05 December 2020

Black skin, white mask

 Assignment

Name- Hareshwari Y. Kapdi

Roll no. 7 

Entertainment no-2009108420200020

Paper name - The postcolonial literature

Topic- 

MA Sem-3

Submitted to- S.B. Gardi department of English MKBU



# Introduction :


Post-colonialism means time after colonialism. Post-colonialism is study of culture after the physical and political withdrawal of an oppressive power. Post colonialism rejects the dominance of western culture. It challenges Western Knowledge system about East.


# BLACK SKIN, WHITE MASK DIVIDED INTO 8 CHAPTER : 




1. The Negro and Language ;-


 In the first chapter, “The Black Man and language”, Fanon shows that how language can  present colonialism, how it can show mindset of black and white people. He says,“The Negro will become whiter-become more human-as he masters the white man’s language”

He explains it with example that, in Martinique, where Fanon grew, people communicate with dialect Creole. But people saw French better than Creole. They started feeling shame with their dialect. It is not because of scholarly opinion but because of being under French rule. He noticed that people came back educated from France, they act as if they no longer knew Creole and speak perfect French. He noticed that, it is not because they want to be white (because French is white’s language) or they think that white people are better or something but to prove they are equal.

As Fanon believes that, ‘To speak a language is appropriate its world and culture’. As language is also part of culture, they (blacks), through learning of their language, try to become culturally whiter.


2.    The Woman of Colour and the White Man :-





     The effect of white people also touched to the society. Black Woman also wished the White Skin which White woman has. So they wanted to be as white as White woman Here one can find that how desire of “WHITENESS’ is more in the Black woman. Because of that many ‘FAIRNESS CREAM’ and their industries grow faster and faster. As reader can understand that how Whiteness is showed as something goodness and Blackness is showed something like a dark side. Because of getting White Skin the colonized women look down on their own. Race and deep down want to be white. Here, an individual can give an example from literary work that how Black women wished to have White Skin of Bluest Eye just like White people have.

      “The Bluest Eye” by ‘Toni Morrison’ ‘we find a black girl Pecola Breedlove desires to have the blue eyes of white men and woman.

 

1.   The Man of Colour and the White Woman :-


     The third chapter “The man of colour and the White woman” is about black man’s psychology after being colonized by whites. Fanon argues that, the nature of the relationship is also rooted in the latent desire to become white.

     Every black man and mulatto have only one thought to be like white to gratify their appetite for white woman, to marry white woman. They started denying their culture and woman and marry white girl, less for love than satisfying their ego and inferiority.

     Fanon explains this desire with example of Jean Venuese, hero of a novel “Un home pareil aux autres” by Rene Maran. He is black, but like other Europeans, he falls in love with white woman. He wants to separate himself from his race and wants to marry white… Fanon, very effectively, presents hidden desire of black man to marry white woman. 


     “The history of the colonial negro is the history of this strife this longing to attain self – conscious manhood, to merge his double self into a better and truer self. In this merging he wishes neither of the older selves to be lost. He does not wish to Africanize America, for America or Europe has too much to teach the world and Africa. He wouldn’t bleach his negro blood in a flood of white Europeanism, for he knows that negro blood has a message for the world. He simply wishes to make it possible for a man to be both Negro and an European without being cursed and spit upon by his fellows, without having the doors of opportunity closed roughly in his face.” 



2.    The So-called Dependency Complex of the colonized peoples


      Here, the writer argues against Fanon’s view that people of colour have a deep desire for white rule, that those who oppose it to do not have a secure sense of self that they have a chip on their shoulder. From this chapter I came to understand that the stereotypes of Happy Darkies, Uppity Negroes and White Saviours all come from the need of white people to feel that their power in society is good and not racist.


3. The fact of Blackness (Fanon: The Lived Experience of the Black Man)


    “There is a fact: White men consider themselves superior to black men. There another fact that black men want to prove to white men, at all costs, the richness of their thought, the equal value of their intellect.”

     Fanon proposes that “blackness" is not a self-created identity, but a construct that is placed upon black people by the white man. Therefore the black man has no true sense of himself or his true identity because he never had a chance to create one for himself. As black people, there is responsibility to carry on the traditions and cultures of the race, only for those identifiable characteristics to be ignored and replaced by the negative connotations like, tom – toms, cannibalism, racial defects, etc. created by the white man. Regardless of what the Black man or woman does in regards to the advancement of society as a WHOLE, “Black or Negro” will always be in the pretext. Despite the suffering of Jews although somewhat similar to the suffering of Blacks,

                              “The Jew can be unknown in his jewishness”


4. The Negro (The Black Man) and Psychopathology:


      Here writer ask question to reader that, Why should people fear black?  Question asked here. Part it has to do with white men’s repressed homosexuality and their strange hang-ups about black men’s penises. More generally, black men are viewed as a body, which makes them seem like mindless, violent sexual, animal beings. Add to that all the bad meanings that the word “black” had even before Europeans set foot in black Africa.


5. The Negro and Recognition:-


      Fanon describes his last point in chapter seven “The black man and recognition”. In this chapter Fanon presents mentality of black people of putting their own people down to feel good.

      He writes about his people of Martinique, with putting down others, they can feel better about themselves. The reason of their mentality is an inferiority complex. The fault is not of black people but it comes from white rule, which forces blacks to live in a world where their human worth is questioned. Blacks are not in a position to put down white people, so they prove their worth by putting down each other. Like mulatto girl does not want to marry with black or mulattoes feel superior and prove blacks inferior.


6. Way of conclusion:


    The last chapter of this book “By way of conclusion” is, as the title suggests, a conclusion. In this chapter he talks about some solution which can try to remove this inequality and injustice between blacks and whites.

      This final chapter discusses the escaping the prison of one’s past and one’s race


      “The negro is not: Any more than the White Man”.  In Fanon’s words, his writing


      “Exposes an utterly naked declivity where an authentic upheaval can be born”



     In these eight chapters, Fanon talks about psychology of white colonizers and black people’s desire to be like white men. He talks about issue of language, marriage between white and black and psychology behind it. White mindset of ruling, black’s inequality and struggle for human existence. He explains his all the arguments of psychology with real examples of his surroundings.


Fanon throughout the book deals with the inner struggle of black when they were colony ‘the black man and language’ deals with language. Here we saw the ideal of blackness, notion of desire, and idea of identity, what is humanism? Other,

self ego, civil rights, human rights, self desire, the idea of Negritude, idea of darkness. For him Black is attitude, attitude comes from culture.



Black Skin, White Masks is certainly an amazing engagement with the fate of the black individual in society. The book deals with various questions and dilemmas faced by all humans. Its power lies in the fact that it remains surprisingly optimistic in spite of its serious subject matter. Fanon recognizes the problems faced by the former colonised and is quite aware of the psychologically draining position that he/she occupies. Yet, he focuses his attention on the debunking of whiteness as the epitome of being. He seeks to “work out new concepts” (Fanon, 1961, 255) and remains optimistic that this can indeed be done.


Conclusion :-



Thus, black skin and white Mask is remain Important work to give voice to the problems of racial discrimination to black people. It attacks the notion white superiority. Black people   have desire to became white. Because being white is means superior. So they have desire to became white. And even Mulatto, mixed race people finds problem in matching with either white or black people. They feel superior among black and inferior among white people. So it gives voice to such issues of society.


Works Cited: 


1.http://hiteshparmar1234.blogspot.in/2014/10/paper-no-11-critique-on-black-skin.html .


2.http://abagond.wordpress.com/2011/08/16/frantz-fanon-black-skin-white-masks/.


3.http://weblog.liberatormagazine.com/2009/11/finger-on-page-frantz-fanons-black-skin.html#.VDv-D_nKtaA.








Assignment-The cask of Amontillado

Assignment

Name- Hareshwari Y. Kapdi

Roll no. 7 

Entertainment no-2009108420200020

Paper name -The American literature

Topic- The  cask of Amontillado

MA Sem-3

Submitted to- S.B. Gardi department of English MKBU



# Introduction:-


Edgar Allan Poe born Edgar Poe; January 19, 1809 – October 7, 1849) was an American writer, poet, editor, and literary critic. Poe is best known for his poetry and short stories, particularly his tales of mystery and the macabre. He is widely regarded as a central figure of Romanticism in the United States and of American literature as a whole, and he was one of the country's earliest practitioners of the short story. He is also generally considered the inventor of the detective fiction genre and is further credited with contributing to the emerging genre of science fiction.[1] Poe was the first well-known American writer to earn a living through writing alone, resulting in a financially difficult life and career.


"The Cask of Amontillado"


"The Cask of Amontillado" (sometimes spelled "The Casque of Amontillado"  is a short story by Edgar Allan Poe, first published in the November 1846 issue of Godey's Lady's Book. The story, set in an unnamed Italian city at carnival time in an unspecified year, is about a man taking fatal revenge on a friend who, he believes, has insulted him. Like several of Poe's stories, and in keeping with the 19th-century fascination with the subject, the narrative revolves around a person being buried alive – in this case, by immurement. As in "The Black Cat" and "The Tell-Tale Heart", Poe conveys the story from the murderer's perspective.


Montresor invites Fortunato to sample amontillado that he has just purchased without proving its authenticity. Fortunato follows him into the Montresor family vaults, which also serve as catacombs. For unknown reasons, Montresor seeks revenge upon Fortunato and is actually luring him into a trap. At the end of the story, the narrator reveals that 50 years have passed since he took revenge and Fortunato's body has not been disturbed.


Scholars have noted that Montresor’s reasons for revenge are unclear and that he may simply be insane. However, Poe also leaves clues that Montresor has lost his family's prior status and blames Fortunato. Further, Fortunato is depicted as an expert on wine, which Montresor exploits in his plot, but he does not display the type of respect towards alcohol expected of such experts. Poe may have been inspired to write the story by his own real-life desire for revenge against contemporary literary rivals. The story has been frequently adapted in multiple forms since its original publication.



The Cask of Amontillado FORTUNATO HAD HURT ME A thousand times and I had suffered quietly. But then I learned that he had laughed at my proud name, Montresor, the name of an old and honored family. I promised myself that I would make him pay for this that I would have revenge. You must not suppose, however, that I spoke of this to anyone. I would make him pay, yes; but I would act only with the greatest care. I must not suffer as a result of taking my revenge. A wrong is not made right in that manner. And also the wrong would not be made right unless Fortunato knew that he was paying and knew who was forcing him to pay. I gave Fortunato no cause to doubt me. I continued to smile in his face, and he did not understand that I was now smiling at the thought of what I planned for him, at the thought of my revenge. Fortunato was a strong man, a man to be feared. But he had one great weakness: he liked to drink good wine, and indeed he drank much of it. So he knew a lot about fine wines, and proudly believed that he was a trained judge of them. I, too, knew old wines well, and Edgar AIlan Poe: S toryteller I bought the best I could find. And wine, I thought, wine would give me my revenge! It was almost dark, one evening in the spring, when I met Fortunato in the street, alone. He spoke to me more warmly than was usual, for already he had drunk more wine than was good for him. I acted pleased to see him, and I shook his hand, as if he had been my closest friend. "Fortunato! How are you?" "Montresor! Good evening, my friend." "My dear Fortunato! I am indeed glad that I have met you. I was just thinking of you. For I have been tasting my new wine. I have bought a full cask of a fine wine which they tell me is Amontillado. But..." "Amontillado! Quite impossible." "I know. It does not seem possible. As I could not find you I was just going to talk to Luchresi. If anyone understands wines it is Luchresi. He will tell me...." "Luchresi? He does not know one wine from another!" "But they say he knows as much about wines as you know." "Ho! - Come. Let us go." "Go where?" "To your vaults. To taste the wine." "No, my friend, no. I can see that you are not well. And the vaults are cold and wet." "I do not care. Let us go. I'm well enough. The cold is nothing. Amontillado! Someone is playing games with you. And Luchresi! Ha! Luchresi knows nothing about wines, nothing at all." As he spoke, Fortunato took my arm, and I allowed him to hurry me to my great stone palace, where my family, the Montresors, had lived for centuries. There was no one at home. I had told the servants that they must not leave the palace, as I would not return until the following morning and they must care for the place. This, I knew, was enough to make it certain that they would all leave as soon as my back was turned. I took down from their places on the wall two brightly burning lights. I gave one of these to Fortunato and led him to a wide doorway. There we could see the stone steps going down into the darkness. 

Edgar AIIAN Po e Asking him to be careful as he followed, I went down before him, down under the ground, deep under the old walls of my palace. We came finally to the bottom of the steps and stood there a moment together. The earth which formed the floor was cold and hard. We were entering the last resting place of the dead of the Montresor fam- ily. Here too we kept our finest wines, here in the cool, dark, still air under the ground. Fortunato's step was not sure, because of the wine he had been drinking. He looked uncertainly around him, trying to see through the thick darkness which pushed in around us. Here our brightly burn- ing lights seemed weak indeed. But our eyes soon became used to the darkness. We could see the bones of the dead lying in large piles along the walls. The stones of the walls were wet and cold. From the long rows of bottles which were lying on the floor, among the bones, I chose one which contained a very good wine. Since I did not have anything to open the bottle with, I struck the stone wall with it and broke off the small end. I offered the bottle to Fortunato. "Here, Fortunato. Drink some of this fine Medoc. It will help to keep us warm. Drink!" "Thank you, my friend. I drink to the dead who lie sleeping around us." "And I, Fortunato - I drink to your long life." "Ahh! A very fine wine, indeed! But the Amontillado?" "It is farther on. Come." We walked on for some time. We were now under the river's bed, and water fell in drops upon us from above. Deeper into the ground we went, past still more bones. "Your vaults are many, and large. There seems to be no end to them." "We are a great family, and an old one. It is not far now. But I can see you are trembling with the cold. Come! Let us go back before it is too late," "It is nothing. Let us go on. But first, another drink of your Medoc!" I took up from among the bones another bottle. It was another wine of a fine quality, a De Grâve. Again I broke off the neck of the Edgar Poe: Storyteller bottle. Fortunato took it and drank it all without stopping for a breath. He laughed, and threw the empty bottle over his shoulder. We went on, deeper and deeper into the earth. Finally we arrived at a vault in which the air was so old and heavy that our lights almost died. Against three of the walls there were piles of bones higher than our heads. From the fourth wall someone had pulled down all the bones, and they were spread all around us on the ground. In the middle of the wall was an opening into another vault, if I can call it that -a little room about three feet wide, six or seven feet high, and perhaps four feet deep. It was hardly more than a hole in the wall. "Go on," I said. "Go in; the Amontillado is in there." Fortunato continued to go forward, uncertainly. I followed him immediately. Soon, of course, he reached the back wall. He stood there a moment, facing the wall, surprised and wondering. In that wall were two heavy iron rings. A short chain was hanging from one of these and a lock from the other. Before Fortunato could guess what was happening, I closed the lock and chained him tightly to the wall. I stepped back. "Fortunato," I said. "Put your hand against the wall. You must feel how the water runs over it. Once more I ask you, please, will you not go back? No? If not, then I must leave you. But first I must do everything I can for you." "But...But the Amontillado?"" "Ah, yes, yes indeed; the Amontillado." As I spoke these words I began to search among the bones. Throwing them to one side I found the stones which earlier I had taken down from the wall. Quickly I began to build the wall again, covering the hole where Fortunato stood trembling. "Montresor! What are you doing!?".


    Edgar AIlan Po e I continued working. I could hear him pulling at the chain, shak- ing it wildly. Only a few stones remained to put in their place. "Montresor! Ha-ha. This is a very good joke, indeed. Many times will we laugh about it - ha-ha – as we drink our wine together - ha-ha." "Of course. As we drink the Amontillado." "But is it not late? Should we not be going back? They will be expecting us. Let us go." "Yes. Let us go." As I said this I lifted the last stone from the ground. "Montresor! For the love of God!!" "Yes. For the love of God!" I heard no answer. "Fortunato!" I cried. "Fortunato." I heard only a soft, low sound, a half-cry of fear. My heart grew sick; it must have been the cold. I hurried to force the last stone into its position. And I put the old bones again in a pile against the wall. For half a century now no human hand has touched them. May he rest in peace!

References:-


  • Van Luling, Todd (January 19, 2017). "A Vengeful Arch-Nemesis Taught You Fake News About Edgar Allan Poe". Huffington Post. Retrieved July 23, 2019.


  •  Meyers 1992, p. 259 To read Griswold's full obituary, see Edgar Allan Poe obituary at Wikisource.


  • "Poe & Boston: 2009". The Raven Returns: Edgar Allan Poe Bicentennial Celebration. The Trustees of Boston College. Archived from the original on July 30, 2013. Retrieved May 26, 2012.


  • "The Stories of Edgar Allen Poe: Manga Classics - Barnes and Noble"

Assignment- The Modernist English literature

Assignment

Name- Hareshwari Y. Kapdi

Roll no. 7 

Entertainment no-2009108420200020

Paper name -The Modernist English literature

Topic- waiting for Godot:- Samuel Beckett 

MA Sem-3

Submitted to- S.B. Gardi department of English MKBU


∆ Introduction:-


# About Author Samuel Beckett :-



  Samuel Beckett was born on 13 April, 1906 at Foxrock, Dublin, Ireland and died on 22 December, 1989 in Paris. His pen name was Andrew Belis. He was a novelist, playwright, poet, and essayist. Some of his remarkable.


# Waiting for Godot:-



(1955) a play by the Irish writer Samuel Beckett about two men, Vladimir and Estragon, waiting for a third man, Godot, who never comes. The play is a typical example of the Theatre of the Absurd, and people use the phrase ‘waiting for Godot’ to describe a situation where they are waiting for something to happen, but it probably never will.


# works are:


1.  Murphy (1938),

2.  Molloy (1951),

3.  Endgame (1957),

4.  Malone Dies (1951),

5.  The Unnamable (1953),

6.  Waiting for Godot (1953),

7.  Watt (1953),

8.  Endgame (1957),

9.  Krapp’s Last Tape (1958),

10. How It Is (1961)


  He was awarded the 1969 Nobel Prize in literature. His work offers a bleak, tragicomic outlook on human nature, often coupled with black comedy. He is one of the most influential writers of the 20thcentury.


Waiting For Godot with Religious Interpretation


# What is Samuel Beckett famous for?

Beckett is most famous for his play En attendant Godot (Waiting for Godot; 1953). Like most of his works after 1947, the play was first written in French. Beckett worked on the play between October 1948 and January 1949.

Abstract

Samuel Beckett was an Irish playwright, poet and novelist best known for his play ‘Waiting for Godot’. Strongly influenced by fellow Irish writer, James Joyce, Beckett is sometimes considered the last of the Modernists. Though the play commonly interpreted within the context of the theatre of absurd, existentialist literature, it is also Christian allegory and also interpreted with religious interpretations. We can also find other aspects in this paly like Political and Psychoanalytical it provides better understanding.


Here we can discuss that nothingness in Waiting for Godot it shows some deep meaning in life in different way. ‘Waiting for Godot’ gives a message that while doing nothing there is something.



# What are the symbols in Waiting for Godot?


The tree, near which Estragon and Vladimir meet, is completely bare of leaves at the beginning of the play. It represents the only organics element in the setting, and it is dead or dormant. This tree portrays the world as barren and lifeless, emphasizing the lack of purpose and meaning the characters must contend with.


# Waiting for Godot Themes:-


The main themes in Waiting for Godot include the human condition, absurdism and nihilism, and friendship.


  • The human condition:

 The hopelessness in Vladimir and Estragon’s lives demonstrates the extent to which humans rely on illusions—such as religion, according to Beckett—to give hope to a meaningless existence.

  • Absurdism and nihilism:

 Faith seems meaningless to Beckett and his characters, who pin their hopes on a God-like figure called Godot who ultimately does not come.


     •Friendship: 


Vladimir and Estragon care deeply for each other, and their relationship highlights the importance of support from friends in life.


# Existentialism in Samuel Beckett's Waiting for Godot

JAKE BRANNEN


  • Jules Irving as Lucky, 1957


Samuel Beckett’s Waiting for Godot is a play that presents conflict between living by religious and spiritual beliefs, and living by an existential philosophy, which asserts that it is  up to the individual to discover the meaning of life through personal experience in the earthly world. Support for this assertion regarding the nature of the play is based on first hand interpretation of the dialogue and action within the play itself as well as interpretation of quotes and ideas from Samuel Beckett and his critics.



# Waiting for Godot by Samuel Beckett: A Tragedy


In the tradition of tragedy there is always a profound understanding of suffering and helpless humanity. The tradition continues from the ancient Greeks to the modern playwrights - Luigi Pirandello, Arthur Miller, Jean-Paul Sartre and Samuel Beckett, to name only a few. It has been said that Beckett's plays are a poignant expression of boredom, despair, and pessimism.

 

There are occasional silver linings of comicality and laughter, but they serve to thicken and deepen the clouds of life. We are faced with the ultimate truth that we are doomed to solitude, alienated from the universe. The characters remind us of robots and automata, who have no passion, conflict or emotion. They have no freedom of will, freedom of action, or freedom of movement. Waiting for Godot is a grand world of despair, where man is reduced to the reactions of a puppet, where the world is left behind. Waiting for Godot bars from the stage all forms of mobility and natural communication between characters, and, therefore, the result is crippled and monotonous.


The atmosphere in the play is tragic, and yet Waiting for Godot is not a tragedy in the conventional sense. Aristotle insists that a tragedy should have certain characteristics, namely plot; character, a complete action, an ideal tragic hero, and Catharsis. The ancient Greek tragedies are religious in impulsion, rhetorical in style, serene in action, and ironical in the plot. Judged from the Aristotelian as well as the Greek point of view, Waiting for Godot does not seem to be a tragedy. For in it there is no plot; the action, if any, is incomplete; there is no artistic embellishment in the language of the play; there is no tragic hero, who compels our admiration; there is no Catharsis either. In the tragedies of the twentieth century the heroes, the anti-heroes, are victims of circumstances rather than the architects of their own destiny. The social, political, and economic values have replaced the gods of ancient Greek tragedy.


Though the ancient criteria of tragedy are not found in Waiting for Godot, it is a tragedy. The heroes of the play, Vladimir and Estragon, have been together for fifty years. They were once on the top of the Eiffel tower, which is the symbol of happiness and prosperity. But they are two ill-clad tramps with no roof over their heads, hunger gnawing them at their entrails. They evoke pity and fear. They are shrouded in mystery, and yet the readers and the audience do not experience any Catharsis, which is not mere tragic relief but emotional equilibrium. We leave the auditorium in a state of despair. The two tramps wait, knowing full well that it is an exercise in futility.


There is hardly any action in the play. Throughout the play the two tramps wait in a state of helplessness and nurse no hope. They pass the time in the idle gossip, singing songs, playing eristic bouts, indulging in cross talks, doing physical exercises and playing the parts of Pozzo and Lucky. They have none of the heroic endurance or stoical fortitude of Prometheus, Hamlet, Macbeth, Othello and King Lear. "Nothing is to be done"- that is the keynote of the play. They have no urge for action, no lust for life. Out of sheer boredom they are ready to commit suicide. But that decision also falls through only because the branch of the tree they like to hang themselves from is too weak, nor is there a cord to hang themselves with.


They are Waiting for Godot, for Godot's arrival alone can terminate their helplessness, despair and inaction. But Godot does not come in spite of his unwritten message that he will. The boy brings a message, but that does not raise any hope. He presents an image of Godot - an image that is not cheering or heartening. For Godot, before coming, will have to "consult his family", "his friends", "his agents", "his bank account", "his correspondents", and even "his books".


Vladimir and Estragon are the representatives of the suffering humanity, travailing in a hostile universe. Pozzo and Lucky present similar picture of despair and helplessness. They deepen and heighten the tragedy of a man and suggest that helplessness is not the destiny of the two tramps alone, but of all beings. Lucky is treated by his master as an animal. Once graceful and beautiful, he has now fallen upon evil days. He has lost all human dignity. He is taken to the fair for sale, his neck tied with a string. Pozzo is so heartless that on seeing Lucky weeping bitterly, he simply says: "Old dogs have more dignity." The master is power-mad, and as if by an act of Nemesis, he becomes blind. The word 'blind' may be taken figuratively also. He is blind, for he has not the patience to appreciate the other man's point of view. But as he becomes blind, he is as helpless as the rest. Lucky becomes dumb, and is yet made to think on behalf of his master.


The tragic refrain of the two tramps is: "Nothing happens, nobody comes, nobody goes; it's awful." Vladimir says: 'There's nothing we can do " And Estragon says: "All my lousy life I've crawled about in the mud! And you talk to me about scenery! You and your landscapes! Tell me about the worms!"


Pozzo, a little humanized by his blindness, says: "One day trim any other day, one day he went dumb, one day I went blued, one day we'll go deaf, one day we were born, one day shall die, the same day, the same second, is that not enough for you ? They gave birth astride of a grave, the light gleams and instant, then it's night once more."


Waiting for Godot is a tragedy of the modern man. The hero is not one person, but the entire humanity, suffering and groaning with no hope of redress. And yet the play has its Catharsis. The greater the anxieties and the temptation to indulge in illusions, the more beneficial is this therapeutic effect.



Summer up:


  I concluded my topic with the question, 'What is the meaning of our presence in the universe?' May be nothing or may be something. Somehow it's like a dream and somehow it is like the reality of our existence. Thank you!

  


Resources:-















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Thinking activity : The waste Land

This task given by Dr Dilip Barad sir head of department of English MKB University.

The Waste Land is a poem by T.S. Eliot, widely regarded as one of the most important poems of the 20th century and a central work of modernist poetry. Published in 1922, the 434-line poem first appeared in the United Kingdom in the October issue of Eliot's The Criterion and in the United States in the November issue of The Dial, It was published in book form in December 1922. Among its famous phrases are " April is the cruellest month", "I will show you dear in a handful of dust', and the mantra in the Sanskrit language " Shanthi Shanthi Shanthi".

Friedrich Nietzsche, with the concept of Ubermensch in Also Sprach Zarathustra (1883-85) seems to be progressive and forward looking in giving solution to the problem of contemporary crisis in faith and self.
T.S. Eliot in 'The Waste Land'(1922) seems to be regressive and backward looking as it tries to find answers of contemporary malaise in Upanishad, Buddhism and Christianity.

13 September 2020

General characteristics of the 20th century literature

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This blog related to general characteristics of the Twentieth century.

# General characteristics of the twentieth century

Characteristics of 20th century literature

The 20th century was like no time period before it. Einstein, Darwin ,Freud and Marx were just some of the thinkers culture. These changes took distinct shape in the literature of the 20th century. Modernism, a movement that was a redical break from 19th century Victorianism, led to postmodernism, which emphasized self consciousness and rop art. While 20th century literature is a diverse field covering is a diverse field covering a variety  of genres, there are common characteristics that changed literature forever.

09 September 2020

Thinking Activity: Identify Modern Images, metaphors - Short Modern Poems

 હેલો વાચકો,

મારા બ્લોગ પર આપનું સ્વાગત છે!

ઇંગ્લિશ મહારાજા કૃષ્ણકુમારસિંહ ભાવનગર યુનિવર્સિટીના વિભાગના વડા ડો.દિલીપ બારડ સર દ્વારા આપવામાં આવેલ આ કાર્ય. આધુનિક છબીઓ, રૂપકો ટૂંકી આધુનિક કવિતા ઓળખો સંબંધિત આ કાર્ય.

આધુનિક કવિતાની લાક્ષણિકતાઓ

ટોટલી પીડિત અને ભાવનાપ્રધાન કવિતાની વિરુદ્ધ.

-ધાર્મિક આસ્થા ના અદ્રશ્ય.

રેગ્યુલર મીટર કા .ી નાખવામાં આવ્યું છે

નિયમિત છંદ યોજના નથી

-આયજ્ ofોનું સ્થાન

મફત શ્લોક નો ઉપયોગ

વક્રોક્તિનો ઉપયોગ

રૂપકોનો ઉપયોગ

આધુનિકતાવાદી કવિતા: -

આધુનિકતાવાદી કવિતા







02 August 2020

Remedial coaching pre-Task

                   " Epidemic and Me"

Covid-19 Corona virus

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The Lowdown
A regular update from thought leaders in marketing and beyond on  how to address the challenges presented by the covid 19 pandemic.


Epidemic and Me about my views:-







15 July 2020

Deconstructive Reading of Sonnet 18


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This  task given by Dr. Dilip barad sir  head of Department of English  Maharaja KrishnaKumarsinhji Bhavnagar university.


∆  Deconstruction Definitions:-

 Let's see..
professor Dr. Dilip barad sir



A method of critical anything of philosophical and literary language which emphasizes the internal workings of language and conceptual systems, the relational quality of meaning, and the assumptions implicit in forms of expression.

∆ What is Deconstruction?

  • A radical approach to reading
  • This Literary criticism is not fully developed!
  • The founder is Jacques Derrida
  • Explained as a strategy "Rules for..
  • Reading
  • Interpretation
  • Writing
                                

∆  Deconstruction as literary criticism deconstruction seeks to find


  • Biases
  • Prejudice
  • And value judgments


That are implied through sub-text. The deconstructive critic is guided by one main question:-

Who has the power?



∆  Sonnet 18 is one of the best- known of the 154 sonnets written by the English playwright and poet William Shakespeare. Shakespeare's sonnet 18 ' Shall I compare three to a summer's day ?' is one of his most popular poem. People read it out at weddings in lyrical celebration of an ideal romance.

∆ Ted Ed
My experience of Ted Ed 

Good experience of Ted Ed video thanks to Dr. Dilip Barad sir for sharing this video. Very good understanding of Ted  Ed Video.


Thank you......