Discuss'Doing as one like'.

Topic: -Discuss ‘Doing As One Likes’


 Name:-Kailas Gohil
 Roll No:-14
 Paper No:- 6(The Victorian Literature)
 Sem:- 2(Two)
 Email Id:-kailasgohil1998@gmail.com
 Submitted By:-Dr Dilip Barad
 SMT S. B. Gardi  Mharaja  Krishanakumrsinhji  Bhavnagar  University










Topic:-Discuss ‘Doing As One Likes’

 Introduction:-

                    Matthew Arnold, in the  first chapter of “Culture & Anarchy” – ‘sweetness & Light’ – has tried to show that culture is the study and Pursuit of Perfection ; and sweetness and light, are the main character. But Hitherto he has been insisting chiefly on beauty, or sweetness, as a character of perfection. To complete rightly his deign, it evidently remains to speak also of Intelligence, or light, as a character of perfection. In this character to bring home his point of Anarchy, he speacks of  light as one of the characters of perfection, and of culture as giving us light.
 Dangers of ‘Doing As One Likes’ in Society: Personal Liberty: Freedom:
It is said that a man with the theories of sweetness and light is full of antipathy against the rougher or coarser movements going on around him, that he will not lend to the humble operation of uprooting evil by their means, and that therefore the believers in action grew impatient with him. But what if rough and coarser action, ill-culturated  action, action with insufficient light, is bane on the society? What if society’s urgent want now is, not to act at any price, but rather to lay in a  stock if light for its difficulties? In that  case, to refuse to lend a hand to the rougher and coarser movements going on round, is surely the best and in real truth the most practical line.
Freedom of  doing as one Likes, according to  Arnold, was one of those thing which English thus worshiped in itself, without enough regarding the ends for which freedom is to be desired. He agrees with the prevalent notion that It is a most happy and important thing for a man merely to be able to do as he likes,  But the problem is “ on what he is to do when he is thus free to do as he likes, we do not lay so much stress.” Even though the British Constitution and liberal practitioners like Mr. Bright forcibly say that – “British Constitution  is a system which stops and paralyses  any power in interfering with the free  action of  individuals….. that the central idea of English life and politics is the assertion of personal liberty”, Yet Arnold fears this very right and happiness of an  Englishman to do what he likes may drif the entire society towards ANARCHY.

• Its Outcome on Middle & Working Class:

Again, Arnold, gives an  example of Middle class and Working class, to prove how “Doing As One Likes” may bring chaos and anarchy in society: He Writs in this essay:
“Our Middle class, the great representative  of trade and Dissent, with its maxims of every man for himself in business, every man for himself in religion, dreads powerful administration Which might somehow interfere with It; and besides, it has its own decorative inutilities of vestryman ship and  guardianship, and a stringent  administration might either take these function out of its hands, or prevent its exercising  them in its own comfortable, independent manner, as at present.
In short, Arnold strongly believed that “Our masses are quite as raw and uncultivated as the French;  and so far from their having the idea of public duty and of discipline.” And that of this concept of freedom is rampant in the  nation, it will soon be the need of the hour to civilized  the nation of barbarians by the conscription.
• Its  Consequences on Hyde Park Protesters/ Dissenters:
Arnold  gives yet another example of Hyde Perk protesters and dissenters to prove how chaotic the world becomes as a consequences of Doing As One Likes: Let us put it in Arnold’s own Ironic style:
“But with the Hyde Park  rioter how different! They are our own flesh and blood; they are Protesters ; they are framed by nature to do as we do, hate what we hate, love what we hate, love what we love; the question of questions, for them, is a wages question”.
How, indeed, should their overwhelming strength act, when the man who  gives an inflammatory lecture, or breaks down the park railings, or invades a secretary of state’s office, is only following an Englishman’s impulse to do as he likes; and our own conscience  tells us that we ourselves have always regarded this impulse as something primary and sacred? Mr. Murphy lectures  at Birmingham, and showers on the Catholic population of that town ‘words’ says the Home Secretary, ‘Only fit to be addressed to thieves or murderers.’
Arnold, in his crystal clear Style, blames the strong belief in Freedom for such anarchy  society. He says that English Are so obsessed with the notion of freedom in doing as one likes that they became careless of right reason- intelligence.
 A principle of Authority to counteract the tendency to ANARCHY:
Now, if culture, which means trying to perfect nothing  so very blessed in merely Doing As One Likes, that the  worship of the mere freedom to do as one likes is worship of  machinery, that the  really  blessed thing is to likes what right reason order, and to fallow her authority,  then one has got a practical benefit  out of culture. The urgent need of society is the much- wanted principle, a principle of authority, to counteract the  tendency to anarchy, which seems to be threatening society.
But again the big problem, according to Arnold is “who should be entrusted with this authority?”  According to Carlyle it’s the Aristocratic class, for Mr. Lowe, it is the middle  class and for the Reform League, it is the working class to whom the authority to judge the right by light- reason should be given. But, at the end of a very long disquisition  discourse on a subject, often in , Arnold says “….. that we can as little find in the working class as in the aristocratic or in the middle class our mush – wanted source of authority, culture  suggests  it to us.” He is of the view that all these three ‘classes are honest, they have got the ‘sweetness’ essential for ‘Culture’; but what they lack in different proportions is ‘LIGHT’. People of the aristocratic  class want to affirm their ordinary  selves, their liking and disliking; people;  of the middle class the same, people of the working class the same.
As a result, Arnold verbalize that: “By , we are  every- day selves, however separate, personal, at war; we are only safe from one another’s tyranny when no one has any power; and this safety, in its turn, cannot save us from anarchy. And when, therefore, anarchy presents itself as a danger to us, we know no where to turn.
 OUR BEST SELF: the ultimate guardian of principle of  authority:
As all the classes fails to pass Arnold’s standard to hold the guardianship of the principle of authority to counteract Anarchy, Arnold suggest our best Selves- to whom the authority   must be given “because it is the truest  friend we all of us can may turn with sure trust”. Arnold says firmly that “ WE want an authority, and we find nothing but jealous classes, checks, and a  deadlock; culture suggests the idea of the state. We find no basis for a firm State- power in our ordinary selves; culture suggest one to us in  OUR BEST SELF”.
 Conclusion:-
Thus to conclude we may say that for Arnold, OUR BEST SELF which culture, or the study of perfection, seeks to develop in us is  eventual remedy or anarchy is society . In his concluding paragraph Arnold quotes Bishop Wilson to prove himself in asserting, how important is intelligence and reason to judge right, in doing as one likes:
“firstly, never go against the best light you have:
Secondly, take care that your light be not darkness,”

“English have followed”, writes Arnold to conclude second chapter, “with praiseworthy zeal the fist rule, but we have not given so mush heed to the second. We have done according to the best light we have; but we have not taken enough  care that  this should be really the best light possible  for us, that it should not be darkness. And our honest being very great, conscience has whispered to us that light we were following, our ordinary self, was perhaps, only darkness.

Thank you…………

                       

Write about the sailent features of the Romantic age.

Topic:- Write about the sailent features of 'The Romantic Age


• Name:-Kailas Gohil
• Roll No:- 14
• SEM:- 2(Two)
• Paper No:-5 ( The Romantic Literature)
• Email Id:- kailasgohil1998@gmail.com
• Submitted by:- Dr. Dilip Barad
• S.M.T. S.B. Gardi  maharaja krishanakumarsinhji Bhavnagar University
















• Topic:- Write about the sailent  features of  ‘The Romantic Literature'.


• Introduction:-

                   

Romantic Poetry :

 The period from 1798 to 1837 called as a Romantic Age. The poetry which written during this time known as a Romantic Poetry. In this age The Romantic movement happened in 1798 in Britain. It was reaction against the classical Poetry. This movement play a vital role into make a new way of writing the poetry which were free from classical restrictions. In this movement the most important figure were Wordsworth, Coleridge,  Shelley, Byron , Keats.

● Characteristics of Romantic Poetry :

 ● Reaction against Neo - Classicism :

 Romantic Poetry is different from Neo Classical Poetry. In Neo classical Poetry is based on the reason and intellectual while Romantic Poetry. Which begins in 18th century. It was reaction against set standard of poetry of classical age. According to William. J.Long :

 " The Romantic movement was marked and it is always marked by a strong reaction and Protestant against the bondage of rule and custom which in science and theology as well as literature generally tend to fetter the free human spirit."

So Romantic Poetry is come after the Romantic movement and this movement become the way of new poetry which is free from classical Poetry and it's rules and regulations later on it called as " Romantic Poetry ".

● Imagination :

 Imagination is main and important element of Romantic Poetry. In  Classical Age there is important of Reason but in Romantic Poetry there is important of imagination. Classical writers believed in Reason but Romantics poets believe in imagination. Imagination is the main  one of the main element of Romantic Poetry.



● Back from set rules :


Poetry of the Romantic is different and contrast with the Neo Classical Poetry. Neo Classical Poetry was based on the 18th century rules and regulations. There were well prepared line of composition poetry. So the Romantic Poetry breaks all the rules and regulations of Neo Classical Poetry. They set New rules that the poetry should free style without following rules and regulations. So Romantic Poetry believe in free style of expressing emotions without using or follow any rules and regulations.

● Nature :

  In classical Age Poetry concerned with the clubs and coffee houses , social political life of London. So it was poetry about town life. In the Romantic Period Nature is main element of poetry. Because of Romantic Revival happened so the interst of poets was transformed from town to ruler life and from artifical decoration of rooms to the Natural beauty and loveliness of the Nature. So nature is most important element of this age. Wordsworth was a great example of Nature poet. His works were based on the physical and spiritual beauty of Nature. It shows the beauty and charm the people who could not see the beauty in wildflower, Green fields.

● Common Life :

 Romantic poets were interested into talking about the lives of the common people like Shepherd and gay butterflies of fashion. They interested into the simple life of people and it is marked as  poetry of Romantic Age. A feeling of humanitarism coloured the poetry of Wordsworth, Coleridge and Shelley. So the Romantic Poetry was marked as a intense of human sympathy and understanding of human heart and human behaviours.



● Love of liberty and Freedom :


Romantic Poet love library and Freedom. In the classical age the poet not get freedom in expression of their emotions. But the Romantics poets believe in Freedom and liberty. This thing also expressed through their poetry. Poetry is based on the Liberty and Freedom of individual. Romantic Poet believe in the individual freedom of expression and emotions into their poetry. So the Literary and Freedom plays vital role into publishing and writing many poems in this age.



● Predominance of Imagination and Emotions :


  In the classical Poetry based on the Intellect and Reason. It is marked as a chief characteristics of classical Poetry but in Romantic Poetry reason is dominated by emotions , passion and imagination. So the Romantic Poets give more importance to imagination rather then reason and intellectual. So the imagination and Emotion is considered as a important characteristics of Romantic Poetry.



● Super Naturalism :


Supernaturalism is the main and important characteristics of Romantic Poetry. There are many poetry which is based on the Supernatural elements. Supernaturalism gives the special atmosphere to the poetry and it added extra charm , mystery and wonder. Poets like Wordsworth, Coleridge and Scott gave the sense  of wondering and Mystery into poetry.

● Endless Variety :

In the Romantic Poetry there endless form of variety. There are many types of variety sees in the Romantic Poetry. This age of poetry is full of varieties in the characters and moods of different writers.



● Simplicity in Style :


The style of the Romantic Poetry is simple. Romantic Poets believe in the simplicity in their style. They followed the simplicity in their works. They not followed the artifical mode of the expression of classical Poetry. They have express thoughts in natural Diction and spontaneity way.

• William Wordsworth:-
Wordsworth was a major figure of the Romantic Poetry. He was considered as English Romantic Poet. He was also a Britain 's poet laureate. His poetry was a collection of all the Romantic characteristics and his treatment towards the Romantic elements. He stands as most important figure of Romantic Poet. There are many reasons that wordsworth considered as Romantic Poet. He was a pioneer of Romantic Movement. It was a reaction against a Classical Poetry. It was beginning in 19th century. It was begins with the publication of the "Lyrical Ballads ". There are many reasons for which proves Wordsworth as a Romantic Poet :



● Imagination  :


  During Romantic Age Poet uses imagination as a tool of their poetry. They emphasise more on use of imagination rather than reality. Wordsworth also uses Imagination into his poetry. There are many works of Wordsworth with is based on the use of high imagination. Many of his poems are based on the use of imaginary. He creates the sequence of pictures through his use of imagination.



"The Rainbow come and goes,

And lovely is the Rose,
The Moon doth with delight
Look round her when the heavens are bare"



● Nature :


Wordsworth considered as Nature poet because most of his poetry based on the Natural element. He saw Nature in both ways as healing power and teacher or Moral guardian. Nature considered as living personality into his poems. This thing reflect into his poem : " I wondered lonely as a cloud ". In this poem reflect the Nature. It has a extremely simple laguage . Through this shows the poet’s wandering and his discovery of a field of daffodils by a lake .the memory of which pleases him and also   comforts him when he is lonely, bored, or restless.He has a emotional reaction against this Natural scene and he later remember it with a great pleasure. He uses a simple laguage with can be understood by anyone. Wordsworth describe about  nature as a "never did betray the heart that loved her". So through he shows the importance of
Nature.

● Subjectivity :

Subjectivity is the main concept of the Romantic poetry. He expresses his personal thoughts, feelings through his poems. In “Ode to  Intimation of Immortality” the poet expresses his personal feelings. Nature becomes the most important subject  to the poet. Nature was considered as  his beloved. He loved only the sensuous beauty of the  Nature. He has philosophy of nature.



● Humanism:


In the Romantic Poetry the main element is Humanism. The Romantic  Poet focus on The Nature of Man. Romantic Poet shows the love of Men rather than other things. Wordsworth also shows the Human nature in his poetry. His works based on the  simple village folk and the peasant people connected with nature. He also uses laguage which is used by simple common people. He gives importance to common people and their language.

His poem :  I wondered  lonely as a cloud :




        I wandered lonely as a cloud

        That floats on high o'er vales and hills,
        When all at once I saw a crowd,
        A host, of golden daffodils;
        Beside the lake, beneath the trees,
        Fluttering and dancing in the breeze.

       This poem based on Natural element. In this poem wordsworth shows the beauty of Nature by describing Daffodils. He told how he was happy to see thousands of Daffodils. He later on remember that with pleasure. He recollecting the emotions by remembered the Beauty of Daffodils. It is also shows the simplicity of language and love for Nature.

■ S.T.Coleridge as a Romantic Poet
Coleridge was a famous literary critic, philosopher. He was a  friend of William Wordsworth He was a main founder of the Romantic Movement in England. He was also a member of the Lake Poets. His famous poems are The Rime of the Ancient Mariner and Kubla Khan and also he was famous for his  prose work Biographia Literaria. He was considered as a best Romantic Poet as like Wordsworth. Here many characteristics which can be seen Coleridge  as the Romantic poet.



● Supernaturalism :


Supernaturalism is the famous characteristic of Coleridge 's poetry. He was famous for using super natural elements in his poems. He attempts to draw the supernatural into his poetry in  a convincingly . It becomes compelled to take it for real amd natural by willingly suspending disbeliefs. This thing is created most appropriately in The Rime of the Ancient Mariner. It is a good example of using Supernatural elements in poem.

● Imagination :


 Coleridge considered as  the most imaginative mind amongst the Romantic poets. Coleridge was  good at portraying vivid imagery into his poems. He has the power to transport the audience in his magination by convincing the people  to accept no-existent things  as real. This is the remarkable quality which makes  Coleridge to incorporate convincing people for the element of mystery. For example: in his poem Kubla khan. Into this poem he describe Kubla Khan’s palace as a effective way that it  forces the reader to believe in its existence. So he has such a great imagination power which make the things real that not exist in Real world.


● Nature :


Like all the Poet of Romantic Poetry Coleridge also have Nature as a main element of his poetry. He also think like Wordsworth that Nature as a teacher. But later on he changed his view about nature. He thinks Nature as a depends on our mood and temperament. He also think that how people  interpret nature. This view about the nature as dependent on mood is  reflected in Dejection: An Ode.


"O Lady! We receive but what we give,
And in our life alone doth Nature live
Ours is her wedding garment, ours her shroud!"

● Humanism :


Coleridge always cared for the  humanity. His love for the humanity was revealed . When he strongly supportinf the French revolution. He supported the upheaval assuming. So it would free the masses from the oppression of the dictators.Coleridge windrowed his support as the revolutionists deviated from their  principles. Coleridge showed his  dissatisfaction through   his French: An Ode. The best example of his love for humanity is Rime of the Ancient Mariner. It is considered as a best example in which shows the elements of humanity.


• Conclusion :


 So the Wordsworth and Coldridge considered as a best representation of Romantic Poetry. Through their works they consider as a best poet among the Romantic poets. Their poetry including all the characteristics of Romantic Poetry. They both created a remarkable position in Romantic Poetry. 
                       Thank you……….

Techno culture and cultural studies

Topic:-Techno culture and  cultural studies


• Name:-Kailas Gohil
• Roll No:-14
• Paper No:-8(Cultural studies)
• SEM:-2
• Email Id:-kailasgohil1998@gmail.com
• Submitted by:- S.M.T.  S. B. Gardi maharaja krishanakumarsinhji Bhavnagar University
















Topic:- Techno culture and cultural studies

• Introduction:-

Technoculture is a neologism that is not in standard dictionaries but that has some popularity in academia, popularized by editors Constance Penley and Andrew Ross in a book of essays bearing that title.[1][2] It refers to the interactions between, and politics of, technology and culture.

  "Technoculture" is used by a number of universities to describe subject areas or courses of study. UC Davis, for instance, has a program of technocultural studies. In 2012, the major merged with Film Studies to form Cinema and Techno-Cultural Studies (CaTS), but in 2013 is being reviewed to become Cinema and Technoculture (see below); the University of Western Ontario offers a degree in Media, Information and Technoculture (which they refer to as MIT, offering an "MIT BA").[3] UC Riverside is in the process of creating a program in technocultural studies beginning with the creation of a graduate certificate program in "Science Fiction and Technoculture Studies."[4]
According to its description, the Georgetown University course English/CCT 691[5] titled Technoculture from Frankenstein to Cyberpunk, covers the "social reception and representation of technology in literature and popular culture from the Romantic era to the present" and includes "all media, including film, TV, and recent video animation and Web 'zines." The course focuses "mainly on American culture and the way in which machines, computers, and the body have been imagined."[6]
The UC Davis Technocultural Studies department focuses on "transdisciplinary approaches to artistic, cultural and scholarly production in contemporary media and digital arts, community media, and mutual concerns of the arts with the scientific and technological disciplines. In contrast to programs which see technology as the primary driving force, we place questions of poetics, aesthetics, history, politics and the environment at the core of our mission. In other words, we emphasize the 'culture' in Technoculture."
The Technocultural Studies major program is an interdisciplinary integration of current research in cultural history and theory with innovative hands-on production in digital media and "low-tech". It focuses on the fine and performing arts, media arts, community media, literature and cultural studies as they relate to technology and science. Backed by critical perspectives and the latest forms of research and production skills, students enjoy the mobility to explore individual research and expression, project-based collaboration and community engagement.[7]
Technocultural Studies is a fairly new major at UC Davis and is considered a division of Humanities, Arts and Cultural Studies.
 Film Studies and Technocultural Studies majors at UC Davis have merged into Cinema and Technoculture. The faculty have been hard at work on developing this new major, and it is going through the review process. Declared students will be grandfathered in to the existing programs to complete their major. They will also have the option of switching to the new major if they choose. The faculty of UC Davis believes these new additions will improve the program and hope their students take advantage of them.

Technoculture: The Key Concepts argues forcefully that contemporary culture, self, and identity are profoundly interwoven with technology: we are 'techno-bodies' inhabiting 'techno-spaces'. The book combines rich empirical examples with an exciting range of social theory, encompassing the Frankfurt School, Debord, Baudrillard, and Haraway. Not only is this a crystal clear introduction to the cultural studies and social theory of technology, but researchers in the field will find many new theoretical connections and novel insights.'' Charles Thorpe, University of California at San Diego ''A very well written and engrossing intervention into Science and Technology studies that can also serve as an introduction to the field for higher level undergraduate and graduate students and for anyone truly interested in the role of science and technology in human society today.'' Chris Hables Gray, The Union Institute and University” –


             We live in a world where science and technology shape the global economy and everyday culture, where new biotechnologies are changing what we eat and how we can reproduce, and where email, mobiles and the internet have revolutionised the ways we communicate with each other and engage with the world outside us.Technoculture: The Key Concepts explores the power of scientific ideas, their impact on how we understand the natural world and how successive technological developments have influenced our attitudes to work, art, space, language and the human body. Throughout, the lively discussion of ideas is illustrated with provocative case studies - from biotech foods to life-support systems, from the Walkman and iPod to sex and cloning, from video games to military hardware. Designed to be both provocative and instructive, Technoculture: The Key Concepts outlines the place of science and technology in today's culture.

          Arts | Culture
Arts and Culture Online Courses provide a deeper understanding of Greek civilization, exploring aspects of the daily life of Ancient Greeks, such as philosophy, theatre and rituals that gave ancient Greek culture its distinctive character. These online courses offer the opportunity to enhance your knowledge of a culture that was the originator of Western civilization. Explore the full range of the courses and invest in your personal development.


       Technoculture: The Key Concepts, by Debra Benita Shaw, Berg Publishers, 2008, 224 pp., hardback £50.00, paperback £14.99.
Debra Benita Shaw begins her new book by telling us that ‘to speak of contemporary cultures as technocultures makes obvious sense’ (p. 1). Registering the pervasive influence of technology at an empirical level is one thing, exploring how to think beyond this ‘obviousness’ something else. The challenge is more difficult with books on ‘key concepts’ as they need both to introduce new readers and to engage with those familiar with the area. Shaw's book succeeds in achieving this balance. Defining the study of technoculture as ‘the relationship between technology and culture and the expression of that relationship in patterns of social life, economic structures, politics, art, literature and popular culture’ (p. 4), she traces these relationships in a series of chapters that explore the intersection of technology with social theory, science, nature, art, the body and modes of communication. Much of the discussion in this lively text resembles the best aspects of technoculture itself with its capacity to reveal provocative and insightful connections. If I have any reservations about the book it would be with its overall understanding of technoculture and how one might respond to it. I'll take this up after saying a little more about the book.
Chapter One explores the challenges of technology for modernity, examining ideas from Marx, Heidegger, the Frankfurt school and Castells along the way. Shaw emphasises the transformations wrought by technology, from changes in work and social relations to more fundamental assumptions about what it means to be human. The second chapter focuses on technoscience, critiquing theories of scientific objectivity and neutrality and showing how the fusion of science with technology undermines any universal claims to truth. Foucault's power/knowled sege relation is considered through a discussion of scientific expertise and the place of scientific discourse in consumer culture. After science, the book examines the place of nature in technoculture, often regarded as a constitutive outside to technology. Drawing on Haraway and Latour, Shaw reveals the impossibility of any absolute separation between nature and culture and reveals various ideological investments behind attempts to essentialise nature. Here we see the beginnings of a theme throughout the book, that the capacity for technology to disrupt normative categories reveals an emancipatory potential within technoculture itself.
This idea is extended in the fourth chapter which traces the history of relations between technology and the body. If technology can discipline and commodify bodies, it can also, particularly in the move toward more abstract informational bodies, break down prescriptive categories about corporeal identity. In relation to space, the subject of the next chapter, Shaw traces the connection between spatial production and forms of mastery, from the Wild West to militarised simulations, from dreams of cyberspace to iPods. She gives a nuanced account of the debate over the technological privatisation of space and the cultural politics that result from this condition. The final chapters consider the development of modern and postmodern aesthetics and forms of expression and reveal the degree to which artistic and communicative endeavours are underwritten by co-existing technologies, and, equally importantly, how the deconstructive capacities of technology unravel received understandings of art and culture

    One unwelcome by-product of technoculture is information overload and in an era where academic publishing has expanded any book exploring ‘key concepts’ needs to distinguish itself. Technoculture succeeds for a number of reasons. Firstly, key concepts are linked together and contextualised in illuminating ways, rather than simply passively listed. So while major social and cultural theories might follow a broadly historical trajectory, Shaw gathers them up into a series of engaging narratives. Secondly, the book uses case studies at
• Conclusion:-

the end of each substantive chapter. The chapter on ‘technoscience’ ends with a study of GM foods, ‘technonature/cultures’ with cloning, ‘technospaces’ with a study of videogames and so on. These case studies draw together the chapter's concepts and also reveal the complex way in which power and politics have to be thought as technology unsettles taken for granted understandings of the world we inhabit. Thirdly, Shaw relies throughout the book upon science fiction to illustrate the ambivalent potential of technoculture. She is clearly a fan of SF and the power of this genre to extrapolate existing trends and manifest deeply-held fantasies and fears about technology serves the book well. The discussion of Lang's Metropolis and Chaplin's Modern Times allow Shaw to highlight modern attempts to critique the cult of the machine, while The Matrix and Neuromancerserve as useful evocati
ons of the more complex notions of hyperreality and the technological sublime.


Thank you…………

Feminist criticism

• Topic:- Feminist criticism


• Name:- Kailas Gohil
• Roll No:-14
• Paper No:- 7(Literary Theory and Criticism)
• SEM:-2 (Two)
• Email Id:- kailasgohil1998@gmail.com
• Submitted by:-S.M.T. S. B. Gardi maharaja krishanakumarsinhji  Bhavnagar University
























Topic:- Feminist criticism



• Introduction:---
   
                Feminist literary criticism is literary criticisminformed by feminist theory, or more broadly, by the politics of feminism. It uses the principles and ideology of feminism to critique the language of literature. This school of thought seeks to analyze and describe the ways in which literature portrays the narrative of male domination by exploring the economic, social, political, and psychological forces embedded within literature.[1] This way of thinking and criticizing works can be said to have changed the way literary texts are viewed and studied, as well as changing and expanding the canon of what is commonly taught. It is used a lot in Greek myths.


• About Feminist criticism………


                       
                      Traditionally, feminist literary criticism has sought to examine old texts within literary canon through a new lens. Specific goals of feminist criticism include both the development and discovery female tradition of writing, and rediscovering of old texts, while also interpreting symbolism of women's writing so that it will not be lost or ignored by the male point of view and resisting sexism inherent in the majority of mainstream literature. These goals, along with the intent to analyze women writers and their writings from a female perspective, and increase awareness of the sexual politics of language and style.
                                   
                                  were developed by Lisa Tuttle in the 1980s, and have since been adopted by a majority of feminist critics.
The history of feminist literary criticism is extensive, from classic works of nineteenth-century women authors such as George Eliotand Margaret Fuller to cutting-edge theoretical work in women's studies and gender studies by "third-wave" authors. Before the 1970s—in the first and second waves of feminism—feminist literary criticism was concerned with women's authorship and the representation of women's condition within literature; in particular the depiction of fictional female characters. In addition, feminist literary criticism is concerned with the exclusion of women from the literary canon, with theorists such as Lois Tyson suggesting that this is because the views of women authors are often not considered to be universal ones.

                    Additionally, feminist criticism has been closely associated with the birth and growth of queer studies. Modern feminist literary theory seeks to understand both the literary portrayals and representation of both women and people in the queer community, expanding the role of a variety of identities and analysis within feminist literary criticism.

• Feminism
Sooner or later in an Introduction to Literature class, we need to discuss "the F word": Feminism. I don't understand statements of this sort:
• I think that the media exploits women's bodies, sure, but I'm not one of those feminists!
• I think it sucks that women get 71¢ on the dollar compared to men for equal work, but I'm not one of those feminists!
• I think the fact that "she was askin' fer it" is a viable defense in spousal abuse and rape cases in Idaho shows a touch of injustice, but I'm sure not one of those feminists!
      In her book “A Literature of Their Own” Elaine Showalter writes on English women writers.  She says that we can see patterns and phases in the evolution of a female tradition.  Showalter has divided the period of evolution into three stages.  They are:
1.      the Feminine,
2.      the Feminist, and,
3.      the Female stages.
• Feminity:-

                    Femininity (also called feminity, girlishness, marianismo, womanliness or womanhood) is a set of attributes, behaviors, and roles generally associated with girls and women. Femininity is made up of both socially-defined and biologically-created factors. This makes it distinct from the definition of the biological female sex, as both males and females can exhibit feminine traits. People who exhibit a combination of both masculine and feminine characteristics are considered androgynous, and feminist philosophers have argued that gender ambiguity may blur gender classification. Modern conceptualizations of femininity also rely not just upon social constructions, but upon the individualized choices made by women Traits traditionally cited as feminine include gentleness, empathy, and sensitivity, though traits associated with femininity vary depending on location and context, and are influenced by a variety of social and cultural factors. In some non-English speaking cultures, certain concepts or inanimate objects are considered feminine or masculine (the counterpart to feminine).
• Feminist film theory:-
        Feminist film theory is theoretical film criticism derived from feminist politics and feminist theory. Feminists have many approaches to cinema analysis, regarding the film elements analyzed and their theoretical underpinnings.
• Woman feminist:-
           Film criticism is the analysis and evaluation of films and the film medium. In general, it can be divided into journalistic criticism such as appears regularly in newspapers, magazines and other popular, mass-media outlets and academic criticism by film scholars that is informed by film theory and published A woman is a female human. The term woman is usually reserved for an adult, with the term girl being the usual term for a female child or adolescent. The term woman is also sometimes used to identify a female human, regardless of age, as in phrases such as "women's rights". "Woman" may also refer to a person's gender identity. Women with typical genetic development are usually capable of giving birth from puberty until menopause. In the context of gender identity, transgender people who are biologically determined to be male and identify as women cannot give birth. Some intersex people who identify as women cannot give birth because of either sterility or inheriting one or more Y chromosomes. In extremely rare cases, people who have Swyer syndrome can give birth with medical assistance. Throughout history women have assumed or been assigned various social roles academic journals.
• Feminism:-
                  Feminism is a range of political movements, ideologies, and social movements that share a common goal: to define, establish, and achieve political, economic, personal, and social rights for women that are equal to those of men. This includes seeking to establish equal opportunities for women in education and employment. Feminist movements have campaigned and continue to campaign for women's rights, including the right to vote, to hold public office, to work, to earn fair wages or equal pay, to own property, to receive education, to enter contracts, to have equal rights within marriage, and to have maternity leave. Feminists have also worked to promote bodily autonomy and integrity, and to protect women and girls from rape, sexual harassment, and domestic violence. Feminist campaigns are generally considered to be one of the main forces behind major historical societal changes for women's rights, particularly in the West, where they are near-universally credited with having achieved women's suffrage, gender neutrality in English, reproductive rights for women (including access to contraceptives and abortion), and the right to enter into contracts and own property. Although feminist advocacy is, and has been, mainly focused on women's rights, some feminists, including bell hooks, argue for the inclusion of men's liberation within its aims because men are also harmed by traditional gender roles.Feminist theory, which emerged from feminist movements, aims to understand the nature of gender inequality by examining women's social roles and lived experience; it has developed theories in a variety of disciplines in order to respond to issues concerning gender. Numerous feminist movements and ideologies have developed over the years and represent different viewpoints and aims. Some forms of feminism have been criticized for taking into account only white, middle class, and educated perspectives. This criticism led to the creation of ethnically specific or multicultural forms of feminism, including black feminism and intersectional feminist.







• Conclusion:-

          The feminist theory is the extension of feminism into theoretical, fictional, or philosophical discourse. The purpose of the feminist theory is to understand the nature of gender inequality by examining women’s social roles and lived experiences. It is important to keep in mind there are different and diverse branches of the feminist theory (ecofeminism, marxist, material, radical, etc). It is also important to keep in mind that feminism strives for equal treatment between sexes, it does not mean female superiority over men....   [tags: Feminism, Gender, Radical.
     
             Conclusion of the author's "Gendering Tales: A Feminist Reading of Seven Wonder Tales"
Tales thus have a determining function in constructing gender identities ; they vehicle patriarchal values and reproduce models of sexual behaviour better than other ideological apparatuses, mostly because they heavily rely on unconscious mechanisms to condition both men and women for their position in human culture. Because they are the product of the community at large, they obey the rules governing the said community and broadcast the dominant discourse; yet they allow marginal discourses enough space to emerge, provided the larger framework of the narratives espouses patriarchal standards. The advantages of critical theory for a study of tales lie mostly in the possibility of reaching several sliding levels of significance as different discourses clash with each other, besides the opportunity deconstructive readings opens up for the critic to isolate the ideological motives and drives behind the construction of each narrative.

Thanks you………..

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Summarize key concept of rasa theory

Paper07 from GohilkailasBhopabhai

Discuss the Portrait woman character in oliver twist

Paper6 from GohilkailasBhopabhai

Techno culture or Risk

Techno culture or Risk

Paper008 from GohilkailasBhopabhai

use of myth keats odes

Paper 5 from GohilkailasBhopabhai

Talk with an author Dr. Vishal bhadani

On 1st January we had translation workshop and talk with author Dr. Vishal Bhadani organized by Dept. Of English in which he took two session, first about short story telling and second was about translation. 

Translation is the process to translate the text or words in one language into another. It requires deep knowledge of language. It is the most difficult thing to translate any work. People believe that  translation ruins the charm of work. It is not true every time. Translated work helps to understand the culture and history  of other people.

   I had read three short stories of  'Fictionalay 'that is  'Mara Hath ni wat nthi ','Sansi ane Ranjana ' and 'Museum of innocence '.All these stories are connected with middle class people.

● Mara Hath ni wat nthi :- 

               In this story the writer covers all basic things but the title itself challenging. Author connects problems of society with the different parts of hands.Like Plam, Finger, thumb etc.He connects various parts of hands with different things like ,Buddha, Lord Vishnu,Goddess Laxmi, Vasco Di Gama etc.This way author uses lots of symbol in his work.

InInteraction with French Professors

     On 22nd January 2019, Fortunately student of English department get chance to meet and interact with Prof.Saeed Paivandi and Prof. Fontanini who come from the university of lorraine,France.

In a very brief interaction with students of our department , they talked about on gender disparity in higher education , mergers of smaller universities as part if making of world class universities , revolutionary nature of French people , yellow vest protest, worrisome unequal distribution of wealth , unemployment and lack of jobs for humanities graduates etc.

Some, of the students asked questions, it was   also interesting  were an they said that there is less percentage  of female in education compare to male same as india. About society  they said that there is big difference between rich and poor. Poor is becoming poor and rich is becoming rich .

So , it was an intetesting session thanks to dilip sir for giving us to this opportunities.

         Prof.Fontanini Christine talks about the gap between rich and poor. She has thrown light on the Social issue of France. In France ,if you are educated than you get more job opportunities, but in India that is totally different.

Prof. Christine 's thoughts were contrasting from Prof. Saeed. According to her  violence is very normal in these movements. She talked about economical crises among the various classes. Elite people became more rich, poor became more poorer and in between them middle class faces more economical crises. This things also affects on education system.
In 1980 there were 6% working class and 35 % elite people  were studying. In 2015 it increased with population 35 % working class and 90% elite class people were studying in universities

Deconstruction and Derrida

      Introduction:-

           

Structure sign and play in the Discourse of the Human sciences".

Deconstruction is a theory and pactice of reading which questions and claims to 'subvert' or 'undermine' the assumption that the system of language provides grounds that are adequate to establish the boundaries, the coherence or unity, and the determinate meaning of literary text.

Derrida combines two characteristics of the language mentioned above : the arbitariness or the tendency to defer the ultimate and final meaning, and the systematic differentiality of, language and coins a new term "differance" the tendency or the force of language to defer and differ that is intrinsic to language. The new term is a pun, and is possible in French as the word differer can mean either to differ or to defer, depending on context.

Derrida's assertion that deconstruction is not something that you do, but something which happens to text implies that it is the force of 'difference' which is the part of the production and signification of binaries and their subversion and the resultant aporia, rather than a person, school or a historical period causing it.


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      Decentering the Centre

Derrida deconstructs the metaphysics of presence. That is to say that according to Derrida there is no presence or truth apart from language. He seeks to prove that the structurality of the structure does not indicate a presence above its free play of signs. This presence was earlier supposed to be the centre of the structure which was paradoxically thought to be within, and outside this structure, it was truth and within, it was intelligibility. But Derrida contends that, ‘the centre could not be thought in the form of a being-presence’, and that in any given text, there is only a free play of an infinite number of sign substitutions. A word is explained by another word which is only a word not an existence. Thus a text is all words which are just words, not indicative of any presence beyond them. In the words of John Sturrock, “The resort to language or sign entails, we know the loss of all uniqueness and immediacy. The sign is not the thing in itself”. It is utteractive or repeatable. A sign which was uttered only once would be not sign. It is the types of which each utterance istoken.

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.

In the words of John Sturrock, Derrida seeks to undermine “a prevailing and generally unconscious ‘idealism’, which asserts that language does not create meanings but reveals them, thereby implying that meanings, pre-exists their expression”. This for Derrida is nonsense. For him there can be no meaning which is not formulated, we cannot reach outside language.

 

Northrop Frye: The Archetypes of Literature

     Introduction:-

         

The Archetypes of Literature (1951): Northrop Frye

Northrop Frye

1.      I n what way Archetypal  criticism discovers basic cultural pattern?

2.      “Frye proposed that the totality of literary woks constitute a “self-contained literary universe” “. Discuss.

3.      “In literary criticism the term archetypedenotes recurrent narratives designs, patterns of action, character-types, themes, and images which are identifiable in a wide variety of works of literature.” Elucidate with N.Frye’s views in his essay Archetype of Literature

                  1.What is Archetypal Criticism? What does the archetypal critic do?

In literary criticism the term archetype denotes recurrent designs,pattern of action,character-type,themes and images which are identifiable in a wide variety of works of literature,as well as in myths,dreams and even social rituals. The archetypal critic tries to find this pattern,symbols and myths in present literary work.

2.What is Frye trying prove by giving an analogy of ' Physics to Nature' and 'Criticism to Literature'?

Northrop Frye has given a very unique idea of Archetypal Criticism by comparing the human emotions or human characteristics with the cycle of seasons.

1.What is Archetypal Criticism? What does the archetypal critic do?

In literary criticism the term archetype denotes recurrent designs,pattern of action,character-type,themes and images which are identifiable in a wide variety of works of literature,as well as in myths,dreams and even social rituals. The archetypal critic tries to find this pattern,symbols and myths in present literary work.

2.What is Frye trying prove by giving an analogy of ' Physics to Nature' and 'Criticism to Literature'?

Northrop Frye has given a very unique idea of Archetypal Criticism by comparing the human emotions or human characteristics with the cycle of seasons.

Share your views of Criticism as an organised body of knowledge.

=)  Literature is the central division of Humanities. Historical sense and Philosophy are about morality, ethics and all these things are required when we study literature. Philosophy is about existence and it progressively moves on, its ideas never stopped. Northrop Frye says that without reasoning and thinking to jump on any type of conclusion is not valid process. we have to look upon the framework of history which is based on evidence. Histories are never written without evidence. BUT THAT FRAMEWORK OF HISTORY MUST BE CHECKED, sometimes history also makes division in society. Every ideas  has a framework and how it grows is important to understand.

4.  Briefly explain inductive method with illustration of Shakespeare's Hamlet's Grave Digger's scene.

Inductive method – Example to Rule

Northrop Frye gives example of Gravedigger’s scene from “Hamlet” to explain this method. To study this scene we need to go step by step backwards to study this method:

a.)       First, the question of existence can be seen. Every man dies at one point.

b.)       Second, image of corruption can be seen.

c.)       Third, we see Hamlet’s love for Ophelia.

Hamlet represents Archetypal hero who is ready to die for his love.

This method moves from “Particular to General”.

5.  Briefly explain Deductive Method with reference to an analogy to music , painting, rhythm and pattern. Give example of outcome of  Deductive Method.

=)   In the Deductive Method it come from general to specific or particular observations. In this Music has rhyme and Painting has patterns. Both are connected while listening the music at the first time we can't understand but when we start to understand the words we image a picture in the mind by this imagination we understand the things. As the same thing happens while reading literature we image the things through the imagination it helps us to understand the literature. So music , rhythm, painting, pattern so it helps to understand the literature.

6.  Refer to the Indian seasonal grid (below). If you can, please read small Gujarati or Hindi or English poem from the archetypal approach and apply Indian seasonal grid in the interpretation.

I.A. Richard Fegretive language

Introduction:-
             
         Ivor Armstrong Richards, known as I. A. Richards, was an English educator, literary critic, and rhetorician whose work contributed to the foundations of the New Criticism, a formalist movement in literary .
       
       I  . A. Richards. 1893–1979. British poet and scholar Ivor Armstrong Richards was born in Cheshire and educated at Cambridge University's Magdalene College. His scholarship and research on how students read poetry helped shape the foundation of the New Criticism and its emphasis on close readin.

          

four kinds of meaning

1. Sense is what is said, or the 'items' referred to by a writer.
2. Feeling refers to emotions, emotional attitudes, will, desire, pleasure, displeasure and the rest. When we say something we have a feeling about it, "an attitude towards it, some special direction, bias or accentuation of interest towards it, some personal flavour or coloring of feelings, these nuances of interest.
3.  Tone is the writer’s attitude to his readers or audience. The use of language is determined by the writer’s ‘recognition’ of his relation to his readers.
4. Intention is the writer’s aim, which may be conscious or unconscious. It refers to the effect that he tries to produce. This purpose modifies the expression. It controls the emphasis, shapes the arrangement, or draws attention to something of importance.
5.     His practical approach gave new path to literary criticism.
   ü  Instead of intuitive and impressionistic criticism, it became more factual & scientific.
        In his methodology, a lot of importance is given to the “words”.
   ü  He believed that poet writes to communicate, and language is the means of that communication. Language is made of words, and hence a study of words is all important if we are to understand the meaning of a work of art. Words carry four kinds of meaning: Sense, Feelings, Tone and Intention.
        To him, language of poetry is purely emotive, in its original primitive state. This language affects feelings. Hence we must avoid intuitive and over-literal reading of poems. Words in poetry have an emotive value, and the figurative language used by poets conveys those emotions effectively and forcefully.
   Ø  The importance of context and rhythm &metre:the sound of the word invokes feeling. Rhythm, metre and meaning cannot be separated; they form together a single system. They are not separate entities but organically related. Therefore, a prose-paraphrase or an over-literal reading can never convey the total meaning of a poem.

Thinking activity an T.S.Eliot on Tridituon and individual Telent

     Introduction:-
       
         Thomas Stearns Eliot, OM (26 September 1888 – 4 January 1965), "one of the twentieth century's major poets" was also an essayist, publisher, playwright, and literary and social critic.^[2] Born in St. Louis, Missouri, in the United States, to a prominent Boston Brahminfamily, he moved to England in 1914 at the age of 25, settling, working, and marrying there. He became a British subject in 1927 at the age of 39, renouncing his American passport.
   
 

T. S. Eliot

Eliot in 1934 homas Stearns Eliot was one of the major poet of the 20h century. He was also an essayist,publisher,playwright and literary and social critic.His essay Tradition and Individual Talent is an attack on certain critical views in Romanticism particularly up on the idea that a poem is primarily an expression of the personality of the poet.Eliot argues that a great poem always asserts and that the poet must develop a sense of the sense  of the pastness of past. Eliot’s theory of literary tradition has been criticized for its limited definition of what constitutes the canon of that tradition. He assumes the authority to choose what represents great poetry, and his choices have been criticized on several fronts. For example, Harold Bloom disagrees with Eliot’s condescension of Romantic poetry, which, in The Metaphysical Poets (1921) he criticizes for its "dissociation of sensibility." Moreover, many believe Eliot’s discussion of the literary tradition as the "mind of Europe" reeks of Euro-centrism. (on the same note it should be recognized that Eliot supported many Eastern and thus non-European works of literature such as the The Mahabharata. Eliot was arguing the importance of a complete sensibility: he didn't particularly care what it was at the time of tradition and the individual talent.) He does not account for a non-white and non-masculine tradition. As such, his notion of tradition stands at odds with feminist, post-colonial and minority theories. Kenyan author James Ngugi advocated (in a memo entitled "On the Abolition of the English Department") a commitment to native works, which speak to one’s own culture, as compared to deferring to an arbitrary notion of literary excellence. As such, he implicitly attacks Eliot’s subjective criterion in choosing an elite body of literary works. Post-colonial critic Chinua Achebe also challenges Eliot, since he argues against deferring to those writers, including Conrad, whom have been deemed great, but only represent a specific (and perhaps prejudiced) cultural perspective.