about their culture.

💠 Postcolonial theory :-


                         A theoretical approach to analyzing the literature produced in countries that were once colonies, especially of European power such as Britain, France and Spain. Postcolonial theory also looks at the broader interaction between European nations and the societies they colonized by dealing with issues such as identity (including gender and class), language, representation, and history. Because native language and culture were replaced or superseded by European traditions in colonial society, part of the past colonialist  project is reclamation. At first glance postcolonial studies would seem to be a matter of history and political science, rather than literary criticism.

                         In literature we find many great postcolonial critics like, the  Palestinian American cultural critic Edward Said was a mejor figure of postcolonial thought, and his book Orientalism is often credited is founding text. And also we find that the other postcolonial critics like Homi K. Bhabha, Gayatri Chakravorty Spivak and Frantz Fanon etc. So, let's discuss many critics' views about postcolonialism one by one.
♦️  Edward Said :-  
  
"You cannot continue to victimize someone else just because you yourself were a victim once—there has to be a limit"
   
~ Edward Said

            

                     Edward said's concept of Orientalism was an important touchstone to postcolonial studies. Said's ingenious argument that the Orient was a hegemonic "European invention", a "European representation" as "a place of romance, exotic beings, haunting memories and landscape, remarkable experiences" that had nothing to do with actual reality, has played a major role in disjuncturing the prevailing discourse of empires and conquest. The postcolonial theory is a contemporary school of thoughts.

                           Said sharply critiques the western image of the Oriental as " irrational, depraved (fallen), child- like 'different'," which has allowed the west to define itself as "rational, virtuous, mature,' normal'." Most importantly, postcolonial theory reveals the hidden structures of power and knowledge that govern the social construction of the "Orient" as other Said discusses in" Orientalism".  The West's claim to knowledge of the East gave it the power to control it, and represent it. Postcolonialism is a theory contains poststructuralist nuances of power/ knowledge (Foucault), hegemony ( Gramsci), difference/ differAnce, deconstruction (Derrida) and other such critical theoretical frameworks. Said's approach to postcolonialism is characterised by his emphasis on historicism and empiricism. He questions the theoretical orthodoxy of postmodernism by challenging Jean Francois Lyotard's theory (1978) that  the era of grand narratives of emancipation has ended in the present, postmodernist age.

                          Said contends that for many people in non Western world, the grand narrative still dominates the psyche of colonized subjects and still exists in various shapes and forms is hegemonic western imposition on the mind.  Said want the west to open up "the culture to experience of the other which have reminded "outside" the norms manufacture by the "insiders". ( Orientalism p. 24)


♦️ Frantz Fanon :-

                        

                    The French Algerian Frantz Fanon's anti - colonial works, Black Skins/White Masks and The Wretched Of The Earth, have considered the building blocks in which postcolonial theory was constructed. And also Fanon was a Caribbean Marxist, humanist thinker who has analyzed the "Psychopathology of colonization". Fanon's most famous work "Wretched Of The Earth" was a study of how anti colonial movement can work towards decolonization. In it Fanon closely analyzed the suffering and sense of lost identity of the 'native' and the the dubious role played by the 'native elite' who mimic and admire colonizers and also behave like the oppressors.
     
                 Fanon's anti-colonial critical work had a great impact on the liberationist movement  across the globe. And also his book "Wretched Of The Earth" has been an important inspiration for postcolonial cultural critics and literary critics who seek to understand the decolonizing project of Third World writers especially those interested in African and African American text.

♦️ Homi K. Bhabha :-

Homi k. Bhabha has been praised as a leading postcolonial critic and also he is one of the most important thinker in postcolonial criticism.  He is highly influenced by western poststructuralists theory, notably Jecques Derrida, Jecques Lacan and Michel Foucault. He has contributed a set of challenging concepts such as Hybridity, Mimicry, Ambivalence, the stereotypes, the Uncanny, the Nation otherness etc. to postcolonial theory. Bhabha critiques the presumed dichotomies between center and peripheries; colonized and colonizer. He proposes instead a dialogic model of nationalities, ethnicities and identities characterized by what he called hybridity; they are something new, emerging from a '' Third Space" to interrogate the givens of the past. Perhaps his most important contribution has been to stress that colonialism is not a one way Street, that because it involves an interaction between colonizer and colonized, the colonizer is as much affected by its systems as the colonized. The colonized subjects often mimics the colonizer, desiring to take on the 'superior' persona of the colonizer. Bhabha calle this " syndrome Mimicry" but very often this Mimicry can be ironic, almost becoming a mockery.

♦️ Gayatri Chakravorty spivak :-

           Gayatri Chakravorty spivak is a very important figure in postcolonial feminism, who examines the effect of political independence upon "subaltern" or subproletarian women in the Third World. Gayatri Chakravorty Spivak's subaltern studies reveals how female subjects are silenced by the dialogue between the male-dominated Waste and the male-dominated East. The question of identity is front and centre for Spivak, with a cult following built up in the 1980s, Spivak mediates an identity for subaltern by creating a counter discourse that undercuts the dominant structures. Like Said she is fluent in several languages and literatures, crossing the intellectual border between North America, Europe and India, the place of her birth.

              Like Said, Spivak has often  been the target of criticism from small minded critics for her privileged and elitist background, her use of theory and her persona. " Strategic essentialism" is another mejor concept in postcolonial theory that spivak has contributed. Spivak rejects the notion of Identity based on national or regional affiliations both Said and Spivak believe in a secular identity. Both Edward Said and Gayatri Chakravorty spivak discuss the need for postcolonial intellectuals to become responsible public intellectuals and represent those who are oppressed, but both also realize that intellectuals may also be compromised by their influence and positions. "A Critique of Postcolonial Reason"  is a very important book by Spivak.  Spivak wrote her book as an attempt to understand and describe a more responsible role for the postcolonial critic. A Critique of Postcolonial Reason tracks the figure of the “native informant” through various cultural practices—philosophy, history, literature—to suggest that it emerges as the metropolitan hybrid. The book addresses feminists, philosophers, critics, and interventionist intellectuals, as they unite and divide.

♦️ To sum up :-

                               So. Frantz Fanon's foundational work provided a manifesto for understanding the psyche and condition of colonialism. Postcolonial theory has been built upon this foundation with the use of Said's theory of Orientalism as a systemic and  systematic super structure. As postcolonial theory has grown and circulated over the last three decades, it has acquired various standards and new areas of critique. Said and other two contem6 critics Homi K. Bhabha and Gayatri Chakravorty Spivak, are generally considered to form the holy trinity in postcolonial theory. According to Robert Young (1995).

                             The Postcolonial literature deals with framing identities, the politics of rewriting, translations, relation between nation and nationalism. Postcolonial critics accordingly study diasporic texts outside the usual Western genres, especially productions by aboriginal authors, marginalized ethnicities, immigrants, and refugees. Postcolonial literatures from emerging nations by such writers
as Chinua Achebe and Salman Rushdie are read alongside European responses to colonialism by writers such as George Orwell and Albert Camus.





💠 Work cited :-

Burney, Shehla. “CHAPTER TWO: Edward Said and Postcolonial Theory: Disjunctured Identities and the Subaltern Voice.” Counterpoints, vol. 417, 2012, pp. 41–60. JSTOR, www.jstor.org/stable/42981699. Accessed 8 Mar. 2020.

Guerine, Wilfred L. A Handbook of Critical Approaches to Literature. Oxford University Press, 2005.


Spivak, Gayatri Chakravorty. A Critique of Postcolonial Reason: toward a History of the Vanishing Present. Harvard Univ. Press, 2003.