Saturday, 19 November 2016

assignment of paper no 9

                    Assignment
Name: Trivedi Disha Hiteshbhai
Paper no: 9(modernist literature)
Topic: Thematic reading of the wasteland and concept of Da.Da.Da.
Year: 2015-2017
M.A.Sem=3
Submitted to: Smt. S.b.gardi department of English m. k. Bhavnagar University


Topic: Thematic reading of the wasteland and concept of Da.Da.Da.
Ø  Brief summary of the Wasteland:

The Waste Land is a long poem by T. S. Eliot. It is widely regarded as one of the most important poems of the 20th century and a central text in Modernist poetry.[2][3] Published in 1922, the 434-line[B] poem first appeared in the United Kingdom in the October issue of The Criterion and in the United States in the November issue of The Dial. It was published in book form in December 1922. Among its famous phrases are "April is the cruelest month", "I will show you fear in a handful of dust", and the mantra in the Sanskrit language "Shantih shantih shantih".
Eliot's poem loosely follows the legend of the Holy Grail and the Fisher King combined with vignettes of contemporary British society. Eliot employs many literary and cultural allusions from the Western canon, Buddhism and the Hindu Upanishads. Because of this, critics and scholars regard the poem as obscure. The poem shifts between voices of satire and pfeaturing abrupt and unannounced changes of speaker, location, time and conjuring of a vast and dissonant range of cultures and literature.
The poem's structure is divided into five sections. The first section, The Burial of the Dead, introduces the diverse themes of disillusionment and despair. The second, A Game of Chess, employs vignettes of several characters—alternating narrations—that address those themes experiential. The Fire Sermon, the third section, offers a philosophical meditation in relation to the imagery of death and views of self-denial in juxtaposition influenced by Augustine of Hippo and eastern religions. After a fourth section that includes a brief lyrical petition, the culminating fifth section, What the Thunder Said, concludes with an image of judgment.

Ø  The Wasteland poem divided into five parts:
1.       The burial of the dead
2.       Game of the chess
3.       The fire sermon
4.       Death by water
5.       What the thunder said

Ø  Use of myths in the wastland:
Jessie Weston’s from ritual to romance: myth/legend of holy grail (with spear)  and fisher king the grail and story is the restoration of a fisher king and thereby of the fertility of a wastland, the lance and the grail itself being phallic symbols.
James Frazier'sthe golden bough: myth of vegetation- birth-death-rebirth
·           The sick fisher king, his impotency and his waste & barren land symbolizes, the sick soul and the desolation of his material life.
·           In the legends which she treats in this book, a land has been blighted by a curse. The crops do not grow and the animals cannot reproduce. The plight of the land is connected with the plight of the lord of the land fisher king.
·           The cruse can be removed only by the appearance of a knight who will ask the meaning of the various symbols which are displayed to him in the castle. The shift in meaning from physical to spiritual sterility is easily made, and was as a matter of fact made in certain of the legends. As Eliot has pointed out, knowledge of this symbolism is essential for an understanding of the poem.
Ø  Myth of tiresias:
King Oedipus of Thebes, his blindness and gift of prophesy- life of man and woman.
Ø  Biblical myth:
Wasteland of Emmaus mentioned in ecclesiasts and Ezekiel (Old Testament).
T.S.Eliot has used a number of devises to impart of unity to this poem
1.       Tiresias as a unifying link:
a)        Tiresias- a mythical character: tiresias, in Greek mythology, a seer, or prophet, from Thebes, said to have been struck blind by the goddess Athena because he had seen her bathing. Athena compensated tiresias with the gift of prophecy. According to another version, after separating a pair of snakes that he found copulating in the road, tiresias was for a time transformed into a woman. Later, having become a man again, he was asked by Zeus and Hera, king and queen of gods, to tell which sex had a more pleasure in love. When he replied that woman had nine times as much pleasure as man, Hera in anger, blinded him, but Zeus granted him long life. Tiresias played a prominent part in theben legends, delivering prophecies to Oedipus, king of Thebes.
b)        Importance of tiresias: he is connecting link between past and present. He is bi-sexual, he has had most varied experience and so he symbolizes human consciousness, the knowledge and experience acquired by the race through the ages. He is a prophet and detached spectator who frequently comments on the human panorama that passes before his eye. He is also a fellow sufferer in the agonized drama of human life. He has the voice of senility the conscious humanity. Deploring its spiritual degeneration in the modern world. It is he who exposes by his comments the spiritual acuity the triviality, the monotony, the aimlessness of contemporary civilization it’s seek hurry and divided aims. He is unifying symbols, without whom the poem would be a phantasmagoria, a nightmare, a series of disconnected scenes and meaningless talks, incoherent and confused. Tiresias assumes many masks and his voice alternates with the voice of the inmates of the modern waste land, and at time with the ghostly voices from the past.
c)        Tiresias blind and spiritually embittered, old and impotent, who is the protagonist of the poem in the waste land , wandering about in great quest, stands for modern man in quest of true spiritual light and viable moral values.
d)        He is spectator and reporter of the happenings....
e)        What he sees is the substance of the poem.
f)         He had the burning experience of the fire of lust both as a man and woman, so he was the fittest person to comment on the same.
g)        The whole poem is Tiresias’s stream of consciousness.
2) Oneness of character and experience:
Not only does tiresias melt into the other character of the poem, but the melting of the characters, into each other is of course, as aspect of the general process. Thus Elizabeth, the hyacinth girl and three themes nymphs, melt into each other. The effect created is a sense if oneness of experience, and of the unity of all periods.
The same effect is created in the experience of the typist and the clerk or Mr.Eugenidezs. Similarly, the similarity of experience of the three waste lands with that of modern post-world war waste land also creates effect of the oneness of experience.
3) The mythical method:
The mythical method consists in seeking analogies for the present in the past.
Ø  The advantages:
a)        It provides a pattern, a way of controlling and ordering and giving shape to what is shapeless and chaotic.
b)        It provides a norm for measuring the extent of degeneracy in contemporary Europe.
c)        It shows that the present spiritual predicament is an ever-recurring phenomenon and so a universal significance is imparted to it.
d)        Myths form the part of collective consciousness. It helps poet in communicating his meaning with minimal explanation.
Refer to theme of sexual perversion and use of myth- three waste lands as objective correlatives to express poet’s emotion for the current waste land is Europe after world war.

Ø  Theme of life – death- rebirth:
Recurrent pattern runs though all myth: winter (death), April showers (rebirth). Fertility myth: harvest (death), rain (life). Myth of fertility god orisis the effigy stuck with grains- buried in water- spouting of grains signify rebirth. Christianity- crucify (death) of Christ and resurrection (rebirth)  to redeem humanity from sin.
4) The sequence of pictures- modern technique of cinematography:
a)        As in cinema-film there are a series of shots transcending time and place, meaningless if considered separately, but taken together forming a coherent whole.
b)        It helps in controlling time and space gives universal and permanent significance.
c)        Successive clippings, after a few reading fix themselves in memory and convey a coherent whole of meaning.
d)        This sequence of picture is central to the poem. The interpretations of these pictures and the other images and symbols may vary from person to person. Yet, what is definite is the vitality and realism of these pictures as they pass by like shots in a film.
5) Continuity of time: the development in modern psychology has changed the concept of time- the past, the present and the future are viewed as a continuing whole. Hence poet moves freely from the present to the past and to the future.
6) The structure:
The structure is that of spiral up and down. The poem proceeds with deeper and deeper probing into the modern malaise. Throughout the poem we come back to the same point, but at different levels. I.A.RICHARDS: music of ideas. This symphony of ideas move in spiral ups and downs to reach at the zenith in what the thunder said.

Ø  Concept of DA..DA..DA.. In a brief:
The wasteland contains several allusion- literary, religious, and mythical, etc. In Wasteland we find many lines which is referred to Indian history or religion. In last line of poem there we find he has concluded his poem with very famous ‘Sanskrit’ words “shantih shantih shantih”. For us this words shantih makes us very religious power. This word also consuls with ‘Sanskrit Upanishads’. Eliot uses the three ‘DA’ which is taken from “brihadaranyaka Upanishads”. Means...
ü  *Datta...  be giver
We have to be giver. For sake of humanity, lots of people scarified their life also because only bloods purify the evils. Humanity is survived only because of such people. So, it is said that
“Blood is thicker than water”
ü  *Dayadhavam... sympathies
Everybody in his prison because of self ego. And self is the key to come out from it but really it is very difficult task.
ü  *Damyata... self control
Everything is burning in wastland. Boat as body and finding and fished, through this we find that western culture has bad connection with sexual perversion and spiritual drought. So, self control is the most important thing in life.

References:
https://en.wikipedia.org/wiki/Setting_(narrative)

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Monday, 4 April 2016

presentation paper 8

deconstruction

Hello...
  according to Derrida deconstruction is a very hard term to define clearly. Derrida deconstructs the metaphysics of presence. that is to say that according to Derrida there is no presence or truth apart from language.There is no a-textual origin of a text. The author’s plan of a book is a text. His realization of the same book is another text. Its summary is third text. A text kindles a text and there is no truth beyond the text that the text seeks to represent or explain. There is no reality other than textuality. The textuality is the free play of signifiers. There is no signified that is not itself a signifier. 
   
      here i share one video which is totally based on Derrida's theory of deconstruction.
      



         He also gives an example of meaning of word in dictionary. he says that we never meets final meaning of the word it will always postponed into another meaning.
                                                                               


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paper no 7 Presentation

paper no 6 presentation

Wednesday, 30 March 2016

paper 8 Assignment

                     Assignment
Name: Trivedi Disha Hiteshbhai
Paper no: 8
Topic:popular culture v/s elite culture
Year: 2015-2017
M.A.Sem=2
Submitted to: Smt. S.b.gardi department of English m. k. Bhavnagar University (Gujarat)
                    
                         Assignment

Topic: popular culture v/s elite culture
    

              Popular culture:

There was a time before the 1960s when popular culture was not studies by academics- when it was, well, just popular culture. But within American studies programs a first and then later in many disciplines, including semiotics, rhetoric, literary criticism, film studies anthropology, history, woman’s studies, ethnic studies, and psychoanalytic approaches, critics examine such culture media as pulp fiction, comic books, television, film, advertising, popular music and computer cyberculture. They assess how such factors as ethnicity, race, gender, class, age, region, and sexuality are shaped by and reshaped in popular culture.

There are four main types of popular culture analyses:
  1.                     pro-diction analysis
  2.         textual analysis
  3.                   audience and
  4.         historical analysis


These analyses seek to get beneath the surface (denotative) meaning and examine more implicit (connotative) social meanings. These approaches view culture as a narrative or story – telling process in which particular texts or cultural artefacts.
For example: a hit song or a television program
Consciously or unconsciously link themselves to larger stories at play in the society. A key here is how texts create subject positions or identities for those who use them.

Popular culture or pop culture is the entirety of ideas, perspectives, attitudes, images, and other phenomena that are within the mainstream of a given culture, especially Western culture of the early to mid 20th century and the emerging global mainstream of the late 20th and early 21st century. Heavily influenced by mass media, this collection of ideas permeates the everyday lives of the society. The most common pop culture categories are: entertainment (movies, music, TV), sports, news (as in people/places in news), politics, fashion/clothes, technology, and slang.

Definition and history of popular culture:

The term "popular culture" was coined in the 19th century or earlier. Traditionally, popular culture was associated with poor education and the lower classes as opposed to the "official culture" and higher education of the upper classes.

The stress in the distinction from "official culture" became more pronounced towards the end of the 19th century usage that became established by theinterbellum period.

From the end of World War II, following major cultural and social changes brought by mass media innovations, the meaning of popular culture began to overlap with those of mass culture, media culture, image culture, consumer culture, and culture for mass consumption. Social and cultural changes in the United States were a pioneer in this with respect to other western countries.

The abbreviated form “pop" for popular. As in pop music, dates from the late 1950s. Although terms "pop" and "popular" are in some cases used interchangeably, and their meaning partially overlap, the term "pop" is narrower. Pop is specific of something containing qualities of mass appeal, while "popular" refers to what has gained popularity, regardless of its style.

According to John Storey, there are six definitions of popular culture. The quantitative definition of culture has the problem that much "high culture" (e.g., television dramatizations of Jane Austen) is also "popular." "Pop culture" is also defined as the culture that is "left over" when we have decided what high culture is. However, many works straddle the boundaries, e.g., Shakespeare and Charles Dickens.

A third definition equates pop culture with "mass culture" and ideas. This is seen as a commercial culture, mass-produced for mass consumption by mass media. From a Western European perspective, this may be compared to American culture. Alternatively, "pop culture" can be defined as an "authentic" culture of the people, but this can be problematic because there are many ways of defining the "people". Storey argued that there is a political dimension to popular culture; neo-Gramscian hegemony theory "... sees popular culture as a site of struggle between the 'resistance' of subordinate groups in society and the forces of 'incorporation' operating in the interests of dominant groups in society." A postmodernist approach to popular culture would "no longer recognize the distinction between high and popular culture."

Storey claims that popular culture emerges from the urbanization of the Industrial Revolution. Studies of Shakespeare (by Weimann, Barber or Bristol, for example) locate much of the characteristic vitality of his drama in its participation in Renaissance popular culture, while contemporary practitioners like Dario Fo and John McGrath use popular culture in its Gramscian sense that includes ancient folk traditions (the commedia dell ‘art for example).

Popular culture changes constantly and occurs uniquely in place and time. It forms currents and eddies, and represents a complex of mutually interdependent perspectives and values that influence society and its institutions in various ways. For example, certain currents of pop culture may originate from, (or diverge into) a subculture, representing perspectives with which the mainstream popular culture has only limited familiarity. Items of popular culture most typically appeal to a broad spectrum of the public. Important contemporary contributions for understanding what popular culture means have been given by the German researcher Ronald Daus, who studies the impact of extra-European cultures in North America, Asia and especially in Latin America.

Forms of popular culture:

·        film
·        fashion
·        music
·        television
·        toys
·        comic books
·        cyber culture
·        magazines
·        advertising

Issues in popular culture:

·        Race
·        Ethnicity
·        Gender
·        Sexuality

·        Cultural imperialism


        Elite culture:

"High culture" is a term now used in a number of different ways in academic discourse, whose most common meaning is the set of cultural products, mainly in the arts, held in the highest esteem by a culture.

In more popular terms, it is the culture of an upper class such as an aristocracy or an intelligentsia, but it can also be defined as a repository of a broad cultural knowledge, a way of transcending the class system. It is contrasted with the low culture or popular culture of, variously, the less well-educated, barbarians, Philistines, or the masses. Still similarities can be noted between high culture and folk culture as they can be all conceived as the repository of shared and accumulated traditions functioning as a living continuum between the past and present.

the Western tradition high culture has historical origins in the intellectual and aesthetic ideals of ancient Greece and Rome. Within this classical ideal certain authors and their modes of language were held up as models of an elevated style and good form as for instance the Attic dialect of ancient Greek associated with the great philosophers and dramatists of Periclean Athens, or Ciceronian Latin. Later, especially during the Renaissance, these values were deeply imbibed by the cultural upper classes, and (as evinced in works like The Courtier by Baldasare Castiglione) knowledge of the classics became part of the aristocratic ideal. Over time, the refined classicism of the Renaissance was expanded to embrace a broader canon of authors in the modern languages that included figures such as Shakespeare, Goethe, Cervantes and Victor Hugo.
     
 In both the Western and some East Asian traditions, art that demonstrates the imagination of the artist has been accorded the highest status. In the West this tradition goes back to the Ancient Greeks, and was reinforced in the Renaissance and by Romanticism, although the latter also did away with the hierarchy of genres within the fine arts established in the Renaissance. In China there was a distinction between the literati painting by the scholar-officials and the work produced by common artists, working in largely different styles, or the decorative arts such as Chinese porcelain which were produced by unknown craftsmen working in large factories. In both China and the West the distinction was especially clear in landscape painting, where for centuries imaginary views, produced from the imagination of the artist, were considered superior works.

For centuries an immersion in high culture was deemed an essential part of the proper education of the gentleman, and this ideal was transmitted through high-status schools and institutions throughout Europe and the United States. As it has evolved, Western notions of high culture have been associated at various times with: The study of "humane letters" especially the Greek and Latin classics and more broadly all works considered to be part of "the canon"; the cultivation of refined etiquette and manners; an appreciation of the fine arts – especially sculpture and painting; a knowledge of such literature, drama, and poetry considered to be of high caliber; enjoyment of European classical music and opera; religion and theology often with a special focus on Europe's predominantly Christian tradition; rhetoric and politics; the study of philosophy and history; a taste for gourmet cuisine and wine; being well travelled and especially "The Grand Tour of Europe"; certain sports associated with the upper classes, such as polo, equestrianism, fencing, and yachting.

                                                                     
          
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