Thursday, 7 April 2016

Wednesday, 6 April 2016

Victor a true villain in Frankenstein.

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Name: Pandya Riva M
RollNo: 25
Paper: 5
Topic: Victor a true villain in Frankenstein.















                      The novel “Frankenstein” gives a lot of scenarios that could portray a person to think differently on who the real victim is in the story. Many think that Victor is the victim because he loses all that he owns. Others may think that the monster is the victim, because victor betrays and abandons him leaving him to be lost in a world that wasn’t ready for him. In my thoughts it is Victor that is the victim, but not victim to the monster but to himself. Victor play roulette with his work and letting it get too close to his outer life in society. He lets himself become too attach to his work causing him to under think his real life choices. There for because of these un-thought through choices they come back around to hit him in the rear.


                          Part of what makes Victor Frankenstein his own victim is that he would become too obsessed with his work, let it control his life. Victor abandons his family and father in there time of need letting his work get the best of him. Because of this Victor loses his way taking his experiments to levels of unorthodox that the world was not yet ready for. Partly why the university in the story discontinued there support and didn’t want him introducing his studies and ethics to the school and public. He let his work basically drive him mad.  It was that insanity that had fueled his obsession to dive deeper and darker into the place no one dared venture.

                        Victor had gone down a dark path and with that path came clouded decisions. After letting his work and studies cloud his mind he delve into his work even deeper. Because of this he went to extent that wouldn’t be accepted by the public. After the university discontinued their support in Victor’s studies he went to places un-thought of for his supplies and specimens. He would go to graves other the recently desist to dig up their corps for the body parts he would need for his deranged experiments. His devotion to his experiment became too attach and when his mind found clarity, too much damage too had been done.  

                             The real villain of Frankenstein isn't the creature, but rather his creator, Victor. At first glance, the monster in Frankenstein is a symbol of evil, whose only desire is to ruin lives. He has been called "A creature that wreaks havoc by destroying innocent lives often without remorse. He can be viewed as the antagonist, the element Victor must overcome to restore balance and tranquility to the world." But after the novel is looked at on different levels, one becomes aware that the creature wasn't responsible for his actions, and was just a victim of circumstance.

                                                                         
                           Dr.Frankenstein originates from the 1818 novel, Frankenstein, by Mary Shelly. Victor’s full name is Victor Von Frankenstein, and he is a tragic character who started out as a medical student trying to achieve necromancy. He illegally dug up bodies and sewed them together to make a living creature that would later become known as the Frankenstein Monster.

                            Victor wanted his creation to be beautiful, immortal, and super human. Immortal and superhuman? Yes, Beautiful? No. The creature was so hideous, that Dr. Frankenstein fled the lab in horror. The monster was gone the next day, but the unhinged doctor started seeing him everywhere.

                    Victor's fears were confirmed when his younger brother, William Frankenstein, was found dead. On that same night, he saw an evil looking silhouette in a storm. Victor knew that the monster had done it, even when his servant Justine was found with William's locket.

                         If Victor truly cared for Justine, he did nothing to defend her when she was trialed and hanged (though what could he have done?). Dr. Frankenstein set out to the Alps to find the monster and take his revenge on him. When he found the monster, he berated it with empty threats, and cursed it for its evil.


                               The monster took Victor to his hut and told him about what happened to him after he abandoned him, of how he had been hated and shunned mankind. He had lost his mind and set out for revenge against Dr. Frankenstein for creating and abandoned him. He had killed William on finding out that he was a Frankenstein, and framed Justine for the murder. He told Victor that he had reformed, and that all he wanted in life a companion. The monster told Victor that as his father, he owed him some happiness, and promised that if he made him a bride, he would leave human kind alone forever. Victor agreed to do this only for the sake of his fellow man.

                                      Victor did the same thing he did before, and created a female version of the monster. But when he saw the monster watching through window, and thought of giving the monster happiness after what he had done to him, the despicable doctor went into a rage and destroyed the lifeless bride.

                                        He regretted this treachery on his wedding night, when the monster killed his best friend Henry, and his new wife Elizabeth. Victor went insane, and had to be locked up for a while. When he was released, he chased the monster all the way to the Arctic, where he was picked up by a ship.
                                     He told the captain the tale of him and the monster. Victor was in a weakened condition, and when called the captain to talk to him, it would be the last conversation he ever had. He said he no longer hated the monster he created. He now knew that he had failed it, so Victor was responsible for the acts of evil it committed. But he told the captain that it had to be destroyed, and that he, the captain, had to be the one to do it. Dr. Frankenstein then died of exhaustion.

                       As a romantic novel Victor is responsible, because he abandoned his creation. As an archetype novel, Victor is the villain, because he was trying to play god. Finally, Victor as a Gothic novel, Victor is at fault, because, he and the creature are two different parts of the same person. If Frankenstein is looked at as a romantic novel, Victor, not the creature, is truly the villain. When Victor created the creature, he didn't take responsibility for it. He abandoned it, and left it to fend for itself.


    
       




Monday, 4 April 2016

Derrida and Deconstruction


Name:- Pandya Riva M.


Roll no:-25


Paper:-7


Topic:- Derrida and Deconstruction










             
                                                                                                                                                                                          Derrida is a French philosopher, born in Algiers in 1930. He is perhaps best known for developing the analytical technique of deconstruction. He was a founding father of deconstruction, a controversial system of analyses which challenges the basis of traditional western thought. Derrida evolves deconstruction as a strategy of critical questioning directed towards exposing unquestionable metaphysical assumsions and literary language. In his celebrated work of grammatology, Derrida unravels in details his main philosophical contention on deconstruction.

Deconstruction


                                      Deconstruction means a way of reading that concern itself with decentering with unmasking the problematic nature of all centres.or it is a critical outlook concerned with the relationship between text and meaning. A close and critical reading of a written text to uncover the ways of thinking that constrain our impressions or conceptualization of the world.
This idea has been extended to other forms of text - for example, visual art and architecture.
The technique may often be (miss)used in a destructive manner. However, Derrida's original aim was not to destroy, merely to point out hidden assumptions and contradictions that shape a text.
Derrida himself is often viewed with deep suspicion, if not hatred, by many academics. It seems that deconstruction has a nasty habit of biting hard into people's pet ideas and theories.
What does this mean for us?


                                  Derrida disputes the idea that a text (or for us, a communication) has an unchanging, unified meaning. He challenges the author's intentions, and shows there may be numerous legitimate interpretations of a text. This is where the idea of "the author is dead" arises: once the text is written, the author's input is finished. The meaning (any meaning) is up for grabs, in other words.

  • Identify binary opposition

                              Notice what a particular text or school of thought takes to be natural, normal, self-evident, originary, immediately apparent, or worthy of pursuit or emulation. Or, notice those places where a text is most insistent that there is a firm and fast distinction between two things. It is the most important part of deconstruction .Binary opposition means to look at what is not in a story. There are two part of it,

1) Dominant, 2) Oppressed or no dominant.

                                           For Saussure The binary opposition was the means by which the unit of language have value of meaning..Each unit is defined against which it is not. With the categorization terms and concept tend to be associated with a positive or negative. For e.g.: Man-woman, presence-absence, Reading-writing etc..


                                  Derrida argued that this oppositions were arbitrary and inheritantly unstable. Deconstruction is regarded as a forum of anti-structuralism. It rejects most of assumsions of structuralism and more vehemently binary opposition on the grounds that such oppositions always privilege one term over the other that is signified over the signifier. For e.g.:- The words Light and Dark. Many of us associate light with goodness or positive thing. The same with up and downs with up having the more positive condition.

  • Differance


                                                                                                                                                                                       Differance is a French word coined by the French philosopher and deconstructionist, Jacques Derrida. The word is a play on several other words that illustrate Derridas meaning. The concept of differance is a complex theory that tries to illuminate the way words are used and how their specific meaning is derived. Derrida called difference a "neographism," meaning a term that is neither a word nor a concept and is used to describe a literary idea. So one word leads to another word and that word leads to other and finally we cannot come out of the dictionary so there is no final meaning to any word ,.for example:- the word, interest if we look at the dictionary it has various meanings like, hobby, money, a group of people etc..2) Bat one meaning of it is cricket bat another is flying animal.

                                Saussurian sign is equal to signifier which signifies something but Derridian sign is free play of signifiers, signifying nothing. This is a chain of signifiers which is never stop.(we assume that we understand), So meaning is always postponed and you can never reach the final meaning.

Logocentricism and Phonocentricism

                                          Logocenricism means logo as centre, source of knowledge or human beings, while Phonocenricism means the speech or writing binary, speech is supposed to single presence of the speaker.
.
                                         To speak a little bit of Derrida, it might be said that like the logocentrics of old we anal-retentive, logo-phallo-centric philosophers privilege logos that is, meaning, reason, spirit and we take speech to be prior, in the order of signification, to writing. And by privileging speech over writing, we privilege presence over absence. So speech is practice of presence while writing is absence it means that when writer write something, the reader is not present at that time. Language is speaking rather than writing.

Metaphysics of Presence


Derrida borrows this phrase Metaphysics of Presence from heideggar.By logos or presence, derrida signifies ultimate referent a self-certifying and self-sufficient ground or foundation available to us totally outside the play of language itself that serves to be a center to guarantee the structure of a linguistic system.

For instance,

-Hut

-House


-Palace

                             Its relationship to the other words (a house is bigger than a hut but smaller than a palace.) Derrida focuses on the center of it and then tries to deconstruct that center.

Decentring the center

                            According to derrida, the center also closes off the play which it opens up. As center it is the point at which the substitution of contents, elements or terms is no longer possible.Futher says that center is paradoxically within the structure and outside it or even the center is not the center

Structure, Sign and play:

                                    This essay was read at the John Hopkins international colloquium “The language of criticism and the science of man” Derrida demonstrates how structuralism as represented by the anthropologist Claude Levi Strasuss which sets out as a criticism or rejection of science and metaphysics can be read as embodying precisely those aspects of science and metaphysics which it seeks to challenge. “There are thus two interpretations of interpretation of structure, sign of free play. The one seeks to decipher, dreams of deciphering a truth or an origin which is free from free play and from the order of sign, and lives like an exile the necessary of interpretation. The other which is no longer turned toward the origin, affirms free play and tries to pass beyond man and humanism.”
Derrida in this essay notes that language bears within itself the necessity of its own critique. The essay is considered as inauguration of poststructuralist as a theoretical movement.So Structuralism began as a criticism or attack on metaphysics or science is another.

                                             The centre is paradoxically within the structure and outside it; the totality has its centre elsewhere. The centre is not the centre. As we know that meaning is always postponed. So criticism also can never go outside of the tradition It uses the same assumption that tradition is using .Darrida says that its happens because of a language. Language has always lack of something. So the final meaning can never be grasped its postponed. Whenever we make a philosophical statement the ultimate meaning is already postponed. So the language demands critique. And derrida says that Deconstructive writing is most of the time auto critical, it means that it questions itself.

                                            Finally, Derrida points out the two reasons for schools of interpretations which are irreconcilable yet exist simultaneously: 1) the interpretation which seeks to decipher an original Truth that is uncluttered by free play, and 2) the interpretation which affirms the role of free play within the system.
                                                                                                                                                                                           His philosophy of not being centered in a single one philosophy has validity. Derrida, as taught in the school of deconstruction, encourages the use of several perspectives (several centers, so to speak) to view a concept. This does not help to affirm any holistic view, but it enables a chance to find common ground between perspectives even though the idea seems impossible. To me, if the purpose of free play is to de-center within a system, then it is perhaps possible to use the idea of free play to develop and enlargen the system in order to accommodate new centers for thought. This seems to be the point of the post-modern spirit: finding new ways of viewing the world that is not set in any specific system, but constantly moving around with the principles of free play in order to participate in the world better.


New Historicism

Name:- Pandya Riva M.
Roll no:-25
Paper:- 8
Topic:- New Historicism
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  • New Historicism:-
New historicism is a school of literary theory which consolidates critical theory into easier forms of practice for academic literary theorists of the 1990s. It first developed in the 1980s, primarily though the work of the critic Stephen Greenblatt, and gained widespread influence in the following decade.
New historicism aim simultaneously to understand the work through its cultural context and to understand intellectual history through literature which follows the 1950s displace of History of ideas and refers to itself as a form of “Cultural Poetics”, new historicism concerns itself with extra literary matters-letters, diaries, films, paintings medical treaties- looking to reveal opposing historical tensions in a text. New historicist seeks “surprising coincidence” that may cross generic, historical and cultural lines in borrowings of metaphor, ceremony or popular culture. H. Aram Veeser introducing an anthology of essays, The New Historicism noted some keys assumption that continuously reappears in New Historicist discourse. They were:
1. Every human action is actually the effect of a network of material practice.
2. That every act of unmasking, critique and opposition uses the tools it condemns and risks falling prey to the practice it exposes.
3. Literary and non –literary “texts” are equally valuable.
4. No discourse, imaginative, scientific or archival gives access to unchanging truths not expresses unalterable human nature
5. A critical method and a language to describe culture under capitalism participate in the economy they describe.
New historians see such cross cultural phenomena as text in themselves. From Hayden White, cultural studies practitioners learned how figural relationships between present and past tropes are shaped by historical discourse from Chifford Geetz, they derived the importance of immersion in a culture to understand its “deep” ways, as opposed to distanced observation Carolyn Porter credits the emergence of American studies. “Sub-literary texts and uninspired non literary texts all came to be read as documents of historical discourse, side by side with “the great works of literature”. A typical focus of New historicist critics led by Stephen Orgel has been on understanding Shakespeare less as an autonomous great author in the modern sense than as a due to the conjunction of the world of Renaissance theater- a collaborative and largely anonymous free – for- all- and the complex social politics of the time.

The New Historicists aim to do two things: first, they want to study how a work of literature reflects its historical and archive hunt won’t just reveal that this thing was written in 1385, but also what it was like to live in that year, and what people (or at least poets) thought and felt at that starriest of historical moments
A New Historicist looks at literature in a wider historical context, examining both how the writer's times affected the work and how the work reflects the writer's times, in turn recognizing that current cultural contexts color that critic's conclusions.
“The text is historical, and history textual”
-Michael Warner phrases
“History is always historicized”
New historicism has made its biggest mark on literary studies of the Renaissances and Romantic periods and has revised motions of literature as privileged, apolitical writing. Much new historicism focuses on the marginalization of subjects such as those identified as witches, the insane, heretics, vagabonds, and political prisoners.
  • New Historicism and Old Historicism
New Historicism differs from the old Historicism in large measure not based on the approach but rather on changes in historical methodology, the rise of the so-called New history. The term new history was indebted to the French term nouvelle histoire, itself associated particularly with the historian Jacques Le Goff and Pierre Nora, members of the third generation of the Annals School, which appeared in the 1970s. The movement can be associated with cultural history, history of representations, and histoire desmentalités. While there may be no precise definition, the new history is best understood in contrast with prior methods of writing history, resisting their focus on politics and "great men;" their insistence on composing historical narrative; their emphasis on administrative documents as key source materials; their concern with individuals' motivations and intentions as explanatory factors for historical events; and their willingness to accept the possibility of historians' objectivity.
New historicism and Facault:
There is a popularly held recognition that Foucault’s ideas have passed through the New Historicist formation in history as a succession of épitsèmess or structures of thought that shape everyone and everything within a culture (Myers 1989). It is indeed evident that the categories of history used by New Historicists have been standardized academically. Although the movement is publicly disapproving of the periodisation of academic history, the uses to which New Historicists put the Foucauldian notion of the épitsème amount to very little more than the same practice under a new and improved label (Myers 1989).
  • Advantages and disadvantages:
Firstly, it is found upon post structuralist thinking. It is written in a far more accessible way. Its present its data and drows its conclusion in a less dense way. Secondly, the material is often fascinating and distinctive in the context of literary studies. Thirdly, the political edge of new historicist writing is always sharp but at the same time it avoids the problems frequently encountered in straight Marxist criticism. Doing new criticism essentially involves the juxtaposition of literary material with non literary text. Literary and non literary texts, reading the former in the light of the latter.
Shakespeare’s “Merchant of Venice” always shows Shakespeare to be anti Semitic. According to historicist work must be judge in the context in which it was written. Studying the history reveals more about text, studying text reveals more about history.

  • Cultural Materialism

Cultural materialism is “a politicized form of historiography.”

-Graham Holderness

Raymond Williams coined the term Cultural Materialism. Jonathan Dollimore and Allen Sinfield made current and defined Cultural materialism as “designating a critical method which has four characteristics:-

Historical Context:- what was happening at the time the text was written.
Theoretical Method: -Incorporating older methods of theory—Structuralism, Post-structuralism etc.
Political Commitment:- Incorporating non-conservative and non-Christian frameworks—such as Feminist and Marxist theory.

Textual Analysis:- building on theoretical analysis of mainly canonical texts that have become “prominent cultural icons”.
Materialism: What does this term mean in the context of Cultural Materialism?
Materialism is at odds with idealism. Idealists believe in the transcendent ability of ideas while materialist believe that culture cannot transcend its material trappings.

  • Differences between New Historicism and Cultural Materialism


As we have seen and read in Barry, New Historicism and Cultural Materialism have a significant overlap. In fact the main difference is politics. There are three main differences:


1. Cultural Materialists concentrate on the interventions whereby men and women make their own history, where New Historicists focus on the power of social and ideological structures which restrain them. A contrast between political optimism and political pessimism.

2. Cultural Materialists view New Historicists as cutting themselves off from effective political
positions by their acceptance of a particular version of post-structuralism.


3. New Historicists will situate the literary text in the political situation of its own day, while the Cultural Materialists situate it within that of our own.

 

Multipulsity of theme in middle march


Roll no: - 25
Paper: - 6
Topic: - Multipulsity of theme in middle march

In the novel Middlemarch George Eliot examines the themes and some ideas of society and the risks of all these motives in provincial life. The novel is set in the fictitious middle town of middle march during 1829-1832, and it comprises several distinct stories and large cast of characters. Significant themes, idealism, self interest, Marriage, political reform and education also.
  • Theresa complex
Dorothea has what has been called, the Theresa Complex, i.e. a yearning to do well in the work which is so intense that it must answer to some emotional need in the Theresa herself. Theresa was a Christian saint who had such a yearning .Dorothea has been referred to in the prelude as a later born Theresa. She is Theresa in her lofty aspirations, struggling under dim lights and entang circumstances, to achieve her aspirations. But she lives in a society in which there is no particular demand for Theresa.
  • . Love
Love keeps people together, but lacks of love and understanding, let them drift apart. Those who are truly love like Will Ladislaw and Dorothea, Mary and Fred are bound together by it, and are very alike in temperament and outlook. Those who lake it like Lydgate and Rosamond, Casaubon and Dorothea are ii-suited to each-other in marriage, and are very disappointed their unions.
  • Prejudice
Lydgate and Will Ladislaw cannot seem to beat. People in Middlemarch dislike anyone who is not from Middlemarch, or anyone who reputation seems questionable. Will and Lydgate are both good people, but it is initial prejudices, sometimes based on invalid or circumstantial a reason, that means that they are never liked or accepted each-other.
  • Conformity
An issue that is related to social expectation, but is somewhat different. People are supposed to conform to certain social ideas and norms. Dorothea is supposed to be a proper wife, and then a proper widow and follow societys set guideline about how to fill each position. Will fits no position that society tries to group him into, he is disliked; he refuses to be conventional or proper.
  • Social Expectation
Closely linked to society hierarchy, are ideas about how everyone should act in certain situations. Lydgate proposes to Rosamond because society expects and he should do it. Dorothea is pushed to live with someone else or marry again after she is widow, because society expects that it is right. People dont necessarily follow these expectations, nor should they but they do exist, and play a part in people’s lives.
  • Self-discovery
There are certain truths which every characters learns about him in the course of trial; Lydgate and Rosamond find out more about their characters through their money troubles, though they do not always adjust accordingly. Dorothea makes the most dramatic journey of self-discovery; and changes a great deal within the course of the novel.
  • Reality vs. Expectations
Many characters pre-conceived ideas, especially of marriage, are proven tragically wrong in the course of the book. Casaubon and Dorothea both have unrealistic ideas about marriage, and are disappointed. Lydgate and Rosamond have the same idea, and are let down. Life often defines what one expects, or could predict of it; and the people who are happiest are the ones who have few expectations or are most flexible.
  • Gender roles and expectations
Especially relevant to Dorothea, Middlemarch society has very defined ideas of what people of each gender should do within the society, and people, especially woman, who deviate from this norm, are looked down upon. Dorothea is tolerated because she is of good family and does not disrupt the society. She is in however, she faces a great deal of pressure to change herself, conform to others ideas, and submit herself to male leadership at all times.
  • Progress
Much is changing in the world of Middlemarch, English society is evolving in social, economic, technologic areas, socially, ideas of gender and class are in flux, as woman are proving more and more competent, and the Industrial Revolution is causing a greater amount of social mobility. The economy of England is changing, from an aristocratic, inheritance based system of holding weather and land, to one based on commerce, business, and manufacturing. Technology is also changing, in medical science, and in areas like transportations, and these are changes that are beginning to sweep through Middlemarch.
  • Money
Money is the root of evils, but much good, in the novel. Lydgate gets desperate for want of it, Fred despairs when he is little. Dorothea becomes generous when she has too much, and the garths saved carefully since their money is limited. Money has a profound effect on character within the novel, and through many people is judged by how much money they have, many of the best people in the people, like Will Ladislaw and Mr. Fare brother.
  • Strength of Rumor
Rumor can do a great deal of damage in Middlemarch, having even more weight than fact in some cases. Both Bulstrode and Lydgate are blackened by rumors passed around society, and will is blackened as well, though he is falsely accused.
  • Politics
Everything is political in Middlemarch, with most people strongly backing the conservative poetry. Personal alliances and versions are based on matters of politics and political identification. But even political matters like all things , get personal ,people decide who or who not to support by how they like them, even more so sometimes than any dependence on issues.
  • Family Obligation
People within the novel have varying ideas of family, obligation in the novel, though it is a strong force in Middlemarch society. Mr. Featherstone’s relations believe they are entitled to money; Mrs. Bulstrode believes that she must help her family in order to show support. Sir James shows his regard for his family by being very protective and a constant advisor as well. Casaubon dispenses of his obligation through money and Bulstrode attempts also to do the same.
  • Unity of Middlemarch
The decision made by every person in middlemarch.seem to have a direct effect on at least one other person .Mary’s decision to Marry ferd means that Farebrother is without a wife .Dorothea’s decision to choose Casaubon leads, Sir James to choose Celia .Balustrade’s dirty dealings with regard to Raffles mean disgrace to both Lydgate and Ladislaw. Everyone connected and its seems no one can move around without disturbing someone else.


  • Social position
Social position means a great deal in Middlemarch; it means how much respect a persons gets, how people treat them, how they are regarded, etc. People of high status are generally treated more delicately than people with little money, Lydgate and Will Ladislaw. Birth and connections are also important in determining a persons place, and also what benefits they will receive from society.
It gives us a complex, comprehensive and realistic picture of English provincial society in the 1830s. Middlemarch is a work of extraordinary power, full of subtle and accurate observation and gives if a melancholy, yet an undeniably truthful portraiture, of the impression mad society.
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