Monday 9 April 2012

Archetypes

Name- Rajyaguru Mansi D.
Sem- 2
Roll no- 12
M.A-1
Topic- "Archetypal"


Submitted to,
Dr. Dilip Barad,
Bhavnagar University,
Bhavnagar. 



Archetypal- ar'che.typ'al (adj)
·       Representing or constituting an original type after which other similar things are patterned, "archetypal patterns", "she was the prototypal student activist."

·       Meaning of Archetype:
An Archetype is a universally understood symbol or term or pattern of behaviour, a prototype upon which others are copied, patterned, or emulated. Archetypes are often used in myths and storytelling across different cultures.

·       What is Archetypal?
Archetypal criticism is a form of criticism based on the psychology of Carl Jung. He argues that there are two levels of the unconscious: the personal and the archetypal.

·       Archetypes are the unknowable basic forms personified in recurring images, symbols, or patterns which may include motifs. These motifs can be recognizable character types such as the trickster or the hero, symbols such as the apple or snake, or images such as crucifixion.
·       Archetypal criticism argues that archetypes determine the form and function of literary works that a text's meaning is shaped by cultural and psychological myths. For example, for the myth critic Northrop Frye, an archetype is "a symbol, usually an image, which recurs often enough in literature to be recognizable as an element of one's literary experience. "Frye elaborates taxonomy of modes, symbols, myths, and genres, established a complex and comprehensive correspondence between the basic genres-comedy, romance, tragedy, and irony- and the mythes and archetypal patterns associated with the seasonal cycle of spring, summer, fall, and winter.
·       Archetypes:
Archetypes are somewhat more difficult to understand than symbols and motifs. The concept of archetypes was developed by Carl Jung who said that we all have a "collective unconscious." Consisting of plots, character types, and patterns common to any culture. Embedded in our past experiences, certain images and patterns we expect to recur. And they often do in our literature. For example, the most common archetypal character is that of the hero. He/she usually must endure some sort of ritual or test, go on a journey, perform a task, and save the day.
v Archetypal character:
An archetypal character is a character who appears over in legends far and wide, even in cultures that have shut themselves off from the world. T he blood drinking risen dead are en Archetype as almost every culture has come up with their own legends independent of each other. Angel is an archetype: the tragic hero trying to overcome the evils of his past. Coyote is an archetype. Xene is an archetype. Any of these may be disguised as a space Alien.
·       Some lit-theories classify archetypes by the role/purpose the character inhabits for the story. These classes are: Protagonist, Antagonist, Reason, Emotion, Sidekick, Skeptic, Guardian, and contagonis.
·       A related concept is the 'ectype', a distorted or flawed version of the archetype. For example, Batman is archetypical. He is rich man who dedicates himself to anonymously fighting crime (protecting society) with a variety of gadgets.
·       Many of the characters in Watchmen are ectypes based on this archetype.

v The 8 Archetypal characters:
There are 8 essential archetypal characters each of which represents a different aspect of our own minds. Here are the eight archetypal characters, described in terms of their dramatic functions:
1.    Protagonist: The traditional protagonist is the driver of the story: the one who forces the action. We root for it and hope for its success.
2.    Antagonist: The Antagonist is the character directly opposed to the Protagonist. It represents the problem that must be solved or overcome for the protagonist to succeed.
3.    Reason: This character makes its decisions and takes action on the basis of logic, never letting feelings get in the way of a rational course.
4.    Emotion: The Emotion character responds with its feelings without thinking, whether it is angry or kind, with disregard for practicality.
5.    Skeptic:  Skeptic doubts everything- courses of action, sincerity, truth- whatever.
6.    Sidekick: The sidekick is unfailing in its loyalty and support. The sidekick is often aligned with the protagonist thought may also be attached to the Antagonist.
7.    Contagonist: The contagonist hinders and deludes the protagonist, tempting it to takes the wrong course or approach.
v What does Archetypal criticism means?
·      Archetypal Criticism:
The analysis of a piece of literature through the examination of archetypes and archetypal patterns in Jungian psychology.

In the literature, characters, images, and themes that symbolically embody universal meanings and basic human experiences, regardless of when or where they live, are considered archetypes. Common literary archetypes include stories of quests, initiations, scapegoats, descents to the underworld, and ascents to heaven. A symbol which recurs often enough in literature to be recognizable as an element of one's experience devises an elaborate classification of modes, symbols, myths, and genres. It establishes a comprehensive.






Characters in Oliver Twist

Name- Rajyaguru Mansi D.
Sem- 2
Roll no- 12
M.A-1
E-C-203
Topic- "Characters in Oliver Twist"


Submitted to,
Dr. Dilip Barad,
Bhavnagar University,
Bhavnagar. 

v Characters in Oliver Twist
Major characters

·       Oliver Twist- The novel protagonist, Oliver is an orphan born in a workhouse, and Dickens uses his situation to criticize public policy toward the poor in 1830s England. Oliver is between nine Though treated with cruelty and surrounded by coarseness for most of his life, he is a pious, innocent child, and his charms draw the attention of several wealthy benefactors. His true identity is the central mystery of the novel.
·       Fagin- A conniving career criminal. Fagin takes in homeless children and trains them to pick pocket for him. He is also a buyer of other people's stolen goods. He rarely commits crimes himself, preferring to employ others to commit them- and often suffer legal retribution- in his place. Dickens's portrait of Fagin displays the influence of anti-Semitic stereotypes.
·      Nancy-  A young prostitute and one of Fagin's former child pickpockets. Nancy is also Bill Sike's lover. her love for sikes and her sense and her sense of moral decency come into conflict when Sikes abuses Oliver. Despite her criminal lifestyle, she is among the noblest characters in the novel .In effect, she gives her life for Oliver when Sikes murders her for revealing Monks's plots.
·      Monks - A sicky, vicious young man, prone to violent fits and teeming with inexplicable hatred. With Fagin, he schemes to give Oliver a bad reputation.
·      Bill Sikes- A brutal professional burglar brought up in Fagin gang. Sikes and Nancy are lovers, and he treats both her and his dog Bull's -eye with an odd combination of cruelty and grudging familiarity. His murder of Nancy is the most heinous of the many crimes that occur in the novel.


The Shadow Lines as a Memory novel

Name- Rajyaguru Mansi D.
Sem- 2
Roll no- 12
M.A-1
Topic- "The Shadow Lines" as a Memory novel


Submitted to,
Dr. Dilip Barad,
Bhavnagar University,
Bhavnagar. 


 
v  "The Shadow Lines" as a Memory novel

"What is shadow line? It is a place where thing meet: light and shadows, hope and despair, good and evil. It is to me, the most interesting place to hunt for studies. " So begins this stunningly realized and beautifully rendered new work from master storyteller and artist Iain Mccaig, McCaig is best known for his work as a principal designer on the three star wars prequels, including the iconic characters Queen Amidala and Dath Maul, as well as his work on many major motion pictures, television, and video games. his works can be seen in such acclaimed films as terminator 2, Hook, Francis ford Coppola's Dracula, Interview, with a Vampire and Harry Potter and the Goblet of fire.
          Amitav Ghosh's second novel "The shadow lines is considered by many as his best work and it has also awarded the Sahitya Akademy awarded in the year 1989. it lies in the genre of what is known as a memory novel where the content of the entire novel is derived from the memory of characters.
v This novel focuses on the meaning of political freedom in the modern world and the force of nationalism. The shadow line we illusion and a source of terrifying violence.
v In this novel Thamma's attempt to free her uncle and take him on a homeward journey ends widely and tragically in three deaths- her uncle's the rickshaw puller's and Tridib's. But with her imagination enslaved to the idea of nationalism has destroyed her home and spilled her kin's blood she says....
" We have to kill them before they kill us." Thus, the end she fails to realise that national liberty in to way guarantees individual liberty.
v In Robi's own words:
"...... why don't they draw thousands of little lines through the subcontinent and give every little place a new name? What would it change? It's a mirage; the whole thing is a mirage. How can anyone divide a memory?"





Archetypal- ar'che.typ'al (adj)
·       Representing or constituting an original type after which other similar things are patterned, "archetypal patterns", "she was the prototypal student activist."

·       Meaning of Archetype:
An Archetype is a universally understood symbol or term or pattern of behaviour, a prototype upon which others are copied, patterned, or emulated. Archetypes are often used in myths and storytelling across different cultures.

·       What is Archetypal?
Archetypal criticism is a form of criticism based on the psychology of Carl Jung. He argues that there are two levels of the unconscious: the personal and the archetypal.

·       Archetypes are the unknowable basic forms personified in recurring images, symbols, or patterns which may include motifs. These motifs can be recognizable character types such as the trickster or the hero, symbols such as the apple or snake, or images such as crucifixion.
·       Archetypal criticism argues that archetypes determine the form and function of literary works that a text's meaning is shaped by cultural and psychological myths. For example, for the myth critic Northrop Frye, an archetype is "a symbol, usually an image, which recurs often enough in literature to be recognizable as an element of one's literary experience. "Frye elaborates taxonomy of modes, symbols, myths, and genres, established a complex and comprehensive correspondence between the basic genres-comedy, romance, tragedy, and irony- and the mythes and archetypal patterns associated with the seasonal cycle of spring, summer, fall, and winter.
·       Archetypes:
Archetypes are somewhat more difficult to understand than symbols and motifs. The concept of archetypes was developed by Carl Jung who said that we all have a "collective unconscious." Consisting of plots, character types, and patterns common to any culture. Embedded in our past experiences, certain images and patterns we expect to recur. And they often do in our literature. For example, the most common archetypal character is that of the hero. He/she usually must endure some sort of ritual or test, go on a journey, perform a task, and save the day.
v Archetypal character:
An archetypal character is a character who appears over in legends far and wide, even in cultures that have shut themselves off from the world. T he blood drinking risen dead are en Archetype as almost every culture has come up with their own legends independent of each other. Angel is an archetype: the tragic hero trying to overcome the evils of his past. Coyote is an archetype. Xene is an archetype. Any of these may be disguised as a space Alien.
·       Some lit-theories classify archetypes by the role/purpose the character inhabits for the story. These classes are: Protagonist, Antagonist, Reason, Emotion, Sidekick, Skeptic, Guardian, and contagonis.
·       A related concept is the 'ectype', a distorted or flawed version of the archetype. For example, Batman is archetypical. He is rich man who dedicates himself to anonymously fighting crime (protecting society) with a variety of gadgets.
·       Many of the characters in Watchmen are ectypes based on this archetype.

v The 8 Archetypal characters:
There are 8 essential archetypal characters each of which represents a different aspect of our own minds. Here are the eight archetypal characters, described in terms of their dramatic functions:
1.    Protagonist: The traditional protagonist is the driver of the story: the one who forces the action. We root for it and hope for its success.
2.    Antagonist: The Antagonist is the character directly opposed to the Protagonist. It represents the problem that must be solved or overcome for the protagonist to succeed.
3.    Reason: This character makes its decisions and takes action on the basis of logic, never letting feelings get in the way of a rational course.
4.    Emotion: The Emotion character responds with its feelings without thinking, whether it is angry or kind, with disregard for practicality.
5.    Skeptic:  Skeptic doubts everything- courses of action, sincerity, truth- whatever.
6.    Sidekick: The sidekick is unfailing in its loyalty and support. The sidekick is often aligned with the protagonist thought may also be attached to the Antagonist.
7.    Contagonist: The contagonist hinders and deludes the protagonist, tempting it to takes the wrong course or approach.
v What does Archetypal criticism means?
·      Archetypal Criticism:
The analysis of a piece of literature through the examination of archetypes and archetypal patterns in Jungian psychology.

In the literature, characters, images, and themes that symbolically embody universal meanings and basic human experiences, regardless of when or where they live, are considered archetypes. Common literary archetypes include stories of quests, initiations, scapegoats, descents to the underworld, and ascents to heaven. A symbol which recurs often enough in literature to be recognizable as an element of one's experience devises an elaborate classification of modes, symbols, myths, and genres. It establishes a comprehensive.






Two Types of Cultural Studies



  Name- Rajyaguru Mansi D.
 Sem- 2
 Roll no- 12
 M.A-1 
Paper- Cultural Studies
Topic- "Two Types of Cultural Studies"

Submitted to,
Dr. Dilip Barad, 
Dept. of English,
Bhavnagar University,
Bhavnagar.
 







"Two types of cultural studies"

As Patrick Brantlinger has pointed out, cultural studies is not "a tightly coherent, unified movement with a fixed agenda," but a "loosely coherent group of tendencies, issues, and questions"

British cultural Materialism and New Historicism are one of them
# British cultural Materialism
                            Cultural studies is referred to as "cultural materialism" in Britain, and it has a long tradition. Claude Levi-Strauss's influence moved British thinkers to assign "culture" to primitive peoples, and then, with the work of British Scholars like Raymond Williams, to attribute culture to the working class as well as the elite. As Williams memorably states: "There are no masses; there are only ways of seeing people as masses"
                             
                                      This cultural materialism furnished a leftist orientation "critical of the aestheticism, formalism, antihistoricism, and apoliticism common among the dominant postwar methods of academic literary criticism"

            Cultural materialism began in earnest in the 1950s with the work of F.R. Leavis, heavily influenced by Matthew Arnold's analyses of bourgeois culture. Leavis sought to use the educational system to distribute literary knowledge and appreciation more widely; Leavisites promoted the "great tradition" of Shakespeare and Milton to improve the moral sensibilities of a wider range of readers than just the elite. Ironically the threat to their project was mass culture.

        Walter Benjamin attacked fascism by questioning the value of what he called the "aura" of culture. Benjamin helps explaine the frightening cultural context for a film such as Leni Riefenstahl's Triumph of the Will (1935). Feminism was also important for cultural materialists in recognizing how seemingly "disinterested" thought is shaped by power structures such as patriarchy.



# New Historicism
                   Michael Warner phrases new historicism's motto as, "The text is historical, and history is textual". Frederic Jameson insisted, "Always historicize!"

                        New historicists seek "surprising coincidences" that may cross generic, historical, or popular culture. New historians see such cross cultural phenomena as texts in themselves.

                  New historicism versus old historicism: the latter, says porter saw history as "world views magisterially unfolding as a series of tableaux in a film called progress," as though all Elizabethans, for example, held views in common. The new historicism rejects this periodization of history in favor of ordering history only through the interplay of forms of power.
                  
                From Foucault new historicists developed the idea of a broad "totalizing" function of culture observable in its literary texts, which Foucault called the episteme. For Foucault history was not the working out of "universal" ideas: because we can not know the governing ideas of the past or the present, we should not imagine that "we" even have a "center" for mapping the "real".

             New historicism frequently borrows terminology from the marketplace: exchange, negotiation, and circulation of ideas are described. H. Aram veeser calls "the moment of exchange" the most interesting to new historicists, since social symbolic capital may be found in literary texts. Bruce examines a four volume commentary on Gulliver's Travels by one Corolini di Marco. Bruce connects Gulliver's anxious fixation on the female body to the anxieties of his age involving the rise of science and the changing role of women.

     Bruce connects the men's "doomed attempt of various types of science to control the woman's body" to the debate about language in Book III.

           Thus in "A Voyage to Laputa," control of women has to mean control of their discourse as well as their sexuality, reflecting the contemporary debates of Swift's day.