Cultural Studies Assignment

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Name :- Jagruti R. Vasani

Sem :- 2

Roll No. :-14

Paper :-8 Cultural Studies

Subject :- Method and Methodology in C.S.

Submitted To :- Smt. S.B. Gardi Department of English

                              Maharajakrishnakumarsinhji University Bhavnagar

INTRODUCTION :

  There has long been a reluctance to bring any explicit discussion of methods and methodology into cultural studies. This can be explained in various ways. We can see it first of all as connected with the field’s renegade character, and its conscious dissociation from established academic disciplines. Developing and adhering to a particular set of methods was considered to be characteristic of those disciplines and somehow compromised by an unexamined notion of empirical enquiry. Cultural studies has preferred to borrow techniques and methods from established disciplines without subscribing to any disciplinary credentials itself.

 METHODOLOGY

 The methodology is the general research strategy that outlines the way in which research is to be undertaken and, among other things, identifies the methods to be used in it. These methods, described in the methodology, define the means or modes of data collection or, sometimes, how a specific result is to be calculated.[4] Methodology does not define specific methods, even though much attention is given to the nature and kinds of processes to be followed in a particular procedure or to attain an objective.

When proper to a study of methodology, such processes constitute a constructive generic framework, and may therefore be broken down into sub-processes, combined, or their sequence changed.[5]

A paradigm is similar to a methodology in that it is also a constructive framework. In theoretical work, the development of paradigms satisfies most or all of the criteria for methodology.[6] An algorithm, like a paradigm, is also a type of constructive framework, meaning that the construction is a logical, rather than a physical, array of connected elements.

Any description of a means of calculation of a specific result is always a description of a method and never a description of a methodology. It is thus important to avoid using methodology as a synonym for method or body of methods. Doing this shifts it away from its true epistemological meaning and reduces it to being the procedure itself, or the set of tools, or the instruments that should have been its outcome. A methodology is the design process for carrying out research or the development of a procedure and is not in itself an instrument, or method, or procedure for doing thi his article is about research methods. For software engineering frameworks, see Software development methodology.

Methodology is the systematic, theoretical analysis of the methods applied to a field of study. It comprises the theoretical analysis of the body of methods and principles associated with a branch of knowledge. Typically, it encompasses concepts such as paradigm, theoretical model, phases and quantitative or qualitative techniques.

A methodology does not set out to provide solutions - it is therefore, not the same as a method. Instead, a methodology offers the theoretical underpinning for understanding which method, set of methods, or [best practice]s can be applied to a specific case, for example, to calculate a specific result.

It has been defined also as follows:

"the analysis of the principles of methods, rules, and postulates employed by a discipline”.

"the systematic study of methods that are, can be, or have been applied within a discipline".

"the study or description of methods".

Methodology and method are not interchangeable. In recent years, however, there has been a tendency to use methodology as a "pretentious substitute for the word method".Using methodology as a synonym for method or set of methods leads to confusion and misinterpretation.

Examples of when to use “method” and “methodology”

If you work in industry, it’s likely that you will mostly be talking about methods. Here are some ways you can use “methods” in context:

I’m trying to decide between doing a contextual inquiry, or bringing in participants for interviews. Which method would you choose?

We want to have hard data to answer this question, so we should choose a quantitative method.

If you are working in academia and writing research papers, you want to consider including a description of your methodology.

Ethnography was chosen for this study as a methodology because of X, Y and Z reasons.

In order to create a product that fits a true customer need and design an experience that they love, we used a participatory approach to our design research process.

In short Ask yourself whether you are describing how you will collect your data (method), or if it’s the broader strategy for your research approach (methodology). For the industry practitioner, you typically will be talking about methods. For the academic, you may be talking both about the framing methodology and methods used to accomplish your research goals.

Description in Method

Question of Method in Cultural Studies brings together a group of scholars from across the social sciences and humanities to consider one of the most vexing issues confronting the proverbial 'anti-discipline' of cultural studies.

Covers such topics as the media, feminism, and politics.

Identifies what methods have prevailed in the interdisciplinary pursuit of cultural studies.

Examines the relationship between cultural studies and traditional disciplines, the politics of knowledge, and spatial.

temporal models.

Probes the possibility of method in explicit terms for scholars and students in media, communications, sociology and allied fields.

KEY METHODS

Following the Cultural Studies pioneer Raymond Williams’ initiative, and its more recent reformulations, the course explores key concepts and themes that have, for decades now, been shaping the diverse methodologies operating within and/or influencing the discourses of Cultural Studies in general and American Studies in particular. The lecture aims at tracing and exploring the problems and issues crucial and of ongoing interest in such research perspectives informing the field of Cultural Studies as discourse analysis and psychoanalysis, deconstruction, critical race studies, ethnic studies, gender, queer and sexuality studies, and postcolonial studies. In order to familiarize the students with these often divergent approaches to the study of the workings, mechanisms and traces of culture, the lecture clarifies, while respecting the problematic character of, such key critical concepts as sign, myth, ideology, deconstruction, new historicism, modernity, metafiction, subjectivity, identity, gender, queerness, race, postcolonial studies and orientalism. Based on readings in influential theoretical texts, the lecture not only discusses the notions, postulates and problems important in a given methodological approach, but also illustrates their current and possible uses in the study of American culture, also by means of referring to its diverse discursive, ideological, social and political dimensions that the lecture contextualizes through a recourse to the examples of persons, events, tendencies and problems of importance and influence in American culture and history.

  The methodology is the general research strategy that outlines the way in which research is to be undertaken and, among other things, identifies the methods to be used in it. These methods, described in the methodology, define the means or modes of data collection or, sometimes, how a specific result is to be calculated.

A method in object-oriented programming (OOP) is a procedure associated with a message and an object. An object is mostly made up of data and behavior, which form the interface that an object presents to the outside world. Data is represented as properties of the object and behavior as methods. For example, a Window .

In object-oriented programming, a procedure that is executed when an object receives a message. A method is really the same as a procedure, function , or routine in procedural programming languages. The only difference is that in object-oriented programming, a method is always associated with a class.

A method, in the context of object-oriented programming, is a procedure or function associated with a class. As part of a class, a method defines a particular behavior of a class instance. A class can have more than one method. The idea of methods appears in all object-oriented programming languages. Methods are similar to functions or procedures in other programming languages such as C, SQL and Delphi. An object method can only have access to the data known by that object. This maintains the integrity of data between sets of objects in a program. A method can be reused in many objects. As a simple example, let's say that a module has a VideoClip object that handles functions related to movie clips. The VideoClip object would probably have some of the following methods:

Play: Begin playing the movie clip.

Pause: Pause the movie clip.

Stop: Stop playing the movie clip.

methods and design should be thought of as a reciprocal process extending well into your study. For example, it may arise over the course of your study that there is a flaw in the design. Changing the design of the study may lead to the choice (or addition) of a different method which, in turn, may lead to subsequent changes in the design to accommodate the new methods.

 here’s another of mine: the regular misuse of the word “methodology” in academic papers. Methodology is the study of scientific methods, a branch of epistemology. Econometric techniques, strategies for gathering data, means of testing hypotheses, etc. are methods, not methodologies. Yet how many empirical papers include a section titled “Methodology” or “Data and Methodology”? It makes me cringe. “We use an instrumental-variables methodology,” or “our methodology employs case studies and structured interviews.” No, those are your methods. Unless you’re citing Popper or Kuhn or Lakatos or Feyerabend or Blaug or Mäki you probably don’t have a methodology section.

 In recent years . . . “methodology” has been increasingly used as a pretentious substitute for “method” in scientific and technical contexts, as in “The oil company has not yet decided on a methodology for restoring the beaches.” This usage may have been fostered in part by the tendency to use the adjective “methodological” to mean “pertaining to methods,” inasmuch as the regularly formed adjective “methodical” has been preempted to mean “orderly, systematic.” But the misuse of methodology obscures an important conceptual distinction between the tools of scientific investigation (properly “methods”) and the principles that determine how such tools are deployed and interpreted — a distinction that the scientific and scholarly communities, if not the wider public, should be expected to maintain.

That’s the description about the method and methodology in cultural studies.

                                                # Thank You #

 

Literary Theory and Criticism Assignment

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Name :- Jagruti R. Vasani

Sem :- 2

Roll No. :-14

Paper :- 7 Literary Theory and Criticism  

Subject :- What is archetypal criticism? Explain with Northrope Frey

Submitted To :- Smt. S.B. Gardi Department of English

                              Maharajakrishnakumarsinhji University Bhavnagar

 What is Archetypal Criticism ?

    In literary criticism the term archetype denotes recurrent narratives designs, patterns of action, character-types, themes, and images which are identifiable in a wide variety of works of literature, as well as in myths, dreams, and even social rituals. Such recurrent items are held to be the result of elemental and universal forms or patterns in the human psyche, whose effective embodiment in a literary work evokes a profound response from the attentive reader, because he or she shares the psychic archetypes expressed by the author. An important antecedent of the literary theory of the archetype was the treatment of myth by a group of comparative anthropologists at Cambridge University, especiallyJames G. Frazer, whose The Golden Bough (1890-1915) identified elemental patterns of myth and ritual that , claimed, recur in the legends and ceremonials of diverse and far-flung cultures and religions. An even more important antecedent was the depth psychology of Carl G. Jung(1875-1961), who applied the term “archetype” to what he called “primordial images”, the “psychic residue” of repeated patterns of experience in our very ancient ancestors which, he maintained, survive in the “collective unconscious” of the human race and are expressed in myths, religion, dreams, and private fantasies, as well as in works of literature.

   Archetypal literary criticism was given impetus by Maud Bodkin’s Archetypal Patterns in Poetry (1934) and flourished especially during the 1950s and 1960s. Apart from him, the other prominent practitioners of various modes of archetypal criticismwere G. Wilson Knight, Robert Graves, Philip Wheelwright, Richard Chase, Leslie Fiedler, and Joseph Campbell. These critics tended to emphasize the occurrence of mythical patterns in literature, on the assumption that myths are closest to the elemental archetype than the artful manipulation of sophisticated writers.The death/re-birth theme was often said to be the archetype of archetypes, and was held to be grounded in the cycle of the seasons and the organic cycle of human life; this archetype, it was claimed, occur in primitive rituals of the king who is annually sacrificed, in widespread myths of gods who die to be reborn, and in a multitude of diverse texts, including the Bible, Dante’s Divine Comedy in the early 14th cen., and S.T.Coleridge’sRime of Ancient Mariner in 1798. Among the other archetypal themes, images and characters frequently traced in literature were the journey underground, the heavenly ascent, the search, the Paradise/Hades dichotomy, the Promethean rebel-hero, the scapegoat, the earth goddess, and the fatal woman.

 Northrope Frey’s Contribution

  Bodkin’s Archetypal Patterns in Poetry, the first work on the subject of archetypal literary criticism, applies Jung’s theories about the collective unconscious, archetypes, and primordial images to literature. It was not until the work of the Canadian literary critic Northrop Frye that archetypal criticism was theorized in purely literary terms. The major work of Frye’s to deal with archetypes is Anatomy of Criticism but his essay The Archetypes of Literature is a precursor to the book. Frye’s thesis in “The Archetypes of Literature” remains largely unchanged in Anatomy of Criticism. Frye’s work helped displace New Criticism as the major mode of analyzing literary texts, before giving way to structuralism and semiotics. Frye’s work breaks from both Frazer and Jung in such a way that it is distinct from its anthropological and psychoanalytical precursors.

In his remarkable and influential book Anatomy of Criticism (1957), N. Frye developed the archetypal approach into a radical and comprehensive revision of traditional grounds both in the theory of literature and the practice of literary criticism. For Frye, the death-rebirth myth that Frazer sees manifest in agriculture and the harvest is not ritualistic since it is involuntary, and therefore, must be done. As for Jung, Frye was uninterested about the collective unconscious on the   grounds of feeling it was unnecessary: since the unconscious is unknowable it cannot be studied. How archetypes came to be was also of no concern to Frye; rather, the function and effect of archetypes is his interest.

Frye proposed that the totality of literary works constitute a “self-contained literary universe” which has been created over the ages by the human imagination so as to assimilate the alien and indifferent world of nature into archetypal forms that serve to satisfy enduring human desires and needs. In this literary universe, four radical mythoi(i.e. plot forms, or organizing structural principles), correspondent to the four seasons in the cycle of the natural world, are incorporated in the four major genres of comedy (spring), romance (summer), tragedy (autumn), and satire (winter).

Within the overarching archetypal mythos of each of these genres, individual works of literature also play variations upon a number of more limited archetypes – that is, conventional patterns and types that literature shares with social rituals as well a with theology, history, law, and , in fact, all “discursive verbal structures.” Viewed arhetypally, Frye asserted, literature turns out to play an essential role in refashioning the impersonal material universe into an alternative verbal universe that is intelligible and viable, because it is adapted to universal human needs and concerns.

There are two basic categories in Frye’s framework, i.e., comedic and tragic. Each category is further subdivided into two categories: comedy and romance for the comedic; tragedy and satire(or ironic) for the tragic. Though he is dismissive of Frazer, Frye uses the seasons in his archetypal schema. Each season is aligned with a literary genre: comedy with spring, romance with summer, tragedy with autumn, and satire with winter.

    Comedy is aligned with spring because the genre of comedy is characterized by the birth of the hero, revival and resurrection. Also, spring symbolizes the defeat of winter and darkness.

   Romance and summer are paired together because summer is the culmination of life in the seasonal calendar, and the romance genre culminates with some sort of triumph, usually a marriage.

  Autumn is the dying stage of the seasonal calendar, which parallels the tragedy genre because it is, (above all), known for the “fall” or demise of the protagonist.

   Satire is metonymized[2] with winter on the grounds that satire is a “dark” genre. Satire is a disillusioned and mocking form of the three other genres. It is noted for its darkness, dissolution, the return of chaos, and the defeat of the heroic figure.

The context of a genre determines how a symbol or image is to be interpreted. Frye outlines five different spheres in his schema: human, animal, vegetation, mineral, and water.

 The comedic human world is representative of wish-fulfillment and being community centered. In contrast, the tragic human world is of isolation, tyranny, and the fallen hero.

 Animals in the comedic genres are docile and pastoral (e.g. sheep),

while animals are predatory and hunters in the tragic (e.g. wolves).

   For the realm of vegetation, the comedic is, again, pastoral but also represented by gardens, parks, roses and lotuses. As for the tragic, vegetation is of a wild forest, or as being barren.

  Cities, temples, or precious stones represent the comedic mineral realm. The tragic mineral realm is noted for being a desert, ruins, or “of sinister geometrical images” (Frye 1456).

 Lastly, the water realm is represented by rivers in the comedic. With the tragic, the seas, and especially floods, signify the water sphere.

Frye admits that his schema in “The Archetypes of Literature” is simplistic, but makes room for exceptions by noting that there are neutral archetypes. The example he cites are islands such as Circe[3]’s or Prospero’s which cannot be categorized under the tragic or comedic.

Contemporary critics view

  Arguments about the Contemporary Dilemma with Frye’s Archetypal Literary Criticism

It has been argued that Frye’s version of archetypal criticism strictly categorizes works based on their genres, which determines how an archetype is to be interpreted in a text. According to this argument the dilemma Frye’s archetypal criticism faces with morecontemporary literature, and that of post-modernism in general, is that genres and categories are no longer distinctly separate and that the very concept of genres has become blurred, thus problematizing Frye’s schema. For instance Beckett’s Waiting For Godot is considered a tragicomedy, a play with elements of tragedy and satire, with the implication that interpreting textual elements in the play becomes difficult as the two opposing seasons and conventions that Frye associated with genres are pitted against each other.

But in fact, arguments about generic blends such as tragicomedy go back to theRenaissance, and Frye always conceived of genres as fluid. Frye thought literary forms were part of a great circle and were capable of shading into other generic forms. (Diagram of his wheel in Anatomy of Criticism.

Examples in Literature

Archetypes fall into two major categories: characters, situations/symbols. It is easiest to understand them with the help of examples. Listed below are some of the most common archetypes in each category.

Characters:

1.                The hero - The courageous figure, the one who's always running in and saving the day. Example: Dartagnon from Alexandre Dumas's "The Three Musketeers". (Hamlet, Macbeth, Tom Jones)

2.                The outcast - The outcast is just that. He or she has been cast out of society or has left it on a voluntary basis. The outcast figure can oftentimes also be considered as a Christ figure. Example: Simon from William Golding's "The Lord of the Flies". ( Pandavs, Ram-Sita-laxman, Sugreve, Duke, Orlando, Rosalind in As You Like It,tramps in Godot)

3.                The scapegoat - The scapegoat figure is the one who gets blamed for everything, regardless of whether he or she is actually at fault. Example: Snowball from George Orwell's "Animal Farm". [Tom Jones, Darcy in P&P (breaking of Lizzy’s sis’s relationship, elopement), Technology in BNW, Tess for death of Prince, giving birth to Sorrow]

4.                The star-crossed lovers - This is the young couple joined by love but unexpectedly parted by fate. Example: Romeo and Juliet from William Shakespeare's "Romeo and Juliet". [ Tess and Angel, Heer – Ranjha, Sheeri – Farhad]

5.                The shrew - This is that nagging, bothersome wife always battering her husband with verbal abuse. Example: Zeena from Edith Wharton's "Ethan Frome".

6.                    Femme Fatale : A female character type who brings upon catastrophic and disastrous events. Eve from the story of Genesis or Pandora from Greek mythology are two such figures. Seta, Draupadi or Surparnakha

7.                The Journey: A narrative archetype where the protagonist must overcome a series of obstacles before reaching his or her goal. The quintessential journey archetype in Western culture is arguably Homer’s Odyssey

Situation and Symbols

  • Archetypal symbols vary more than archetype narratives or character types, but any symbol with deep roots in a culture's mythology, such as the forbidden fruit in Genesis or even the poison apple in Snow White, is an example of a symbol that resonates to archetypal critics.

• The task - A situation in which a character, or group of characters, is driven to complete some duty of monstrous proportion. Example: Frodo's task to keep the ring safe in J. R. R. Tolkein's "The Lord of the Rings" trilogy. AthurianLegends, , bring Helen back to Troy, Kurukshetra’s battle for Arjun, Savitri)

•        The quest - Here, the character(s) are searching for something, whether consciously or unconsciously. Their actions, thoughts, and feelings center around the goal of completing this quest. Example: Christian's quest for salvation in John Bunyan's "The Pilgrim's Progress". (Search for Holy Grail, Search for Sita, Nal-Damaanti, Savitri for Satyakam’s life, Shakuntala in Kalidas, Don Quixote, Jude,  …)

* The loss of innocence - This is, as the name implies, a loss of innocence through sexual experience, violence, or any other means. Example: Val's loss of innocence after settling down at the mercantile store in Tennessee William's "Orpheus Descending". [Moll, Tess, Tom, Jude]

* Water - Water is a symbol of life, cleansing, and rebirth. It is a strong life force, and is often depicted as a living, reasoning force.

Wate[ii]r: birth-death-resurrection; creation; purification and redemption; fertility fertility and growth.

Sea/ocean: the mother of all life; spiritual mystery; death and/or rebirth; timelessness and eternity.

*Rivers: death and rebirth (baptism); the flowing of time into eternity; transitional phases of the life cycle. . . . Example: Edna learns to swim in Kate Chopin's "The Awakening". {Water movie and novel by BapsiSidhwa, Death by Water, polluted River in Waste Land…]

Sun (fire and sky are closely related): creative energy; thinking, enlightenment, wisdom, spiritual vision.

                                              # Thank You #

Victorian Literature Assignment

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Name :- Jagruti R. Vasani

Sem :- 2

Roll No. :-14

Paper :-6 The Victorian Literature

Subject :- Violence Against Women in Browning’s Poetry

Submitted To :- Smt. S.B. Gardi Department of English

                              Maharajakrishnakumarsinhji University Bhavnagar

ROBERT BROWNING

Born :- 7 May 1812

Died :- 12 December 1889

Occupation :- Poet

Literary Moment :- Victorian

Notable Work :- Men and Women

                             The Ring and The Book

                              Dramatis Personae

                            Dramatic Lyrics

                            Dramatic Lyrics and Romances

                            Asolando

Work on Poem :- My last Duchess

                               Porphria’s Lover

                              The Ring and The Book

                              Rabbi Ben Ezra

                              Fra Lippo Lippi

# POWER :-

  Men Power & Women power

          Robert Browning’s two poems, “Porphyria’s lover” and “My Last Duchess”, have some striking similarities. Both feature men who seem mentaly disturbed in his poetry’s description, Further, both of these men had relationship with “strong” women who, despite apparently loving them, they each ended up killing. After that they were happier that’s the mentaly condition of men in his poetry.

       Yet the most fascinating similarity is that both of these poem deal with Power Dynamics based on gender. Intially, the females have the power and the men do not. The men feel threateaned by this, so that they choose to take this power is to kill the women.The power switches from the women to the men.  The first observation that supports this point is that originally the men do not have power rather than women. One way that this is demonstrated to the reader is the author’s choice to make the men insane. IN the poem the man is paranoid. The craziness of the main character is a bit more subtle. The man in “Prophyria’s Lover” also lacks power because he is of a lower social status than the woman, that the woman attended the feast, and the reader can infer that the man was not invited to this feast. The Duke, on the other hand, is of a high social class, but the way that he keeps emphasizing his power makes him seem, ironically, less powerful. He describes his last name as his “gift of a nine-hundred-years-old name”, which his wife was foolish enough to “[rank]/My gift… with anybody’s gift”. He sounds like he is bragging, which makes the reader lose respect for him.

    t some point in these two poems, both the males and the females hold power, yet there is a difference in the types of power that they have. Power, in fact, is a very general term that can be described in many different ways. There are two main types of power that are visible in these two poems. The first kind, which is seen in the men, is power over someone else. It is the ability to control another person. The men are seeking to control the women’s behavior, as they are offended and threatened by it. The second type of power, which is demonstrated by the women, is the ability and freedom to do what one wants to do. The women do not seek to control their partners, they just want the freedom to behave however they choose to. These two types of power are significant because they reflect what each of the characters value. Because of this contrast in values, the women receive the sympathy and respect of the reader. Therefore, although the men end up with the power, it is the women who seem to win.

Condition of Woman In Victorian Era :-

# Symbolize the home

# The Repository of Traditional

# Traditional foci for the Asthetic

   Woman particulary for the Victorians, symbolize the home. The repository of traditional values. Their violent death can stand in for the death of society. The woman in Browning’s poetry in particular are often depicted as sexuality open : this may show that society has transformed so radically that even the domestic. The traditional has been altered and corrupted. This violence also suggests the struggle between asthetic and morals in Victorian art : while woman typically serve as symbols of values ( the moral education offered by the mother, the purity of one who stays within the confines of the home and remains untainted by the outside world), they also represent traditional foci for the aesthetic ( in the form of sensual physical beauty) ; conflict between the two is potentially explosive, controlling and even destroying women is a way to try to prevent such explosions, to preserve a society that has already changed beyond recognition.

 Characteristics of Browning’s Poetry :

1)   Multiple perspectives on single events

2)   The purpose of art

3)   The relationship between art and morality

  #  These poems are ‘The ring and The Book’, ‘My Last Dchess’, ‘Porphria’s Loves’, ‘The Laboratry’ using the libral feminist and psychological theories. It’s argues that while women fight to challenge tradition and convention put by men patriarchy to impede their freedom, men on their part are bent on maintaining this tradition and convention put by men/patriarchy, end up paying with their lives. In this connection Robert Browning’s stand is that women should fight for their freedom even if it means dying by presenting these scenarior in these poems, Browning seeks to show the injustice done to women and in the process, calls the attention of the powers that be for a review or revision of social habits that will enable the women to fully realize herself in the process, and humanity in general.

    Violence against women has been an interesting and rich area for feminists. There are three categories of violence against women:

1)   Physical Violence

2)   Verbal Violence

3)   Sexual Violence

Physical violence will refer to the beating of one’s spouse. Verbal refers to insulting us threatening one’s spouse. Many feminists have focused on pornography.

To Robin Morgan

        “pornography is the theory and rape the practice.”

Hartman says: ‘ In pornography women are depicted as sexual objects and men rendered as consumers who says mackninon, “ Desperately went women to deperatly want possession and cruelty and dehumanization.”

 Browning wrote many poems in which, we see madness because as baugh says in a literary history of England : He says to understand people of the most rained sorts, and because the good present fever problems, he is fascinated by the bad.” His poems of most lasting appeal are psychological stories. The intricacies of motives are disentangled and light is thrown upon the self deceiver even as she seeks to justify himself in 1402.

    Secondaly browning junior had developed a liking for tales of  crime from his father lastly and most importantly , Melissa martain explains it in  spark notes on Robert Browning is so interested in violence against women. What symbolic purpose might it verse ?’ women particularly  for the Victorians symbolize the home. The repository of traditional values. Their violent death can stand in for the death of society.

     The women in browning’s poetry in particular are often depicted as sexually open: this may show that society has transformed so radically that even the domestic and the tradition, have been altered and corrupted. This violence also suggest the struggle between asthetics and morals in Victorian art.

    Violence against women by men in browning’s poetry, mostly or always end in death.  Hougland says , “man use violence when women don’t pay attention to them.” She thinks that “ protecting and predation emerge from the same ideology of male dominance.

#  PATRIARCHY: THE SOURCE OF VIOLENCE AGAINST WOMEN

Patriarchy comes from the Greek word patria, meaning father and arché meaning rule. The Wikipedia Free Encyclopaedia sees patriarchy is an anthropological term used to define the sociological condition, where, the male members of a society tend to predominate in positions of power, with the more powerful the position, the more likely it is that a male will hold that position... Patriarchal rule still governs most of the world’s religious, school, and family systems. Patriarchy therefore refers to male dominance, male supremacy, male rule, male privileges, male values or male hierarchy. The majority of the higher economic, political, industrial, financial, religious, and social positions are held by men. The term is used today by feminist to replace the old words “Male chauvinism” and “Sexism”. Patriarchy is perpetuated mostly by men and a small proportion of women. The term patriarchy, is different from patrilineality and patrilocality just like the word matriarchy is different from the word matrilineality and matrilocality.

    Browning’s preferred tale or myth was that of “Andromeda’s rescue by Perseus”. This was a parallel of his own rescue of Elizabeth Barrett from her father’s house which is the same as the rescue of Pompilia by the priest Caponsacchi from Guido’s house. Canon Caponsacchi has much of Browning. Ian Jack writes: “There is a good deal of Browning himself in Caponsacchi, and he enunciates the poet’s belief in the occasional need for the hero” (283). When in the poem Caponsacchi says “I am, on earth, as well as out of it / A relegated priest; when exile ends / I mean to do my duty and live long” is inspired by the manly recoil of Browning and his refusal to be crushed by his sorrow. Robert Browning in his life played the role of a saviour to Elizabeth Barett Browning just like Canon Capon Sacchi does to Pompilia. We see the same male saviour figure in the poem “The Flight of the Duchess” who helps the Duchess to run away from the oppression of the Duke. Wylie Sypher in an Introduction to The Ring and the Book says “Guido in all his bestiality, is a version of the same Browning hero who appeared as a Porphyria’s lover, or as the Duke in “The Statue and the Bust”. All of them are what he calls “immoralists”. To him “Guido is a devalued immoralist. He boasts of being a wolf by nature.”

CONCLUSIONS :-

When we look at the three kinds of violence, we outlined at the beginning of this chapter: physical,verbal and sexual, we realize that the dominant violence in Browning’s poetry is physical. Pompilia is killed with hands(a knife), the Duchess, Porphyria and Pauline in “The Laboratory” with poison delivered by the hands. In Browning’s poetry, verbal and sexual violence is absent. Of all these three kinds of violence, the one which kills most is physicalviolence. Verbal and sexual violence hardly kill. What kills is physical violence as we see in the poetry of Robert browning. Liberal feminism is against patriarchy because it is patriarchy that encourages and perpetuates violence against women. The fundamental human rights that all liberals support include the right to life, liberty and property.When men use patriarchy to kill women and refuse them any liberty and property rights, Browning is against this kind of system. Browning made it clear in his poetry that he does not see why any emancipated man should hold any woman under subjection. He reminds us that little is achieved in life without liberty. Men will benefit if they give their women liberty.

                                                          # Thank You #

Northrope Frey

Thinking Activity

I.A.Richardson Thinking Activity

Thinking Activity


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.

     Three objectives to write The Practical Criticism:

      To introduce a new kind of documentation:

     To those who are interested in the contemporary state of culture whether as critics, philosophers, as teachers, as psychologists, or merely as curious persons.

      To provide new technique:

      For those who wish to discover for themselves what they think and feel about poetry (and cognate matters)and why they should like or dislike it.

    To prepare the way for educational methods: 

    

     More efficient than those we use now in developing discrimination and the power to understand what we hear and read.

   Metaphors : Sense and Emotive

       

In this Gazal Metaphor of the poet, his/her feeling express by

the seasonal atmosphere. Some words compare like that        

    .પ્રભાત -મીઠી યાદ, શિયાળો  -ઉષમા, ઉનાળો-શીતળતા, વરસતા  આભમાં -યાદ , ઘટા - ચેહરો 

 I.A.Richardson gave importance to metaphors and simile in understandingfigurative languageof the poem.

Structuralism Thinking Activity

Structuralism and Literary Criticism 

   Structuralism is a intellectual movement which began France in the  1950s and is first seen in the work of the anthropologist Claude Levi-Strauss (1908-2009) and the literary critic Roland Barthes.

 In sociology, anthropology, and linguistics, structuralism is the methodology that implies elements of human culture must be understood by way of their relationship to a larger, overarching system or structure.

 There were three structure as a structuralist do:- 
 1) Revenge
 2) Detective 
 3) Quest
        
Structure of "Revenge" we can see that example of The gujarati novel "TARAS" by Mahammad Mankad. In this novel chracter of Mansur Ali take a revenge for his love and suffer a lot in that way. Some part of this novel must be heart touchable and express the strength of Mansur Ali for his goal of revenge. 

Another example is "Detective" 
"Jagga Jasoos" movie by Anurag Basu

 And 3rd one is "Quest"                
In this book  "One Hundred Years of Solitude" protagonist of the novel research on some things duration time of hundred years. he lived alone and his obsession and resentment were expressed in this book about his quest on one kind of experiment. 

Derrida-and-Deconstruction

Derrida and Deconstruction Thinking Activity 

  
             Deconstruction, as applied in the criticism of literature, designates a theory and practice of reading which question 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 meanings of a literary text. Typically, a deconstructive reading sets out to show that conflicting forces within the text itself serve to dissipate the seeming definiteness of its structure and meaning into an indefinite array of incompatible and undecidable possibilities.
     
      Traditional western metaphysics advances on the basis of critique. You find the weakness in your antagonist's argument, and by this means show it to be false. In the tradition of Pope and Swift, you may then ridicule the argument, thereby persuading your reader to take your side against your antagonist you go on to replace the previous position with your own views, which are then subject to critique in their turn. Deconstruction however, is not critique Derrida treats Levi Strauss with respect, and his project is not to persuade us to repudiate Saussure's own book does not sustain the opposition between speech and writing it takes for granted and reiterates. On the contrary, the course records (as an outrage) the invasion of the rejected writing into speech itself. Spelling, Saussure declares with horror, is changing pronunciation. 

Example :-




In the movie character of Rani Jodhaa deconstructed of the history's information about her. In the reality Jodhaa  can not suffered a lot after her marriage. She live happy and peacefully  with her family, yes, rather some conflicts abusive her, as that religious, festivals and some restrictions of her family. But in the movie we can see that by Jodhaa's character she suffered a lot and abusive by Akbar and his family. In this movie some conflicts  represented, Directer of the movie Ashutosh Gowariker. 

Romantic Literature Assignment

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Name :- Jagruti R. Vasani
Sem :- 2

Roll No. :-14

Paper :-5 Romantic Literature

Subject :- Mary Shelley’s treatment of human mind in Frankenstein

Submitted To :- Smt. S.B. Gardi Department of English

                              Maharajakrishnakumarsinhji University Bhavnagar

  Mary Shelley

  Born :- 30 August, 1797

  Died :- 1 February, 1851

 Accupation :- English Novelist, short story writer, dramatist, essayist, biographer and travel writer.

 Best known of her Gothic Novel.

#  Human nature in frankenstein

In the novel "Frankenstein" by Mary Shelley, the relationship of external apperence and internal feelings are directly related. The creature is created and he is innocent, though he is seaverly deformed. His nature is to be good and kind, but society only views his external appereance which is grotesque. Human nature is to judge by external apperence. He is automatically ostracized and labeled as a monster because of his external apperence. He finnaly realized that no matter how elequintly he speaks and how kind he is, people will never be able to see past his external deformities. Children are fearful of him, Adults think he is dangerous, and his own creator abandons him in disgust. The creature is treated as a monster, therefore he begins to internalize societies view of him and act the like a monster. Man by nature, judges people and things by their appearance. If a person is pleasant looking then they will be given more of a chance to express their internal self. If they are ugly, or cosmetically deformed, they usually aren't given much of a chance to show who they really are. Grotesquely ugly people are sometimes thought of as monsters, and are ostracized. Many cosmetically inferior people are afraid to go out into society. Mankind seems to be fearful of the unfamiliar and unknown. People are afraid of what they do not understand. Deformaty is something that most people can not comprehend. How can I describe my emotions at this catastrophy, or how delineate the wretch whom with such infinite pains and care I had endevoured to form? His limbs were in proportion, and I had selected his features as beautiful.

   Here the creature tells Frankenstien that he is the fallen angel. This means that he believes that Frankenstien could have done a better job raising him. The creature indicated that he was born good and virtuous, but lonliness and misery due to the alenation he receives from mankind, have made him feel like a monster. Society sees him as a monster and makes him feel like one, so now he will begin to act like one. The creature then begines to tell Frankenstien the tale of what he has done and hoh he has managed to survive the past few years.

 # The Creature’s attempt at humanization

 “I began the creation of a human being” – Victor Frankenstein (Shelley 54). This is a short yet powerful statement from the eponymous character of Mary Shelley’s Frankenstein.  Victor Frankenstein is a man from a privileged family who becomes obsessed with pursuing scientific advancements, and is eventually able to create a living being.  While Victor does succeed at creating a living being, he does not succeed at creating a human being.  The creature becomes excluded from society, and tries to humanize himself through knowledge of language.  To begin with I will do a close reading of Mary Shelley’s novel, analyzing selected scenes. I will be looking at what, according to the novel, makes something human and what excludes the creature from humanity.  Victor’s creation attempts to humanize himself and become part of society, but ultimately is unable to do so.  The first chapter will deal with the way the creature is excluded.  He attempts to join and be a part of the community, but is met with constant and violent rejection.   I will look at what motivates the people’s prejudice against the creature.  The novel suggests that the creature cannot be accepted as human because he is a singular being, and therefore cannot be a part of a community.  Since Victor made the creature, there is not another being that is the same as him.  He is singular in appearance, and in the way he was made.  His singularity makes it so that the creature cannot relate to humans.  Without the ability to relate, he cannot be human.

Explore the Dark Side of Human Mind

   In his obsession to master the realm of science, Victor delves dangerously into the matters of what constitutes life.  As Victor begins to surpass what is known, he enters a realm much like that of Satan in Paradise Lost who dreams of a new world to be created which he may make his own. Like Satan, too, Victor wishes to take on a role that is only God's; in Victor's case this is the creation of a living being that is made from human parts.  This preoccupation with his power to create causes Victor Frankenstein to forsake his humanness; all his desires turn inward t o himself, and he abandons his friends and family to his scientific acts of construction or destruction.  Victor's obsession with science hinders the nurturing of his soul and the goodness inherent in him, as the Romantics believed.

Frankenstein's creature exemplifies what happens to the human soul when it is renounced and given no spiritual nourishment.  Interestingly, the creature compares himself to Adam in Milton's Paradise Lost which he has read: "It moved every feeling of wonder and awe, that the picture of an omnipotent God warring with his creatures was capable of exciting."

But, the creature remarks, he has been given no Eve.  So, since his creator rejects him and leaves him alone, the creature, then, seeks revenge upon Victor Frankenstein, much as Satan seeks to destroy the human world in his hatred of God.  Unloved and unwanted, the creature retreats into the dark realm of his soul and mind and destroys what Victor has loved in his evil realm of revenge.  Now, he compares himself to Satan, saying,

"Many times I considered Satan as the fitter emblem of my condition; for often, like him, when I viewed the bliss of my protectors, the bitter gall of envy rose within me."

Much like Satan who is rejected by the beings of which he was once a member, the creature, who through abandonment by man enters the dark side, seeks to avenge himself upo n these beings. Certainly, in the darkness of their souls, there are parallels between Victor Frankenstein and his creature; in fact, some view the creature as the dark side of Victor himself, rather than a separate being.

Biological Factors of Human Relationship

          Biological factors are something that contributes hugely to the formation and maintenance of relationships- whether it is romantic, friendly or family related. Many researchers have conducted studies in which they have attempted to try and explain the link between biological factors and human relationships. I am going to specifically focus on Bowlby’s study on the role of hormones in bonding, Buss’ study on women jealousy and its relation to estrogen levels, Fishers study on the brain and its role in romantic relationships, and Marazziti who studied the effect of serotonin on love obsession. These studies will help me show the role that biological factors have in human relationships in both the development and maintenance of them.

   The development of a relationship from the first and early stages of love to the more developed stages, couples tend to move from the passionate love to the more intimate relationship of relaxation, dependency, and security which all play into attachment. In 1969 Bowlby suggested, “Humans have an innate attachment system which consists of specific behaviours and psychological responses called attachment behaviours.” For his experiment it mainly was conducted for research on mother child relationships however many believe that the results are relatable to both mother child and romantic relationships. According to more modern research, it has been shown that both oxytocin- a powerful hormone which is released in men and women d uring touching and sex which helps to deepen and intensify the feelings of the select attachment- and vasopressin- a hormone released also during sex- help in increasing the bond that is between two lovers. Through this it helps the couples to feel closer and more bonded. One of the main criticisms of this experiment was the complexity of the researched relationships and how since they didn’t consider other factors that might affect the results, therefore resulting in the possibility that it could be unreliable.

 Conclusion :  

   The creature attempts to make up for his physical appearance and learn the ways of man.  He watches the cottagers and acquires the ability to speak eloquently.   But this attempt at humanization fails, as he is still excluded from the human community.  The creature is able to evoke evoke some compassion from Victor, but in the end Victor changes his mind.  The people in the novel are completely unwilling to try to understand and accept the creature. He is a being capable of emotion and reasoning, yet because of his physical body he is completely excluded.  It is human nature to reject those that look different from yourself.  The creature’s body does not allow him to be considered human, and he therefore is not afforded human rights.  Language is a cultural aspect, and therefore the creature’s acquisition of it does not afford him humanity.  His nature remains the same, and his nature is not human. When Victor does not give the creature a mate, he denies him ever having acceptance.  The creature needed a similar being to be accepted, as he would never be allowed to enter human society.   Being the only one of his kind, the creature was destined to exist outside of humanity.

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