Friday 23 April 2021

Cultural Studies: Retellings of Shakespeare's Plays

 



Video Recording of the Online Talk on 'Cultural Studies: Retellings of Shakespeare's Plays








Transcript:

Title: "Universal Shakespeare | Cultural Studies: Retellings of Shakespeare's Plays | April 22, 2021"


This event was broadcasted on our Facebook page. In case you couldn't join or got disconnected, students can still access it through our Facebook page, where the link has been shared. Thank you. Shall I begin now? Yes, okay. Thank you, Puja madam.

Today, we find ourselves in an intriguing situation on April 23rd, which is celebrated as English Language Day and International Book and Copyright Day. The esteemed Jamnagar DKV College, a government institution, has organized this event, providing us with a unique opportunity to delve into the world of William Shakespeare.

However, it's essential to acknowledge the challenging circumstances surrounding us. We are in the midst of the second wave of the COVID-19 pandemic, which is spreading rapidly across India. Every day, we read about the rising death toll, increasing hospitalizations, and the heartbreaking stories of countless individuals affected by this crisis. This unprecedented health crisis has gripped our nation and the world, preoccupying our minds with tragedy.

During these trying times, concentrating on our studies, fostering innovation in our thinking, teaching, and work has become exceptionally challenging. The suffering caused by the pandemic has affected our friends, family, relatives, and neighbors, further adding to our collective distress.

I had initially intended to create an engaging PowerPoint presentation with graphics and images. However, as I attempted to prepare it over the past two days, my mind was constantly occupied by the current events, the concerns of our community, and the world at large. It seems that our thoughts have expanded beyond boundaries, transcending the limitations of our immediate surroundings.

William Shakespeare, a renowned figure in the world of literature, often faces criticism due to his association with a powerful colonial identity. However, it is crucial to shift our focus from the poet himself to his literary works, which have continued to inspire people worldwide. Shakespeare's works are not confined by colonial labels; they are universal.

Cultural studies have played a pivotal role in reshaping the academic perspective on popular culture and everyday life. Emerging from movements like feminism, Marxism, and post-structuralism, cultural studies have challenged the traditional snobbery associated with popular culture in academia.

William Shakespeare's works have been translated into numerous languages and adapted in various forms, from books to stage performances. It is the works themselves, rather than the author's identity, that continue to captivate and influence people globally.

In this digital age, the world has become interconnected, transcending geographical boundaries. However, this globalization also brings with it challenges related to cultural sensitivity and censorship, especially in the world of cinema and literature.

Shakespeare's iconic play, "Hamlet," is characterized by the ghost of the father urging his son to seek revenge. While Hamlet's actions may seem cruel, they are driven by a desire for justice rather than villainy. The play explores complex themes of power, betrayal, and vengeance.

In Tom Stoppard's adaptation, "Rosencrantz and Guildenstern Are Dead," the marginalized characters from Shakespeare's "Hamlet" take center stage. This reinterpretation highlights the forces beyond our control that shape our destinies, an apt reflection of the current global situation.

While the pandemic has brought about economic hardships for many, there are those who have seen their fortunes rise significantly, raising questions about wealth disparities. Tom Stoppard's retelling of "Hamlet" in the context of our pandemic era offers a thought-provoking perspective on these issues.

Shakespeare's "Macbeth" is a fast-paced, action-packed tragedy that has found enduring appeal on both stage and screen. Its exploration of ambition, power, and the consequences of one's choices makes it a favorite for filmmakers.

In a modern reinterpretation of "Macbeth," the role of Lady Macbeth takes on a new dimension as she becomes the driving force behind her husband's actions. This portrayal challenges traditional gender roles and raises questions about empowerment and morality.

In a unique twist, the witches in "Macbeth" are transformed into police constables who engage in encounters with others. This adaptation raises questions about the role of law enforcement in society and the power they wield.

The age of information and social media has given rise to the phenomenon of "WhatsApp University," where individuals propagate misinformation and half-truths. This post-truth era poses significant challenges for leaders and society as a whole.

As we navigate through these tumultuous times, Shakespeare's tragedies, such as "Julius Caesar" and "Othello," continue to resonate, prompting us to reflect on the intersections between literature and politics.

Literary forms have evolved over time, from dramas to novels and now to web series and cinema. It is essential to prioritize textual reading when introducing students to literary works, followed by exploring contemporary perspectives.

Democracy has replaced monarchy in today's world, emphasizing the importance of secularism in public spaces. Literature should not be confined by religious boundaries, and public spaces should be inclusive and secular.

In conclusion, we appreciate your time and participation in this session. We look forward to future discussions on cultural studies and related topics. Thank you once again. Goodbye, everyone.

Please note that the transcript has been restructured and expanded for clarity and coherence.


Friday 2 April 2021

Fantasy and Religious Vision in the Twentieth Century Literature

Fantasy and Religious Vision in the Twentieth Century Literature


 



The Chronicles of Narnia

If Huxley's fiction created utopian and dystopian words based on a vision of technology, the work of the Anglo-Irish C.S. Lewis (1898-1963) offered a fantasy created out of a more religious vision. Lewis, highly regards Milton scholar, medievalist(he was the Chair of Medieval and Renaissance English at the University of Cambridge) and critic, after a late return to Christianity (partly under the influence of his friend, J.R.R. Tolkien), created 'The Chronicles of Narnia' (1950-56).
The Narnia takes are in seven books - their order has been a matter of some debate - and deal with the adventures of a group of children who visit a magical island, Narnia. Though Christian in theme and intention, there are influences from Celtic and Greco-Roman mythologies. In 'The Lion, the Witch, and the Wardrobe, the first of the epic cycle, Peter, Susan, Edmund, and Lucy Pevensie stumble into Narnia. The evil witch, called simply the White Witch, is thwarted as the children befriend the great lion, Aslan. In book II (Prince Caspian) an evil king has acquired control of Narnia. How the children help the good Prince Caspian to fight and win against Telmar is the main story here. The Voyage of the Dawn Treader takes Edmund and Lucy Pevensie, and their cousin Eustace Scrubb, on a voyage with Prince Caspian to find and rescue the seven lords. In The Silver Chair, Aslan calls Eustace and his friend Jill to help him find Prince Rilian and rescue him from the Emerald Witch. Bree (a talking horse) and Shasta plan to escape from their country, somewhere south of Narnia in The Horse and his Boy. The Pevensie children and Aslan thwart the attempts of the Calormenes to conquer Narnia. In The Magician's Nephew, Lewis maps the origin of Narnia, even as other children enter the place. In The Last Battle there is a false Aslan. The last volume ends Narnia itself. Just when the Calormenes are set to take over Narnia - the result of machinations by Swift the Ape and Puzzle the Donkey - Aslan, Eustace and Jill enable a fight against the Satanic forces. Aslan ends Narnia and selects all those loyal to him to another world. It is also revealed that Narnia is i fact England and that the 'travellers' in Narnia are actually dead and they have been reunited in a perfect world.
Controversies over the use of Christian doctrines and symbols (such as the lion image) and Lewis's problematic presentation of Susan Pevensie (whose unflattering portrayal that highlighted her interest in cosmetics and by extension, her physical appearance and sexuality, was critiqued by two of the major children's authors Philip Pullman and J K Rowling) have continued.

The Lord of the Rings

The most enduring fantasy work produced in 20th century literature is surely 'The Lord of the Rings' (1954-5), prefigured, at least in terms of its characters, in 'The Hobbit' (1937). JRR Tolkien (1892-1973), a professor of poetry at Oxford, was influenced by Greek and Finnish mythologies. The Bible (Tolkien admitted that his was a Christian work) and old English writings (specifically Beowulf, on which Tolkien lectured) are discernable influences on Tolkien's own work. 

Religion in The Chronicles of Narnia

CS Lewis did not originally set out to incorporate Christian theological concepts into his Narnia stories; it is something that occurred as he wrote them. As he wrote in his essay Sometimes Fairy Stories May Say Best What's To Be Said (1956):

Some people seem to think that I began by asking myself how I could say something about Christianity to children; then fixed on the fairy tale as an instrument, then collected information about child psychology and decided what age group I’d write for; then drew up a list of basic Christian truths and hammered out 'allegories' to embody them. This is all pure moonshine. I couldn’t write in that way. It all began with images; a faun carrying an umbrella, a queen on a sledge, a magnificent lion. At first there wasn't anything Christian about them; that element pushed itself in of its own accord.

Lewis, an expert on the subject of allegory and the author of The Allegory of Love, maintained that the Chronicles were not allegory on the basis that there is no one-to-one correspondence between characters and events in the books, and figures and events in Christian doctrine. He preferred to call the Christian aspects of them "suppositional". This indicates Lewis' view of Narnia as a fictional parallel universe. As Lewis wrote in a letter to a Mrs Hook in December 1958:

If Aslan represented the immaterial Deity in the same way in which Giant Despair [a character in The Pilgrim's Progress] represents despair, he would be an allegorical figure. In reality, however, he is an invention giving an imaginary answer to the question, 'What might Christ become like if there really were a world like Narnia, and He chose to be incarnate and die and rise again in that world as He actually has done in ours?' This is not allegory at all. (Wikipedia)

 



India in the Twentieth Century European Literature

 India in the Twentieth Century European Literature

a. Rudyard Kipling: Kim (1901)

b. E M Forster: A Passage to India (1924)

c. T S Eliot: The Waste Land (1918-22)

d. Herman Hesse: Siddhartha (1922)

e. Virginia Woolf: To the Lighthouse (1927)

f. H.G. Wells: Around the World in Eighty Days (1872-73)


Rudyard Kipling: Kim (1901)

Kipling’s ideal  of imperialism in India was that of a paternalistic, quasi-feudal imperial one. As “legitimate” and benevolent rulers, the British took a privileged position at the top of the social chain with a systematic mode of government . Kipling could have easily been influenced by the spreading ideal of social Darwinism, a societal spin on Darwin’s order of the natural world. For Kipling, hierarchy was natural and was determined by survival of the fittest. Imperialism could not be corrupt to Kipling, because social order is fated, therefore moral.

In Kim, it is obvious that Kipling did not see imperialism as any type of disruption, exploitation, or subjugation, but as economic development and moral enlightenment for India. In the novel, working as a spy for the British Empire and looking for spiritual harmony work side-by-side. British rule is never challenged; instead Kipling uses several minor characters strictly for the purpose of advocating British rule. Although Kipling shows a knowledge of a number of Indian languages and the capability of using many voices, there is no variety of viewpoint. All voices hold one style and one dominant point of view in favor of British imperialism. Kipling’s use of Indian words and phrases lacks any attempt to represent the their cultural specificity. 

(Gopen, Shina. 'Rudyard Kipling'. https://scholarblogs.emory.edu/postcolonialstudies/2014/06/11/kipling-rudyard/)


E M Forster: A Passage to India (1924)
The story of A Passage to India hinges on a rape that never was. A white young woman accuses a charming Indian Muslim doctor of having assaulted her in a dark cave during a picnic, but at the trial of the accused a few weeks later, she goes to the witness box and says she cannot be sure and is withdrawing all charges.
Forster here boldly reverses many Raj stereotypes. The race-and-rape narrative had been common in English novels about India ever since the “Mutiny” of 1857 when several such incidents were believed to have happened. The trope of an oppressed ill-treated native raping a woman of the master race in a token act of revenge for the greater crime of the coloniser having raped his country had been inaugurated in English literature by Shakespeare in The Tempest (1611). (Trivedi, Harish. The rape that never was: Forster and ‘A Passage to India’)

Virginia Woolf: To the Lighthouse (1927)

Herman Hesse: Siddhartha (1922)









H.G. Wells: Around the World in Eighty Days (1872-73)


Tuesday 30 March 2021

Demographic Survey of Students of English Department MKBU

 Demographic Survey of Students of Department of English, Maharaja Krishnakumarsinhji Bhavnagar University

The following links are about the demographic survey of the students studying in Masters of Arts programme in Department of English, MKBU.


For comparative analysis, refer to this report of Ashoka University:



Monday 22 March 2021

JK Rowling Interview & Talk

 Harvard Commencement address 2008

Transcript



Oprah Winfrey Show: Interview with J K Rowling


Viral Videos

In this video, an unripe and untutored girl questions religious guru the nonsensicality in cutting trees to celebrate Holika Dahan and misuse of milk in worshipping Shiva Linga. The religious guru teachers her lessons in religious reading of these rituals.

Sunday 14 February 2021

Puritan and Restoration Age: English Literature

 

Puritan and Restoration Age: English Literature





Presentation on The Puritan Age

   

Presentation on The Restoration Age

 

Browning: Victorian Poet

Robert Browning: Victorian Poet 



Robert Browning, (born May 7, 1812, London—died Dec. 12, 1889, Venice), major English poet of the Victorian age, noted for his mastery of dramatic monologue and psychological portraiture. His most noted work was The Ring and the Book (1868–69), the story of a Roman murder trial in 12 books.

Click here to read more about Browning's Life


Browning's Biography

Browning's Legacy

Legacy

Few poets have suffered more than Browning from hostile incomprehension or misplaced admiration, both arising very often from a failure to recognize the predominantly dramatic nature of his work. The bulk of his writing before 1846 was for the theatre; thereafter his major poems showed his increasing mastery of the dramatic monologue. This consists essentially of a narrative spoken by a single character and amplified by his comments on his story and the circumstances in which he is speaking. (Read more . . . )

About Browning's Poems

Themes in Browning's Poems

All you need to know about Robert Browning - Victorian Web

Check your understanding - Online Test


Tennyson: Victorian Poet

Lord Alfred Tennyson - the Victorian Poet



Alfred, Lord Tennyson, in full Alfred Tennyson, 1st Baron Tennyson of Aldworth and Freshwater, (born August 6, 1809, Somersby, Lincolnshire, England—died October 6, 1892, Aldworth, Surrey), English poet often regarded as the chief representative of the Victorian age in poetry. He was raised to the peerage in 1884. (Source: https://www.britannica.com/biography/Alfred-Lord-Tennyson)

Why is Alfred, Lord Tennyson, important?

Alfred, Lord Tennyson, was the leading Victorian poet in England. His poetry is remarkable for its metrical variety, rich imagery, and verbal melodies. It dealt often with the doubts and difficulties of an age in which traditional religious beliefs about human nature and destiny were increasingly called into question by science and modern progress.

What was the childhood of Alfred, Lord Tennyson, like?

Alfred, Lord Tennyson, was the fourth of 12 children raised in a lonely rectory in Somersby, Lincolnshire, England. Though home conditions were difficult, his father, the rector, managed to give him a wide literary education. The Lincolnshire countryside influenced his poetry, which he began composing before his teens.

Where was Alfred, Lord Tennyson, educated?

 In 1827 Alfred, Lord Tennyson, entered Trinity College, Cambridge. There he made lasting friendships and his reputation as a poet increased. In 1831 Tennyson’s father died, and his grandfather discovered his father’s debts. As a result, he left Cambridge without taking a degree.

What did Alfred, Lord Tennyson, write?

The best-known poems by Alfred, Lord Tennyson, included “The Charge of the Light Brigade” and “Crossing the Bar.” His longer works included In Memoriam, inspired by his grief over the untimely death of a friend, and Idylls of the King, based on Arthurian legend. Later in life he experimented with playwriting but was less successful.

Want to know more about the biography of Tennyson? Click here

Tennyson as poet

Tennyson - the Poet of Our Time

Tennyson's Poetry

Cambridge Author: Tennyson

Check your understanding of Victorian Poets: Tennyson and Browning: Online Test

Monday 1 February 2021

Hard Times: Charles Dickens

 Introduction

Hard Timesnovel by Charles Dickens, published in serial form (as Hard Times: For These Times) in the periodical Household Words from April to August 1854 and in book form later the same year. The novel is a bitter indictment of industrialization, with its dehumanizing effects on workers and communities in mid-19th-century England.
Louisa and Tom Gradgrind have been harshly raised by their father, an educator, to know nothing but the most factual, pragmatic information. Their lives are devoid of beauty, culture, or imagination, and the two have little or no empathy for others. Louisa marries Josiah Bounderby, a vulgar banker and mill owner. She eventually leaves her husband and returns to her father’s house. Tom, unscrupulous and vacuous, robs his brother-in-law’s bank. Only after these and other crises does their father realize that the manner in which he raised his children has ruined their lives. (Britannica

Check your understanding of the novel: Online Test






Additional Resources:





Musical Performance of Hard Times in Hindi:



Understanding Hard Times: An Analytic Note by F.R Leavis /The Great Tradition


Article: Why Hard Times is a bad novel? - J. B. Priestley

Video recording of Online Classes on Hard Times



Video recording of the session on the discussion on 'Research Articles on Hard Times':


Sunday 24 January 2021

Importance of Being Earnest Oscar Wilde

 The Importance of Being Earnest - Oscar Wilde


Introduction

The Importance of Being Earnest, in full The Importance of Being Earnest: A Trivial Comedy for Serious Peopleplay in three acts by Oscar Wilde, performed in 1895 and published in 1899. A satire of Victorian social hypocrisy, the witty play is considered Wilde’s greatest dramatic achievement.
Jack Worthing is a fashionable young man who lives in the country with his ward, Cecily Cardew. He has invented a rakish brother named Ernest whose supposed exploits give Jack an excuse to travel to London periodically to rescue him. Jack is in love with Gwendolen Fairfax, the cousin of his friend Algernon Moncrieff. Gwendolen, who thinks Jack’s name is Ernest, returns his love, but her mother, Lady Bracknell, objects to their marriage because Jack is an orphan who was found in a handbag at Victoria Station. Jack discovers that Algernon has been impersonating Ernest in order to woo Cecily, who has always been in love with the imaginary rogue Ernest. Ultimately it is revealed that Jack is really Lady Bracknell’s nephew, that his real name is Ernest, and that Algernon is actually his brother. The play ends with both couples happily united. (Britannica)

Characters



Plot Summary

Thematic Study

Check your understanding: Online Test

Thinking Activity: Points to Ponder

Ponder upon these points and write a blog. Paste the link of your blog-post in the comment section
  1. Wilde originally subtitled The Importance of Being Earnest “A Serious Comedy for Trivial People” but changed that to “A Trivial Comedy for Serious People.” What is the difference between the two subtitles?
  2. Which of the female character is the most attractive to you among Lady Augusta Bracknell, Gwendolen Fairfax, Cecily Cardew and Miss Prism? Give your reasons for she being the most attractive among all.
  3. The play repeatedly mocks Victorian traditions and social customs, marriage and the pursuit of love in particular. Through which situations and characters is this happening in the play.
  4. Queer scholars have argued that the play's themes of duplicity and ambivalence are inextricably bound up with Wilde's homosexuality, and that the play exhibits a "flickering presence-absence of… homosexual desire" Do you agree with this observation? Give your arguments to justify your stance.
  5. Below are given various movie and radio adaptations of this play. Write your critique on various adaptations of this play

Additional Resources:

Radio Play Performance of the Importance of Being Earnest

 

Movie Adaptations of Importance of Being Earnest

1986 Movie

   

2002 Movie


 

1952 Movie (with subtitles)


 

Saturday 16 January 2021

The Rover - Aphra Behn

 The Rover or The Banish'd Cavaliers: A Play by Aphra Behn



Introduction

The Rover, in full The Rover; or, The Banish’t Cavalierscomedy by Aphra Behn, produced and published in two parts in 1677 and 1681. Set in Madrid and Naples during the exile of England’s King Charles II, the play depicts the adventures of a small group of English Cavaliers. The protagonist, the charming but irresponsible Willmore, may have been modeled on John Wilmot Rochester, a poet in the inner circle of Charles II. The hero’s real-life counterpart may also have been John Hoyle, who was a lover of the playwright. (Encyclopedia Britannica)

Aphra Behn's "The Rover" was published in 1677 and first performed in March of that year at Duke's Theatre in Dorset Garden. The play is based upon Thomas Killigrew's drama "Thomas, or, The Wanderer," which was published in 1664. Some dialogue in Behn's "The Rover" closely resembles that found in Thomaso's script; however, the majority of the text was re-written completely, or else is entirely original. As a result of such similarities between texts, Behn was accused of plagiarism on more than one occasion.

Behn's "The Rover" was very well received in the theatre, particularly by Charles II, and also by his successors. Seventy performances of the play are recorded between 1700 and 1725, and another eighty-eight over the course of the following thirty-five years. (Sally Butler)


Download Original Play - The Rover

Characters

Plot Summary

Act wise Analysis

Thematic Study

Online Test: Check your understanding

Inscription on Aphra Behn's Tombstone:

"Here lies a Proof that Wit can never be Defence enough against Mortality."
Aphra Behn's writings (poems and plays) revealed the immoral behaviour of the men of her time. The men of the day, with witty language, used to cover-up their debauched and lascivious (immoral) behaviour. To counter such culture of the civilized nobility of the time, she might have drawn equally immoral women characters. Not only the female characters, even her own life was an example, which scandalously, made a brave statement against the free space given only to the men during her time. Thus, in this context, we can read the inscription as - 'the witty men tried to defend their lascivious behaviour by their wit, however, Behn revealed their true nature and proved that immoral behaviour cannot be veiled or hidden under the garb of witty language. She, herself and her writings, ironically enough, lies to prove that wit can never be defence enough against morality. (Westminister-Abbey's Website)



Video Resources on 'The Rover'


Articles: