Cultural studies in practice. Two character in Hamlet: Marginalization with a vengeance.

Name: - Gohel Daya B

Paper: - 8 (cultural studies)

Assignment topic: - Cultural studies in practice.

Two character in Hamlet: Marginalization with a vengeance.

Roll No:-3

Sem:-2

Submitted to: - Maharaja Krishnakumarsingh university Bhavnagar.

Department of English.

Email id: - dayagohil47@gmail.com

Introduction:-

      In the novel we can say that find there is a king who has murder by own brother.

                 Cultural studies are quite a new approach to read new literature.

BCCCS

It is full form of Birmingham center for contemporary cultural studies.

-        Raymond Williams.

-        Richard Hoggart etc.

        Hamlet is written during the Elizabethan age. But one new no one has problem with it.

Hamlet is a play is the same which was Earlier also but we were reading Hamlet from traditional approach so we can say no problem with it.

Let’s illustrate:-

v    Marginalization of two characters.

§  Hamlet

Center of the Hamlet periphery of the Rosencrantz and Guildenstern.

Tom stoppard’s a play Just change of the play center and we are totals different play with hidden meaning.

Rosencrantz and Guildenstern

                                     Tom Stoppard.

It is a play.

                                 

                    Written by tom Stoppard.

The play within the play.

They are two marginalization characters in the noted cultural and new historical emphases of the power and relationship of the cultural study in practice.

    The example are noted in critics assume “oppositional” role in term of power structures. The pointed out credited the new historicicists with dealing the question of the politics power the matters of that deeply affect people’s practical lives”

    There are the large emphases on the power in the practice matter of: - Jonathan swift’s Laputa as a previously noted.

They are the now approach Shakespeare’s Hamlet with a view to seeing power in its cultural context to approach.

             Shortly after the play within the play the Claudius is the talking the play two main character privately with the Rosencrantz and Guildenstern.

Hamlet follows the student from the Wittenberg. In the response to Claudius’s plan to send Hamlet to the England in the Rosencrantz. The Rosencrantz delivers a speech if that out the read context is both of excellent set of the metaphors and summation of the Elizabethan power of role and power kingship.

Speaker gives the answer:

Guildenstern agreed with the Rosencrantz would the king’s bidding. The agree mention of the reformation of the he first received them at court. Both are the speech holly character of the Rosencrantz and Guildenstern are among the jellyfish of the Shakespeare characters.

The two are distinctly plot driven:

(1)        empty of personality

(2)        Sycophantic in a sniveling way.

Even successfully they try to play on “were sent for”

The successfully they try to play on the Hamlet metaphorical “pipe” to know his “stops”

The study of two characters marginalized.

Than look upon Rosencrantz and Guildenstern.

Meaning of their name the hardly match essence of their characters. Rosencrantz and Guildenstern German literally, ‘garland of roses’ and ‘golden star’. Other twin brethren in nonentity Rosencrantz and Guildenstern.

The personalities and general vacuity of Shakespeare’s two incompetents. They are return to Denmark apparently at the direct request of Claudius. They try to pry from Hamlet some of his inner thought especially ambition and frustration but the crown. Later than “grand commission” him to complete future and to “trust them as adders fanged “Hamlet is well see himself as righting the moral order not as a murder and much has been said on the matter .

Cultural studies define the quite a new approach to read literature.

Power in the world kings and princes.

So, they are Elizabethan relative Mary queen of scot .

Shakespeare work incorporate power struggles.

Claudius the aware of power , clearly ,The observed of “madness in great ones must not unwatched go” It is so they equal truth Rosencrantz and Guildenstern  observed that power in the great ones.

The struggle between the powerful antagonists .Instructive to note to note that the reality of power reflective of shake spear time in another time the culture reflect a radically different worldview. There is response to the Hamlet by looking at related culture and philosophical manifestation from the 20^th century. The Rosencrantz and Guildenstern were the resuscitated by two ineffectual pawns. They are at all may be the ultimate question of this modern play. In Rosencrantz and Guildenstern are stopped has given the contemporary audience a play that examines existential questions in the context of a play. Rosencrantz and Guildenstern are archetypal human beings caught up on a ship these two characters are marginalized in Hamlet they are more so in Stoppard has marginalized the powerless in own version of Rosencrantz and Guildenstern tom Stoppard has marginalized us all an era.

The philosophical view of Stoppard goes too far for phenomenon of later 20^th century. Rosencrantz and Guildenstern are little people in the corporate.

Conclusion:

            The two characters marginalized in the Shakespeare’s version and tom Stoppard’s Rosencrantz and Guildstern are no more than the Rosencrantz called

“Small annexment”

Petty consequence

Massy wheel of kings.

Archetypal criticism with illustrations.-northrop frye.

Name : Gohel Daya B.

Assignment topic: Archetypal criticism with illustrations. – Northrop Frye.

Paper -7

Roll no – 3

Sem-2

Submitted to: - Maharaja Krishnakumarsingh University.

Department of English.

Email id :- dayagohil47@gmail.com

 Introduction:-

                 In the archetypal criticism the term of archetype denotes recurrent narratives pattern of action, designs, themes, character types and images. The identifiable in a variety of the work literature. Throughout the myths, dream and even social rituals. The recurrent items of the result element of human psyche. The profound response from the attentive reader shares the psychic archetypes expressed by the author. An important antecedent of the literary theory of archetype treatment of myth by a group of comparative anthropologists at Cambridge University.

Ø      James G.frazer

The Golden bough (1890-1915)

                 The identified element patterns of myth and ritual. An even more important antecedent the depth psychology of

Ø      Carl G. Jung (1875-1961)

Mythological and archetypal approaches.

v     Definition of misconception.

 The Joseph Campbell recounts a curious phenomenon of the animal behavior. Newly hatched chickens, bits of egg-shells still clinging to their tails, will dart for cover when a hawk flies overhead: yet they remain unaffected by other birds. Furthermore, a wooden model of a hawk, drawn forward along a wire above their coop, will send them scurrying (if the model is pulled backward, however, there is no response). "Whence," Campbell asks, "this abrupt seizure by an image to which there is no counterpart in the chicken's world? Living gulls and ducks, herons and pigeons, leave it cold, but the work of art strikes some very deep chord!"

v      Some example of criticism.

  The established the significance of myth, relationship to archetypes and archetypal patterns. Every people have its own distinctive mythology that may be reflected in legend, folklore, and ideology in other words, myths take their specific shapes from the cultural environments.  The general sense, universal. Furthermore, similar motifs or themes may be found among many different mythologies, and certain images that recur in the myths of people widely separated in time and place tend to have a common meaning or, more accurately, tend to elicit comparable psychological responses and to serve similar cultural functions. Such motifs and images are called archetypes. Stated simply archetypes are universal symbols. As Philip Wheelwright explains in Metaphor and Reality (Bloomington: Indiana University Press, 1962)

Those which carry the same or very similar meanings for a large portion, if not all, of mankind. It is a discoverable fact that certain symbols, such as the sky father and earth mother, light blood, up-down, the axis of a wheel, and others, recur again and again in cultures so remote from one another in space and time that there is no likelihood of any historical influence and causal connection among them .,

Examples of these archetypes and the symbolic meanings with which they tend to be widely associated follow.

·      Image.

          Water a mystery of creation according to the Jung.

a. The sea: the mother of all life.

b. Rivers: death and rebirth the flowing of time into eternity.

·      Colors.

Red: blood, sacrifice

Green: Growth, sensation, hope

Blue, black , white.

v      Archetypal Motifs or Patterns

·      Creation: perhaps the most fundamental of all archetypal  every mythology is built on some account of how the cosmos, nature, and humankind  brought into existence by some supernatural Being or beings.

·      Immortality: another fundamental archetype, generally taking one of two basic narrative forms:

Ø "return to paradise," the state of perfect, timeless bliss enjoyed by man and woman before their tragic Fall into corruption and mortality. <See Myth of the Eternal Return>

Ø the theme of endless death and regeneration--human beings achieve a kind of immortality by submitting to the vast, mysterious rhythm of Nature's eternal cycle, particularly the cycle of the seasons. <Eliade would show how b is a version of a)

3. Hero archetypes (archetypes of transformation and redemption):

a. The quest: the hero (savior, deliverer) undertakes some long journey during which he or she must perform impossible tasks, battle with monsters, solve unanswerable riddles, and overcome insurmountable obstacles in order to save the kingdom.

b. Initiation: the hero undergoes a series of excruciating ordeals in passing from ignorance and immaturity to social and spiritual adulthood, that is, in achieving maturity and becoming a full-fledged member of his or her social group. The initiation most commonly consists of three distinct phases

(1) Separation

 (2) Transformation

 (3) Return

   This is a variation of the death-and-rebirth archetype.

c. The sacrificial scapegoat: the hero, with whom the welfare of the tribe or nation is identified.

v      ARCHETYPES AS GENRES

Images and motifs, archetypes may be found in even more complex combinations as genres or types of literature that conform with the major phases of the seasonal cycle.

Northrop Frye, in his Anatomy of Criticism indicates the correspondent genres for the four seasons as follows:

The mythos of spring: comedy

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

 The mythos of summer: romance

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

 The mythos of fall: tragedy

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.

 The mythos of winter: irony

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

E.g-Akhari Rasta. 

With brilliant audacity Fry identifies myth with literature, asserting that myth is a "structural organizing principle of literary form" and that an archetype is essentially an "element of one's literary experience" And in The Stubborn Structure that "mythology as a whole provides a kind of diagram or blueprint of what literature as a whole is all about, an imaginative survey of the human situation from the beginning to the end, from the height to the depth, of what is imaginatively conceivable"

o The archetypal criticism argues that archetypes determine the form and function of literary works. The archetypal cultural meaning is shaped by cultural and psychological myths. The personified or concretized in recurring images, symbol, patterns which may include. Archetypal critics find new criticism to atomistic in ignoring intersexual elements and in approaching the text as if it existed in a vacuum. After all, we recognized story pattern and symbolic associations at least from other texts we have read. The sure meaning cannot exist solely on the page of a work nor can that work be treated as an independent entity. The archetypal criticism origins are rooted in two other academic disciplines, social anthropology and psychoanalysis.

o The Northrop Frye’s trying prove by an analogy of physics to nature the treatment of myth by a group of comparative anthropologists. The identities elementals patterns of myth and ritual that claimed recur in the legends and ceremonials of divers and far-flung culture and religion. An   even more important antecedent was the depth psychology of applied this term.

o The criticism as an argued body of knowledge mentions a systemized and organized body of knowledge. Science dissects and analysis nature and facts. Similarly criticisms inter priest literature. The literature is a part of humanities include philosophy provide a kind of pattern understanding literature. The different type of criticism and most of them reclaim commentaries on text. This type of formalistic structural criticism. The Archetypal criticism is a synthesis of structural criticism and historical criticism.

o The inductive method of analysis structural criticism and analysis. The close first section, Fry contends that structural criticism will help a reader in understanding a text in his analysis, he proceeds inductively. That is form of particular truth. The jealousy, Othello, in the Shakespearean play. This called inductive method of analysis under structural criticism and Fry disuses this in detail in this section of the essay.

o The Deductive method with reference to an archetypal critic under the deductive method of analysis proceeds to establish the meaning of a work from the general truth to the particular truth. Literature is like music and painting Rhythm is an essential characteristic of music and painting is spatial. In literature both rhythm means the narrative and the narrative presents all the events and episodes as a sequence and hastens action. 

Concusion:-

                        Thus we can say that in archytype literature images, paintings and other artifact things were very important to recognise the work of art.

A study of provincial life.

Name: - Gohel Daya B

Roll no:-3

Sem:-2

Assignment topic: - A study of provincial life.

Paper: - 6 (

Submitted to: - Maharaja Krishnakumarasinha university.

Department of English.

Email Id: - dayagohil47@gmail.com

v     Introduction:-

    Middlemarch

             By: George Eliot

Published:-1871

George Eliot (1819 – 1880)

                    British 19^th century

v      George Eliot was an English novelist writing in the Middlemarch 19^th century. Before the any further we should let you know that Eliot was a woman. Don’t let the name fool you it was an artist. Her real name was Marin. Evans so now you know and can laugh up your sleeve at folks Oh you’re.

            If we had to sum up Middlemarch in just a few words, we might say that it’s a novel about social and political reform. But also a novel about love and marriage. And about trying and failing. About the second chances. It is in other words, huge and wide ranging novel.

     

The length of the novel actually forced Eliot's agent (and long-time lover), George Henry Lewes, to invent a new way to publish it. For most of the 19th-century, novels were published in one of two ways – either broken into installments of one or two chapters to be printed in a magazine (like Charles Dickens novels) But Middlemarch was too big to fit into three volumes, and publishing it a chapter or two at a time would take forever. So Lewes arranged to have it printed in eight installments over the course of sixteen months to get people hooked on the story, and then to print it altogether in four volumes. This was a great move by Lewes Middlemarch sold like crazy, and confirmed Eliot's reputation as the greatest living English novelist.

 Criticism about George Eliot

     This study of George Eliot’s pictorialism will begin with a biographical chapter her knowledge of art, artist and the literature of art.

The next two chapters will characterize her test in painting and sculpture and discuss the role of painting and theory. Her fiction examining the four principal genres that she loved to recreate portraiture sacred and heroic history painting and landscape.

v      A Study of Provincial life:-

The subtitle of Eliot’s Middlemarch, “A study of provincial life” succinctly demonstrates her breadth of ambition.

Eliot is not merely concerned with the individual narratives but also with the society at large.

By telling the story of young three woman of slightly different classes, their suitors and the social milieu in which their relationship develop. Eliot is able to show the nuances of class in the 1830s.It is her seventh novel began in 1869 and then put aside during the final illness of Thornton Lewes the son of her companion George Henry Lewes.during the following year Eliot resumed work fusing together several stories into a coherent whole and during 1871 – 72 the novel appeared in serial from. The first one volume edition was published in 1874 and attracted large sales subtitle “A study of provincial life” the novel is set in the Subtitled "A Study of Provincial Life", the novel is set in the fictitious Midlands town of Middlemarch, which is thought to be based on Coventry, during the period 1830–32. It has multiple plots with a large cast of characters and distinct, though interlocking narratives. The main themes include the status of women, the nature of marriage, idealism, selfinterest, religion, hypocrisy, political reform, and education. The pace is leisurely; the tone is mildly didactic (with occasional authorial comment). Although Middlemarch has some comical elements, it is a work of realism. Through the voices and opinions of different characters we become aware of various issues of the day: the Great Reform Bill, the beginnings of the railways, the death of King George IV, and the succession of his brother, the Duke of Clarence (who became King William IV). The novel also provides insight into the state of contemporary medical science and the deeply reactionary mindset found within a settled community facing the prospect unwelcome change. Though none of the characters in Middlemarch are intentionally humorous in their diction, except Mary Garth who employs great wit, the narrator's tone is often wry and humorous. Labourers speaking in dialect also add humour, as they do in many of Shakespeare's plays. The eight "books" of the novel reflect the form of the original serialization. A short prelude introduces the idea of the latter day St. Theresa, presaging the character Dorothea; a post script, or "finale", after the eighth book gives details of the subsequent fate of the main characters. Middlemarch has retained its popularity and status as one of the masterpieces of English fiction, although some reviewers have expressed dissatisfaction at the destiny accorded fictitious midlands town of Middlemarch, thought to be based on Coventry, during the period 1830-32. It has multiple plot with a large cast of characters and in addition to its distinct though interlocking narratives it pursues a number of underlying themes, including the status of women the nature of marriage, idealism and self interest, religion and hypocrisy, political reform and education. The pace is leisurely the tone is midly didactic (with an authorial voice that occasionally bursts thought the narrative) and the canvas is very broad. She focuses primarily on higher classes capable of instigating change. She there by demonstrates the reciprocal influence of individual narrative and broader social trends.    

ü      Characters:-

o  Dorothea Brooke — is an intelligent, wealthy woman. She marries the Reverend Edward Casaubon, with the idealistic of the helping idea with helping the resech project, thus; so we can say mythology. the marriage was a mistake, as Casaubon does not take her seriously and resents her youth, enthusiasm, and energy. Because of Casaubon's coldness during their honeymoon, Dorothea becomes friends with his relative, Will Ladislaw, Some years after Casaubon's death she falls in love with Will and marries him.

o  Tertius Lydgate — an idealistic, talented, but naïve young doctor, but though of good birth he is relatively poor. Lydgate hopes to make great advancements in medicine through his research However; he ends up in an unhappy marriage to Rosamond Vincy.

o   Edward Casaubon — A pedantic, selfish, elderly clergyman who is obsessed with his scholarly research. Because of this his marriage to Dorothea is loveless. His unfinished books Key to All the Mythologies are intended as a monument to the tradition of Christian . However, his research is out of date because he does not read German.

o  Mary Garth — the practical, plain, and kind daughter of Caleb and Susan Garth, she works as Mr. Featherstone's nurse. She and Fred Vincy were childhood sweethearts, but she refuses to allow him to woo her until he shows himself willing and able to live seriously, practically, and sincerely.

ü Mary Garth and Fred Vincy

o  Arthur Brooke — the often befuddled and none-too-clever uncle of Dorothea and Celia Brooke. He has a reputation as the worst landlord in the county, but stands for parliament on a Reform platform.

o  Celia Brooke — Dorothea's younger sister is a great beauty. She is more sensual than Dorothea and does not share her sister's idealism and asceticism, and is only too happy to marry Sir James Chettam, when

      Dorothea rejects him.

o  Sir James Chettam — a neighbouring landowner, Sir James is in love with Dorothea and helps her with her plans to improve conditions for the tenants.

o  Rosamond Vincy — is vain, beautiful, and shallow; Rosamond has a high opinion of her own charms and a low opinion of Middlemarch society. She marries Tertius Lydgate because she believes that he will raise her social standing and keep her comfortable. When her husband encounters financial difficulties, she thwarts his efforts to economise, seeing such sacrifices as beneath her and insulting. She is unable to bear the idea of losing status in Middlemarch society.

o  Fred Vincy — Rosamond's brother. He has loved Mary Garth from childhood. His family hopes that he will advance his class standing by becoming a clergyman, but he knows that Mary will not marry him if he does so. Brought up expecting an inheritance from his uncle Mr Featherstone, he is spendthrift. He later changes because of his love for Mary, and finds, by studying under Mary's father, a profession through which he gains Mary's respect.

o  Will Ladislaw — a young cousin of Mr Casaubon, he has no property because his grandmother married a poor Polish musician and was disinherited. He is a man of great verve, idealism and talent but of no fixed profession. He comes to love Dorothea, but cannot marry her without her losing Mr Casaubon's property.

o  Humphrey Cadwallader and Eleanor Cadwallader — Neighbours of the Brookes. Mr. Cadwallader is a Rector. Mrs. Cadwallader is a pragmatic and talkative woman who comments on local affairs with wrycynicism. She disapproves of Dorothea's marriage and Mr. Brooke's parliamentary endeavours.

o  Walter Vincy and Lucy Vincy — A respectable manufacturing family. They wish their children to advance socially, and are disappointed by both Rosamond's and Fred's marriages. Mr. Vincy's sister is married to Nicholas Bulstrode. Mrs. Vincy was an innkeeper's daughter and her sister was the second wife of Mr. Featherstone.

o  Caleb Garth — Mary Garth's father. He is a kind, honest, and generous businessman who is a surveyor and land agent involved in farm management. He is fond of Fred and eventually takes him under his wing.

o  Camden Farebrother — A poor but clever vicar and amateur naturalist. He is a friend of Lydgate and Fred Vincy, and loves Mary Garth. His position improves when Dorothea appoints him to a living after Rosamond Vincy and Tertius Lydgate Casaubon's death.

o  Nicholas Bulstrode — Wealthy banker married to Mr. Vincy's sister, Harriet. He is a pious Methodist who tries to impose his beliefs in Middlemarch society; however, he also has a sordid past which he is desperate to hide. His religion favours his personal desires, and is devoid of sympathy for others.

o  Peter Featherstone — Old landlord of Stone Court, a self-made man who married Caleb Garth's sister and later took Mrs. Vincy's sister as his second wife when his first wife died.

o  Jane Waule - A widow and Peter Featherstone's sister, has a son, John.

o  Mr. Hawley — Foul-mouthed businessman and enemy of Bulstrode.

o  Mr. Mawmsey — Grocer.

o  Dr. Sprague — Middlemarch doctor.

o  Mr. Tyke — Clergyman favoured by Bulstrode.

o  Rigg Featherstone — Featherstone's illegitimate son who appears at the reading of Featherstone's will and         is given his fortune instead of Fred. He is                  also related to John Raffles, who comes into town to visit Rigg but instead reveals Bulstrode's past. His appearance in the novel is crucial to the plot.

o  John Raffles — Raffles is a braggart and a bully, a humorous scoundrel in the tradition of Sir John Falstaff, and an alcoholic. But unlike Shakespeare's fat knight, Raffles is a genuinely evil man.