Assignment: Paper no. 205

Cultural Studies 

Name:- Payal Bambhaniya

Batch:- M.A. Sem. 3 (2022-2024)

Roll no. :- 14

Enrollment no.:- 4069206420220002

Paper no.:- 205

Paper Name:- Culture Studies 

Topic:- Four Goals of Cultural Studies 

Email ID:- payalbambhaniya92@gmail.com

Submitted to:- SMT S. B. Gardi Department of English, MKBU.

Introduction:-

“A cultural study is the analysis of cultures' systems of meaning – production and consumption.”

Cultural studies is the science of understanding modern society, with an emphasis on politics and power. Cultural studies is an umbrella term used to look at a number of different subjects. Categories studied include media studies including film and Journalism, sociology, industrial culture, globalisation and social theory.

Rather than concentrating exclusively on the group of elite texts that make up so-called "high culture," Cultural Studies takes as its focus the whole complex of changing beliefs, ideas, feelings, values, and symbols that define a community’s organisation and sense of itself. Culture in this sense is often understood to be a primary vehicle of globalisation in the contemporary world and deeply enmeshed in particular social, economical and political environments

Cultural studies is a relatively new interdisciplinary field of study, which came into being in the UK in the post-war years. It emerged out of a perceived necessity on the part of two of its founding figures, Raymond Williams and Richard Hoggart. It came to fruition, however, in circumstances that, as its third founding figure Stuart Hall often acknowledged, contested its legitimacy.

What is Cultural Studies:-

“Cultural studies is composed of elements of Marxism, new historicism, feminism, gender studies, anthropology, studies of race and ethnicity, film theory, sociology, urban studies, public policy studies, popular culture, and postcolonial studies.” -Wilfred L. Guerin

Cultural studies is an interdisciplinary field that examines how cultural practices and meaning are produced in a society over a period of time. They also look at how these meanings keep changing over time and how these practices and meanings are circulated and exchanged.

According to cultural studies, culture is not understood just as a text or an artistic product like a movie, music, play or book, but it is a dynamic and complexly patterned way of life. Cultural studies will explore a wide variety of cultural forms and practices; this includes our race, nation, class, gender, what we consume, popular media, popular culture, the world we live in, and the ideologies that govern us. Cultural studies will also give you the tool to analyse cultural practices, representations, different identities, and also different rituals and beliefs.

Cultural studies is essentially interdisciplinary, as culture itself incorporates many aspects of society. Cultural studies takes the combination of elements that create a sense of culture and applies them to the everyday life of social relations and power structures, drawing connections between society, politics and identity. By studying the expression of these issues in society and in writing, conclusions can be drawn about how cultural forces shape the narrative of a piece of literature.

 Marxism has been an important influence upon cultural studies. Those associated with CCCS initially engaged deeply with the structuralism of Louis Althusser, and later in the 1970s turned decisively toward Antonio Gramsci. Cultural studies has also embraced the examination of race, gender, and other aspects of identity, as is illustrated, for example, by a number of key books published collectively under the name of CCCS in the late 1970s and early 1980s, including Women Take Issue: Aspects of Women's Subordination (1978), and The Empire Strikes Back: Race and Racism in 70s Britain (1982).

         Critics must not only consider the outputs of a culture but also how they came to be. For example, not only what the book is about, but "Who buys [those] books and how are they marketed?" (Guerin) In this case, both the intended and actual audience of a work must be considered in the analysis.

Cultural studies is an interdisciplinary field that examines how cultural practices and meaning are produced in a society over a period of time. They also look at how these meanings keep changing over time and how these practices and meanings are circulated and exchanged.

Four Goals of Cultural Studies:-

(1) Cultural Studies transcends the confines of a particular discipline such as literary criticism or history.

(2) Cultural studies are politically engaged.

(3) Cultural studies deny the separation of ‘high’ and ‘low’ from elite and popular culture.

(4) Cultural studies analyse not only the cultural work, but also the means of production.

• Cultural Studies transcends the confiner of a particular discipline such as literary criticism or history.

Cultural studies, as explored in journals like Critical Inquiry, Representation, and Boundary, encompasses a wide range of topics. It delves into diverse subjects such as Italian opera, Latino telenovelas, architectural styles of prisons, and body piercing. The focus is on drawing conclusions about the evolution of textual phenomena over time. Importantly, cultural studies go beyond traditional notions of literature or art, exploring the broader cultural landscape and its various manifestations.

Trencher emphasises that the intellectual potential of cultural studies lies in its endeavour to transcend various social and political interests, engaging with the ongoing struggles in contemporary society. Intellectual works within cultural studies are not confined by traditional boundaries, whether they be single texts, historical issues, or disciplinary limits. In the "Dalhousie Revise" manifesto, Henry Giroux and others describe cultural studies practitioners as 'resisting intellectuals' who view their work as "an emancipatory project" because it challenges traditional disciplinary divisions in higher education institutions.For students, this occasionally involves professors integrating their own political views into the instruction, which, of course, can pose challenges. However, this type of criticism, similar to feminism, is an involved rather than a detached activity.

• Cultural Studies are Politically Engaged.

Cultural critics perceive themselves as "Oppositional" not only within their own discipline but also to many power structures in society at large. They scrutinise inequalities within power structures and seek models to restructure relationships between the dominant and "minority" or "Subaltern" discourses. Because meaning and individual subjectivity are culturally constructed, they can be reconstructed. This idea, taken to a philosophical extreme, challenges the autonomy of the individual—whether an actual person or a character in literature. It rejects the traditional humanistic "Great Man" or "Great Book" theory, relocating aesthetics and culture from the ideal realm of taste and sensibility to the arena of everyday life as constructed by an entire society.

• Cultural studies deny the separation of ‘high’ and ‘low’ are elite and popular culture.

Contemporary cultural critics aim to expand the concept of culture to encompass mass culture, whether it's popular, folk, or urban. The distinctions among high, low, and mass culture are seen by some theorists, such as Jean Baudrillard and Andreas Huyssen, to have collapsed after World War II. Other scholars, like Pierre Bourdieu and Dick Hebdige, have explored how notions of "good taste" often reflect prevailing social, economic, and political power bases. This shift challenges traditional hierarchies and broadens the scope of cultural analysis.

The Images of India circulated during British colonial rule, as depicted by writers like Rudyard Kipling, may seem innocent on the surface but actually reveal an entrenched imperialist argument for white superiority and global domination. This was a common theme wherever colonial powers, such as the British or the French, sought to portray their culture as superior. However, race was not the sole issue for the British Raj; economic considerations, represented by money, also played a significant role. Drawing on the ideas of French historian Michel de Certeau, cultural critics delve into these complex dynamics.

"The Practice of Everyday Life" involves studying literature from an anthropological perspective, treating it as a cultural phenomenon that includes an examination of the culture's economy. Cultural critics focus on describing 'what' is produced and how different cultural productions interrelate. Their goal is not necessarily to determine the best work but to uncover the political and economic reasons 'why' a particular cultural product is more valued at certain times than others.

The shifting of boundaries among disciplines, encompassing both high and low culture, can make cultural studies an engaging and enjoyable endeavour. Examples of this interdisciplinary approach are reflected in the given titles. The birth of captain Jack Sparrow :An Analysis

Disney’s Pirates of the Caribbean: The Curse of the Black Pearl (2003) R.L. Stevenson’s long John Silver in ‘Treasure Island’ (1881) Keith Richards eye makeup.

•  Cultural studies analyse not only the cultural work, but also the means of production.

Marxist critics emphasise the significance of peripheral literary questions such as:

- "Who supports a given artist?"

- "Who publishes his or her books, and how are these books distributed?"

- "Who buys books?"

- "For that matter, who is literate and who is not?"

A notable analysis of literary production is Janice Radway's study of the American romance novel and its readers, "Reading the Romance: Women, Patriarchy, and Popular Literature." This study demonstrates the textual effects of the publishing industry's decisions about books, aiming to reduce its financial risks.

Another significant contribution is the collection "Reading in America," edited by Cathy N. Davidson. This collection includes essays on literacy and gender in colonial New England, urban magazine audiences in eighteenth-century New York City, and the impact of technical innovations such as cheaper eyeglasses, electric lights, and trains on reading habits. The collection also explores the role of institutions like the Book-of-the-Month Club and how written texts go through fluctuations of popularity and canonicity. This perspective emphasises that literature is not separate from our past, present, and future.

In 2050, the United States is projected to undergo a demographic shift, becoming a "majority-minority" nation. This term indicates that the current numerical majority, consisting of "white," "Caucasian," and "Anglo"-Americans, will be outnumbered by the increasing population of Latina/o residents, primarily Mexican Americans. Scholars like Gerald Graff and James Phelan note that this transformation anticipates a cultural landscape where the ability to navigate conflict and cultural diversity will be highly valued. They argue that learning through controversy serves as effective preparation for future citizenship in a society characterised by such diversity and change.

Cultural studies connects subjectivity, meaning culture in relation to individual lives, with "engagement," a direct approach to addressing social malpractices. Practitioners of cultural studies reject "humanism" or "the humanities" as universal categories. Instead, they aim for what they might term "social reason," aligning with the goals and values of humanistic and democratic ideals.

Cultural studies brings together the subjective aspect of culture in relation to individual lives with a direct engagement approach aimed at addressing social issues. While practitioners reject "humanism" or "the humanities" as universal categories, they strive for a form of "social reason" that often aligns with the goals and values of humanistic and democratic ideals.

Conclusion:-

In conclusion, cultural studies is a multidisciplinary field that examines cultural phenomena within society, emphasising the importance of understanding culture in relation to power, identity, and social structures. The four goals of cultural studies—interdisciplinarity, engagement, subjectivity, and social reason—form a comprehensive framework for understanding and analysing cultural phenomena within the broader context of society. 

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Assignment: Paper no. 204

 Contemporary Western Theories and Film Studies 

Name:- Payal Bambhaniya

Batch:- M.A. Sem. 3 (2022-2024)

Roll no. :- 14

Enrollment no.:- 4069206420220002

Paper no.:- 204

Paper Name:-  Contemporary Western Theories and Film Studies 

Topic:- Feminism/Feminist Criticism 

Email ID:- payalbambhaniya92@gmail.com

Submitted to:- SMT S. B. Gardi Department of English, MKBU.

Introduction:-

Feminism is about achieving equality and fairness in relation to gender, encompassing aspects like gender identity, expression, and sexuality. Initially addressing inequality between the sexes, it has evolved to scrutinise the social and performative aspects of gender and sexuality. Modern feminist theory explores inequalities across various intersections like ability, class, gender, race, sex, and sexuality. Feminists work to bring about change in areas where these intersections result in power imbalances. Anytime stereotyping, objectification, infringements of human rights, or intersectional oppression occurs, it's a feminist issue. 

What does Feminism Mean?

"It is an advocacy of the Political , economic and social equality of the sexes expressed especially through organised activity on behalf of women's rights and interests."

In simple terms, feminism advocates for equal rights and opportunities for all genders.

Being a feminist is about believing in equal rights for all genders. It involves respecting diverse women’s experiences, identities, knowledge, and strengths, and striving to empower all women to realise their full rights. Feminism is focused on levelling the playing field between genders, ensuring that diverse women and girls have the same life opportunities as boys and men. Importantly, it's not about hating men, women being superior to men, or rejecting femininity. Instead, it's a movement advocating for equality for everyone.

Feminist literary criticism uses the principles and ideology of feminism to analyze and critique the language of literature. It aims to explore how literature portrays the narrative of male domination by delving into the economic, social, political, and psychological forces embedded within literary works. This approach has changed the way literary texts are viewed and studied, as it seeks to examine old texts within the literary canon through a new lens. Feminist literary criticism strives to bring attention to gender-based issues and challenge traditional perspectives in literature.

Four Waves of Feminism :-

Feminism is a term that encompasses the historical struggles of women for greater equality in politics, economics, and culture. The feminist movement, spanning from the 19th century to the present day, has been divided into four stages or "waves" by historians since the 1960s. Each wave represents a distinct phase in which women directed their activism towards specific freedoms, responding to societal expectations prevalent during that time. These waves highlight the evolving nature of feminist goals and challenges across different periods in history.

1. The first wave of feminism :- 

The first wave of feminism, extending from 1848 to 1920, is often associated with the suffragettes who passionately advocated for women's right to vote. The primary objective of this wave was to expand opportunities for women, specifically focusing on suffrage. It's important to note that the movement primarily concentrated on the rights of white women, and it took several more decades for Black women and other women of color to secure similar freedoms.

 2. The Second wave of feminism :- 

The second wave of feminism, spanning from 1963 to the 1980s, marked a crucial period when women advocated for a reevaluation of prescribed gender roles. During this time, many women rejected societal expectations regarding their appearance and behaviour, intentionally choosing not to conform to sexually provocative clothing or makeup. Second-wave feminism also brought attention to issues such as domestic violence and marital rape, leading to the creation of rape crisis centers and women's shelters. Additionally, it played a role in influencing changes in custody and divorce laws.

3. The Third wave of feminism :- 

The third wave of feminism, which emerged in the 1990s, was characterised by political activism aimed at expanding civil rights and social equality for women. During this period, a new branch of feminism developed in connection with postcolonialism and postmodernism. Women of this era, having achieved some progress in the political sphere, focused on fighting against entrenched, institutionalised sexism. This included addressing issues such as workplace harassment, pay disparities, and social exclusion through protests and marches.

Third wave feminism exhibited a more inclusive approach, considering factors like race, class, and gender. This perspective, termed "intersectional feminism" by gender theorist Judith Butler, emphasised the interconnected nature of various forms of oppression.

4. The Fourth Wave of Feminism:-

The fourth wave of feminism is often misconstrued as a mere extension of the third wave, as women persist in addressing many of the same issues related to entrenched sexism. This wave of feminism places a particular emphasis on gender issues surrounding safety, pay, and dignity in the workplace. Women today continue to advocate for fair and equal treatment across various sectors of society, with a strong focus on inclusivity. This is particularly relevant at a time when gender politics are at the forefront, and gynocriticism, a form of criticism that develops a female framework for analysing works by women, plays a significant role. Gynocritics aim to identify feminine subject matter, uncover a female literary tradition, and delineate a distinctive feminine mode of experience.

Elaine Showalter named Gynocriticism - that is, a criticism which Concerns itself with developing a specifically female framework for dealing with works written by women, in all aspects of their production, motivation, analysis, and interpretation, and in all literary forms, including journals and letters.

What Feminist Critics do? 

•  Rethink the canon, aiming at the rediscovery of texts written by women. 
•  Revalue women's experience. 
•  Examine representations of women in literature by men and women. 
•  Challenge representations of women as 'Other', as 'lack', as part of 'nature'. 
•  Examine power relations which are obtained in texts and in life, with a view to breaking them down, seeing reading as a political act, and showing the extent of patriarchy. 
•  Recognise the role of language in making what is social and constructed seem transparent and 'natural'. 
•  Raise the question of whether men and women are 'essentially' different because of biology, or are socially constructed as different. 
•  Explore the question of whether there is a female language, an feminine, and whether this is also available to men. 
•  'Re-read' psychoanalysis to further explore the issue of female and male identity. 

 Question the popular notion of the death of the author, asking whether there are only 'subject positions ... constructed in discourse', or whether, on the contrary, the experience is central. Make clear the ideological base of supposedly 'neutral' or 'mainstream' literary interpretations. 

Feminism in literary texts :- 

1. Pride and Prejudice ( Novel) by Jane Austen :- 

In "Pride and Prejudice," Jane Austen subtly introduces feminist themes that question the societal norms prevailing during the 19th century. The protagonist, Elizabeth Bennet, emerges as a strong and independent woman, challenging the traditional role assigned to women of her time.

Austen critiques the societal expectation for women to prioritise financial stability in marriage, vividly illustrated through Mrs. Bennet's relentless pursuit of suitable husbands for her daughters. Elizabeth's refusal to conform to these societal pressures and her insistence on marrying for love underscore feminist elements in the narrative.

The novel also delves into the constraints imposed on women's education and autonomy. Elizabeth's intelligence and cleverness challenge the prevailing belief in women's intellectual inferiority. The character of Charlotte Lucas, who opts for financial security over love, serves as a commentary on the limited choices available to women during that era.

In essence, "Pride and Prejudice" presents a nuanced exploration of gender roles and societal expectations, providing a foundation for feminist analysis and discussion.

2. The Handmaid's Tale (Novel) by Margaret Atwood :- 

"The Handmaid's Tale" by Margaret Atwood delves into feminist themes within a dystopian narrative. The novel unfolds in Gilead, a society where women are oppressed and confined to designated roles, exemplified by the protagonist, Offred, who serves as a Handmaid for reproductive purposes. Atwood scrutinises patriarchal structures, the control exerted over women's bodies, and the repercussions of fundamentalism. The narrative prompts contemplation on power dynamics, autonomy, and the influence of societal norms on women's experiences, presenting a profound commentary on feminism and its contemporary significance.

When delving into feminism, you can watch the thought-provoking talk by Chimamanda Ngozi Adichie titled "We Should All Be Feminists." This engaging video provides valuable insights into the principles of feminism.

Feminist Criticism:-

The "women's movement" of the 1960s marked a resurgence rather than the inception of feminism. It revitalised an enduring tradition of thought and action that already had its seminal works diagnosing women's inequality in society and, in some instances, suggesting remedies. Several influential books played a significant role in shaping the feminist movement during this period. Some of these pivotal works include:

Margaret Fuller’s Woman in the Nineteenth Century (1845) :- 

"Woman in the Nineteenth Century" is a book written by Margaret Fuller, an American journalist, editor, and women's rights advocate. Initially published in July 1843 in The Dial magazine, it was later expanded and republished as a book in 1845. Fuller's work is considered a significant early feminist text that addresses issues of gender equality and the role of women in society during the 19th century. The book reflects Fuller's progressive views and advocacy for women's rights.

Simone de Beauvoir’s The Second Sex (1949) :-

"The Second Sex" is a 1949 book written by the French existentialist philosopher Simone de Beauvoir. In this influential work, de Beauvoir discusses the treatment of women in contemporary society and throughout history. The book is divided into two volumes: "Facts and Myths" and "Lived Experience."

De Beauvoir's critique extends to the cultural identification of women as the negative object or "Other" in contrast to man, who is considered the dominating "Subject" representing humanity. The book delves into the portrayal of women in the collective myths perpetuated by many male writers. "The Second Sex" is widely recognized as a groundbreaking and seminal work in feminist philosophy, serving as a foundational inspiration for the second-wave feminism movement.

Simone de Beauvoir's quote, "One is not born, but rather becomes a woman," underscores her belief that being a woman is not an inherent condition but a result of societal treatment from birth. De Beauvoir emphasizes that women should actively shape their lives and reject the notion that there is an inherent nature dictating how men and women should be. This perspective challenges traditional gender roles and encourages women to assert agency in defining their identities.

 A Room of One’s Own ( 1929) :- 

Virginia Woolf played a crucial role as a precursor in feminist criticism. In addition to her fiction, she authored "A Room of One’s Own" (1929) and numerous essays addressing women authors and the cultural, economic, and educational constraints within what she termed a "patriarchal" society dominated by men. Woolf's writings explored the challenges that hindered or prevented women from realising their full productive and creative potentials. Her work laid the foundation for feminist literary criticism, highlighting the need for societal changes to empower women in various aspects of life.

Modern feminist criticism in America took a significant turn with Mary Ellmann's insightful work, "Thinking about Women" (1968). Ellmann skillfully examined the derogatory stereotypes of women present in literature written by men. Her witty discussion highlighted the need to question and challenge these portrayals. Following this, Kate Millett's influential "Sexual Politics" (1969) further intensified the feminist discourse. Millett delved into the power dynamics in society, interpreting various social arrangements and institutions as tools that perpetuate male dominance and female subordination. Her critique extended to Freud's psychoanalytic theory and the works of authors like D. H. Lawrence, Henry Miller, Norman Mailer, and Jean Genet, exposing their reinforcement of aggressive male identities and the degradation of women in their fictional narratives.

The period following 1969 witnessed an unprecedented surge in feminist writings, marking a movement that, as noted by Elaine Showalter, exhibited the urgency and excitement reminiscent of a religious awakening. 

Conclusion:- 

In Conclusion, Feminism is the belief in and advocacy for equal rights and opportunities for all genders. Feminism seeks to challenge and dismantle societal norms and structures that perpetuate inequality, emphasising the importance of acknowledging and respecting the diverse experiences and strengths of individuals, irrespective of gender.

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Assignment Paper no. 202

 

Indian English Literature - Post - Independence 

Name:- Payal Bambhaniya

Batch:- M.A. Sem. 3 (2022-2024)

Roll no. :- 14

Enrollment no.:- 4069206420220002

Paper no.:- 202

Paper Name:- Indian English Literature - Post - Independence 

Topic:- Karna: The Voice of Subaltern 

Email ID:- payalbambhaniya92@gmail.com

Submitted to:- SMT S. B. Gardi Department of English, MKBU.

About Writer:-

T. P. Kailasam :-

Tyagraj Paramasiva Iyer Kailasam , born in 1884 and passing away in 1964, was a prominent playwright in Kannada literature. Literary criticism in Kannada literature is said to have started for the first time by Kailasam in his works. His contribution to Kannada theatrical comedy earned him the title Prahasana Prapitamaha ( the great-grandfather of humorous plays). He was later often revered as "the one and only Kailasam for Kannada". Hailing from a Tamil Iyer Brahmin family in Mysore, Karnataka, he made significant contributions with plays.

Kannada Plays:

•   "ToLLu Gatti"
•   "Poli Kitti"
•   "Bahishkar"
•   "Vaidyana Vyadhi"
•   "Huttadalli Hutta"
•   "Anukoolakkobba"
•    "Sattavana Santhapa"

English Plays:

•    "Fulfilment"
•   "Purpose"
•    "The Brahmin's Curse"
•    "Simply Kailawesome"

T. P. Kailasam showcased his versatility as a playwright by creating works in both Kannada and English, exploring a diverse range of themes and narratives across these plays.

Kailasam's life was dedicated to local theatre and his Contributions revolutionsed it. His Humour left an impression on Kannadigas. He opposed the Company theatre's obsession with mythology and stories of royalty and shied away from loading his Plays with music. Instead he introduced Special realistic Sets. Kailsam was initially Criticised for modern use of the Kannada language in his Plays at a time when the language was used under Strict linguistic syntax and Semantics. But , soon after his works became very Popular and are Considered among the best in Kannada theatre, known for wit and Satirical Commentary on Society. 

Kailasam turned his hand to mythological themes also but treated them in English. He was a moralist , but he had the Subtlety needed to carry off his moralising. His appreciation of what was really noble in traditional ways of living , added a grace to his Plays. He created the new vogue for the Satirical social Play which Proved that Powerful Prose with Penetrating humour could do away with tinsel attractions of music , Setting and Costume. T.P.Kailasam died in the City of Bengluru in the state of karnataka in the year 1946.

The Curse of Karna /The Brahmin's Curse :-

Title: "The Brahmin's Curse"

Author: T. P. Kailasam

Inspiration: Derived from the Mahabharata epic

Protagonist: Focuses on the character of Karna 

Central Theme: Explores Karna's struggles resulting from a curse

Structural Division: The play is organised into five acts

Act 1 - Gurujee Raama 

 " POOR KARNA! POOR, POOR KARNA ! " 

In Act 1, Gurujee Raama establishes a tone of pity for Karna, foreshadowing the impending misfortunes in Anga. This early expression of sympathy serves as a precursor to the tragic events that will unfold.

Act 2 - Gaandhaara 

 " POOR ANGA ! POOR POOR HONEST ANGA!"

In Act 2, the depiction of Anga as "POOR POOR HONEST ANGA" in the land of Gaandhaara emphasizes his virtuous character and the challenges he endures. This portrayal underscores his integrity, evoking sympathy from the audience.

 Act 3 - The King Suyodhan 

 " The King POOR ANGA ! OUR POOR GREAT ANGA!"

In Act 3, King Suyodhan enters the narrative, expressing empathy for Anga by referring to him as "OUR POOR GREAT ANGA." The repetition of "poor" intensifies the compassionate sentiment felt for Anga, emphasizing the emotional depth in the play.

 Act 4 - Bheema  

 ( Anga Crumples into Bheema's arms who carries him out muttering amid tears : " POOR ANGA! POOR GREAT ANGA ! " The THRONE ROOM , empty now , is exposed for a minute before - ) 

In Act 4, the poignant scene unfolds with Bheema cradling Anga, lamenting "POOR GREAT ANGA." This moment serves as the culmination of Anga's tragic journey, eliciting deep sympathy from the audience.

 Act 5 - Aswattha and Maadra 

  " OUR ANGA! " OUR GREAT ANGA ! 

[ " OUR POOR POOR ANGA " ! ]

In Act 5, the expression of grief by Aswattha and Maadra for "OUR GREAT ANGA" cements Anga's status as a beloved character. The cumulative effect of these acts and scenes creates a powerful emotional arc, portraying Anga as a figure of immense sympathy and honor in the play.

"The Curse of Karna" is a play written by T.P. Kailasam, a prominent playwright in Kannada literature. The play is centered around characters and events from the Indian epic, the Mahabharata, with a particular focus on Karna, a central character known for his tragic fate. In this play, Kailasam explores Karna's life, his inner struggles, and the moral dilemmas he faces. The themes of fate, loyalty, and the consequences of one's choices are delved into, providing a unique perspective on Karna's character and adding depth to his portrayal in the Mahabharata.

"The Curse of Karna" is divided into five acts and was initially published on September 10, 1946, with a subsequent republishing on July 29, 1969. The setting of the play is Raama's Ashram. Throughout the play, the narrative revolves around the character of Karna, focusing on how he is marginalized due to his subaltern identity. The play also explores the sufferings Karna endured throughout his life, culminating in his painful death at the hands of his own brother.

"The Curse of Karna" is highly esteemed for its compelling storytelling and nuanced character development. It holds a significant place in Indian literature and theatre, providing valuable insights into the complex and tragic figure of Karna from the Mahabharata.

Karna: The Voice of Subaltern:-

Karna, a key figure in the Mahabharata, represents the "Voice of Subaltern." Subaltern means those who are socially marginalized or excluded. Karna's story is marked by challenges due to his lower caste background, reflecting the struggles of the marginalized in society. Despite facing discrimination, Karna's loyalty, bravery, and tragic fate make him a powerful symbol of resilience. His story resonates with those who identify with the underprivileged, highlighting the ongoing struggle for justice.

Despite the challenges and hardships in Karna's life, he possessed extraordinary qualities that set him apart. His spirit of sacrifice and generosity was evident in his daily acts of charity. People, including Brahmins, would eagerly wait for Karna to finish his morning ablutions, as he was known for never turning anyone away empty-handed. On one occasion, a Brahmin (who was, in fact, Indra in disguise) asked Karna for his divine armor and earrings, which were inseparable from his body since birth.

Realizing the Brahmin's true identity, Karna willingly fulfilled the request. He took a sword, cut off his earrings, and tore away the armor, causing blood to flow from his body. Despite the pain, Karna handed the blood-soaked armor and earrings to Indra. This selfless act was witnessed by the gods and celestial beings gathered in the sky, who showered flowers on Karna and sang his praises. Indra, moved by Karna's sacrifice, appeared in his divine form and offered him a boon. Karna humbly asked for the powerful weapon Amogha Shakti, which Indra granted with the assurance that it would never fail in destroying the enemy and would return to its owner afterward.

What is Subaltern Theory?

Subaltern theory comes from post-colonial studies and focuses on the voices and experiences of marginalized groups often ignored by dominant narratives. It seeks to grasp the perspectives of those historically silenced due to factors like caste, class, gender, race, or nationality.

Subaltern studies explore the intricate power dynamics and resistance, uncovering hidden histories and struggles of communities. This challenges established hierarchies and encourages a more inclusive understanding of social and political issues.

Karna as a Voice of Subaltern:-

Subaltern: The Marginalized Voices

Subaltern refers to populations socially, politically, and geographically outside the legitimate power structure of the colony and its homeland. In the context of Karna, he's a tragic character with a tragic fate, marginalized by gurus, warriors, princes, Panchalee, and kings.

The term "Subaltern" was coined by Ranjit Guha and later adopted by Marxist Antonio Gramsci. Gayatri Chakravorty Spivak further discussed it in her essay 'Can the Subaltern Speak?' People often view subaltern as an unpresented group in society, considering them inferior and incapable of making real contributions. However, in reality, subaltern can speak, but others lack the patience to listen, as seen in Karna's story—he's capable but labeled as suta putra, limiting his voice in society.

Karna in the Mahabharata: A Marginalized Figure

Karna, a character in the Mahabharata, faced marginalization due to his social and family background. Although born to Queen Kunti, he was abandoned and raised by a charioteer, which gave him a low-caste status. This upbringing made him an outsider in the Kuru dynasty, where caste and lineage held significant importance. Despite his talents, Karna experienced discrimination, being denied the rights and recognition usually granted to a prince.

Karna's narrative resonates as a voice of the subaltern, representing those marginalized by societal norms. His quest for recognition, unwavering loyalty to Duryodhana despite moral dilemmas, and tragic fate bring attention to the plight of those pushed to society's fringes. Karna challenges social hierarchy, highlighting the unjust treatment based on birth rather than ability. He becomes a symbol of subaltern struggles, fighting against a system that marginalizes individuals.

Karna, a prominent figure in the Indian epic Mahabharata, embodies the subaltern in several ways:

1.Social Marginalization:Born to a low-caste mother and abandoned, Karna faced societal discrimination due to his caste, reflecting the struggles of the subaltern against social oppression.

2. Identity Struggle:Karna's lifelong quest for recognition mirrors the challenges subaltern individuals face in asserting their identity in a society dominated by the privileged.

3.Solidarity with the Dispossessed:Karna aligns with the marginalized, reflecting a subaltern perspective that advocates for the rights of the oppressed.

4. Quest for Justice: Despite his disadvantaged position, Karna's commitment to justice echoes the subaltern's desire for a fair and equitable society.

5. Complex Character: Karna's multifaceted character mirrors the diversity within the subaltern, showcasing the complex experiences and struggles within this community.

Conclusion:-

Overall,Karna's fate is a tragic one, marked by circumstances beyond his control. Despite the inevitable tragedy that befalls him, Karna remains a sympathetic character, depicted as a victim of circumstances and grappling with internal conflicts. Karna's journey in the Mahabharata serves as a poignant representation of the subaltern narrative, shedding light on the challenges, aspirations, and resilience of those who are marginalized in society.

Word Count:- 1, 716

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Assignment Paper no. - 201

Indian English Literature - Pre - Independence 

Name:- Payal Bambhaniya

Batch:- M.A. Sem. 3 (2022-2024)

Roll no. :- 14

Enrollment no.:- 4069206420220002

Paper no.:- 201

Paper Name:- Indian English Literature - Pre - Independence 

Topic:- Analytical Study of the Play - "Final Solution"

Email ID:- payalbambhaniya92@gmail.com

Submitted to:- SMT S. B. Gardi Department of English, MKBU.

Introduction of Writer:-

Mahesh Dattani:-

Mahesh Dattani, born on August 7, 1958, is a versatile Indian figure known for his roles as a director, actor, playwright, and writer. Born in Bangalore to Gujarati parents, he holds a degree in History, Economics, and Political Science. Later, he pursued post-graduation in Marketing and Advertising Management with the initial intention of becoming a copywriter. His association with the Bangalore Little Theatre marked the beginning of his theatrical journey, where he initially took on roles in Utpal Dutt's "Surya Shikhar." Dattani initially started his professional career as a copywriter in an advertising firm.

In 1986, Mahesh Dattani penned his first full-length play, "Where There's a Will." From 1995 onward, he transitioned into a full-time theatre professional. Alongside his theatrical pursuits, Dattani has worked in his family business, and he's also ventured into film direction. His debut film, "Mango Souffle," is an adaptation of one of his plays.

Mahesh Dattani holds the distinction of being the first playwright in English to receive the Sahitya Akademi Award. His plays have been directed by notable figures such as Arvind Gaur, Alyque Padamsee, and Lillete Dubey. 

 His notable works include:

•  "Where There's a Will" (1988)
• "Dance Like a Man" (1989)
•  "Tara" (1990)
• "Bravely Fought the Queen" (1991) 
•  "Final Solutions" (1993)
•  "On a Muggy Night in Mumbai" (1998)
•  "30 Days in September" (2001)
• "The Girl Who Touched the Stars" (2007)
•  "Brief Candle" (2009)
• "The Big Fat City" (2012)

Mahesh Dattani's plays are known for addressing not only the obvious social issues but also delving into deep-seated prejudices and problems that society often tends to ignore. His works confront issues related to gender identity, gender discrimination, and communal tensions. For instance:

- "Tara" explores the theme of gender discrimination.

- "30 Days in September" directly addresses the issue of child abuse.

- "Final Solutions" focuses on the lasting impact of the Partition.

Dattani's plays contribute to bringing attention to and fostering discussions about these complex social issues.

Mahesh Dattani stands as one of India's most successful playwrights, recognized for his ability to address issues that society often attempts to conceal or look away from.

About the Play - Final Solution:-

"Final Solutions" by Mahesh Dattani is a significant and widely performed play that unfolds in three acts, navigating between the Partition of India and the contemporary era. The play delves into the themes of religious intolerance and communal violence. When two Muslim boys, Bobby and Javed, seek refuge in the home of a Hindu Gujarati family after being chased by a violent mob, it triggers a torrent of bitter memories and ingrained prejudices. The escalating tension leads to a powerful climax, serving as a poignant reminder of the urgent necessity for tolerance in society.

In "Final Solutions," Mahesh Dattani masterfully depicts the characters wrestling with their own biases and beliefs, reflecting the intricate complexities found in real-life situations. The play skillfully unveils layers of prejudice through compelling dialogues, exemplified by lines like, "It's easier to hate than to love, isn't it?" These thought-provoking words encapsulate the profound challenges and conflicts that the characters grapple with throughout the narrative.

The use of the diary narration technique in the play offers a unique window into the thoughts, emotions, and perspectives of the characters. Daksha's diary plays a prominent role, serving as a narrative element that provides insights into both present events through the character of Hardika and past experiences through Daksha. Mahesh Dattani's adept use of the diary as a storytelling tool adds depth and complexity to the play, earning acclaim for its effectiveness in conveying the intricacies of the characters' lives.

Certainly, the diary narration technique in "Final Solutions" serves as a powerful tool to enhance the emotional impact of the play and to highlight the social and political issues it addresses. By weaving together past and present through the characters' reflections in the diary, Mahesh Dattani effectively engages the audience, providing a deeper understanding of the complexities within the narrative and the broader themes explored in the play.

Analytical Study of the Play - Final Solution:-

 "Final Solutions" delves into the complex and longstanding issue of religious communalism, which has been a significant national concern in India for over a century. By addressing this historical and deeply rooted problem, the play contributes to the broader conversation on the challenges faced by the nation in terms of religious harmony and communal tensions. 

 In India, while we celebrate a rich history of theatre, unfortunately, we also grapple with a history of religious tensions. These tensions, often known as religious communalism, stem from ideological differences between people of different religions. Political manipulation of these issues has led to conflicts and consequences like hatred and animosity. The focus on communities sometimes results in vote-bank politics, where political institutions prioritise gaining support from specific religious groups. The real issue lies in unfairly blaming entire communities for the actions of a few individuals, leading to stereotypes and punishments.

Since the partition of India and Pakistan in 1947, there has been persistent communal tension between the Hindu and Muslim communities in India. Despite India's secular government and commitment to religious pluralism, instances of violent conflicts between Hindus and Muslims have occurred, often fueled by politically motivated events. The aftermath of Indira Gandhi's assassination in 1984 and the targeted violence against Sikhs, as well as the communal clashes against Christians in Orissa in 2008, are grim examples of such incidents. Over the years, tens of thousands of Indians have suffered attacks, rapes, and murders in the name of religion, creating a troubling history of communal violence. "Final Solutions" serves as a plea for an end to such communal violence, highlighting the urgent need for unity, particularly concerning issues like the Ayodhya dispute.

Communalism, much like casteism, involves the act of stereotyping and harbouring prejudices based on cultural and religious differences. This often leads to animosity, anger, and hatred among communities. Historical events such as the partition in 1947, the Babri Masjid demolition in 1992, and the Godhra incident in 2002 have significantly contributed to a deep-seated divide between Hindus and Muslims. The majority or minority status of a community further shapes the collective mindset. There is a pervasive consciousness about religious differences, resulting in the use of terms like "we" and "they" to distinguish between one's own community and others. The dynamics of these communal tensions are evident throughout the play "Final Solutions."

In "Final Solutions," Dattani employs masks on the Mob/Chorus, facilitating a fluid change of identity to appear more natural. When characters express their inner feelings, the chorus whispers or shouts in tandem. The play opens during a curfew imposed due to disturbances in the Rath Yatra, leading to communal violence. Central character Hardika harbours a sorrowful past that has made her averse to the Muslim religious sect. The tension between two families, stemming from a job request denial, continues through Hardika, reflecting experiences shared by numerous families. These collective tensions exacerbate the split and hatred between the two sects. This is evident in the lines:

“Hardika: How could he let these people into my house? They killed his grandfather. They will hate us for protecting them. Asking for help makes them feel they are lower than us. I know! They don‟t want equality. They want to be superior.”

Hardika cannot forgive the people of the community who brutally killed her father, even if the murderers had no direct relations with the boys seeking shelter in their house. In many cases, the root of the dispute is simple, but due to the involvement of anti-social elements, it escalates into communal riots, significantly impacting the psyche of those enduring it. Beyond the tangible losses of lives and property, there are spiritual losses as well. The experiences not only result in physical and material losses but also affect the souls of the individuals. Such experiences change perspectives, as seen in the case of the two young Muslim men. Through their ordeals, their outlook on Indian society and themselves undergoes a transformation, as Bobby reveals to Ramnik the reason behind Javed's shift from an ordinary Muslim to a riot instigator or hoodlum:

“Bobby:A minor incident changed all that. We were playing cricket on our street with the younger boys. The postman delivered our nieghbour‟s mail. He dropped one of the letters. He was in a hurry and asked Javed to hand the letter over to the owner. Javed took the letter and opened the gate. Immediately a voice boomed „what do you want?‟ I can still remember Javed holding out a letter and mumbling something, his usual firmness vanishing in a second. „Leave it on the wall‟ the voice ordered. Javed backed away, really frightened. We all watched as the man came out with a cloth in his hand. He wiped the letter before picking it up, he then wiped the spot on the wall the letter was lying on and he wiped the gate! We all heard a prayer-bell, ringing continuously. Not loud. But distinct.”

Javed and Bobby share a common anger towards the man's behaviour, but their responses reflect a deep and significant difference. Aruna, a character in the play, responds in staunch and devout ways, even risking her own family members. She forcefully tries to instil the same beliefs in her daughter. Despite outward displays of secularism, the three characters—Bobby, Ramnik, and Smita—remain acutely aware of the roots of their religious identity, struggling to suppress these identities through their individual experiences.

Javed then confesses about the riots which broke-out because the disturbance in the Rath Yatra was initiated by him, as he threw stones on the idol of deity in the procession. And in Act III the conversation between Ramnik and Javed speaks his heart out and inflicts the attack on community which appears antagonistic to him:

“ Ramnik : Why do you distrust us?

Javed : Do you trust us?

Ramnik : I don‟t go about throwing stones!

Javed : But you do something more violent. You provoke! You make me throw stones! Everytime I look at you my bile rises!”

From here too one can find the animosity and hatred of Javed towards the Hindus is not for some particular individual or a group but for the community as whole.Finally, as Bobby and Javed are about to leave, Bobby breaks all norms by lifting the tiny image of Lord Krishna from Aruna's prayer room and declaring in front of all:

“Bobby:See! See! I am touching God! Your God! My flesh is holding Him! Look, Javed! Andhe does not mind! He does not burn me to ashes! He does not cry out from the heavens saying He has been contaminated! Look how he rests in my hands! He knows I cannot harm Him but He believes in me. He smiles! He smiles at our trivial pride and our trivial shame. He feels me and welcomes it! I told Him who is sacred to them, but I do not commit sacrilege. [To Aruna] You can bathe Him day and night, you can splash holy waters on Him but you cannot remove my smell with the sandal paste and attars and fragrant flowers because it belongs to a human being who believes and tolerates, and respects what other human beings believe. That is the strongest fragrance in the world!” 

Through Bobby, Dattani voices out the solution to get rid of such problems in society. The words of Bobby are enough to explain that it is the society and ones living in it that have created such havoc because of some events in their lives. If people genuinely trust each other and accept the diversity amongst them, it will be simpler to live than the present situations. Through Bobby, Dattani conveys that if the two communities understand and believe in each other, then nothing can be destroyed. But probably the only suggestion is that it needs practice and immediate implementation of brotherhood, forgetting the past and the stereotyped notions of each other.

When the young men leave Ramnik confesses to her mother Hardika:

“Ramnik:It‟s the same burnt-up shop we bought from them at half its value and we burnt it. Your husband. My father. And his father. They had burnt it in the name of communal hatred.”

It suggests that the causes of communal riots are not only due to disbelief, anger, hatred, and the influence of politicians but are also related to the economy. There are infinite instances and dialogues in the play that can be analysed to highlight communal hatred and stereotyping. The playwright, through such dialogues, attempts to suggest that such arrogant remarks must be stopped in society to prevent the spread of hatred and bitterness. Through these dialogues, Dattani clearly depicts the split between these two major groups in the country. As Mossaraf Hossain observes in his essay "Mahesh Dattani's 'Final Solutions': A Quest for Communal Problems in India":

“Mahesh Dattani successfully shows a ray of hope by rousing the conscience up from slumber, through curing the ailment of communal hatred, causing momentary rage, culminating into violence. Final solutions by Mahesh Dattani is an answer to a long-persisting issue, without an iota of doubt.” 

Thus, his primary purpose through this play is to promote workable unity and cooperation, ensuring that India does not become a fragmented sub-continent, a mere laughing stock, shortly after its independence and partition.

Conclusion:-

In "Final Solutions," Dattani expresses his humanistic concerns by addressing the theme of communalism. The play delves into religious consciousness and prejudices towards different religions. Dattani portrays communalist attitudes and stereotypes prevalent in society, influencing a sensibility of hatred between communities. Using the play as a reflection of contemporary socio-political issues, Dattani suggests that by ignoring discursive boundaries and understanding the complexity of communalism, viable solutions might be within reach.

Word Count:- 2,346

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Assignment Paper no. 203

Postcolonial Studies

Name:- Payal Bambhaniya

Batch:- M.A. Sem. 3 (2022-2024)

Roll no. :- 14

Enrollment no.:- 4069206420220002

Paper no.:- 201

Paper Code:- 

Paper Name:- Postcolonial Studies 

Topic:- Racism in Wide Sargasso Sea 

Email ID:- payalbambhaniya92@gmail.com

Submitted to:- SMT S. B. Gardi Department of English, MKBU.

Hello Readers! This blog is a part of my semester assignment of the paper no. 203 - Postcolonial Studies. In this blog I am going to discuss Racism in 'Wide Sargasso Sea'. 

About Writer:-

Jean Rhys:-

Jean Rhys was born on 24 August 1890 and died on 14 May 1979. Her original name is Ella Gwendolyn Rees Williams.She was a British novelist who was born and grew up in the Caribbean island of Dominica. From the age of 16, she mainly resided in England, where she was sent for her education. She is best known for her novel Wide Sargasso Sea (1966), written as a prequel to Charlotte Brontë's Jane Eyre. In 1978, she was appointed a Commander of the Order of the British Empire (CBE) for her writing.

Her Notable Works:-

• Good Morning, Midnight
• Smile Please
• The Left Bank
• Wide Sargasso Sea
• Postures
• Voyage in the Dark

Her writing style is elliptical, fragmented, discontinuous, and very poetic. It uses a lot of repetition. But also, of course, her most famous novel inherits its raw material from Charlotte Bronte's Jane Eyre.

Introduction of the Novel:-

Wide Sargasso Sea :-

Wide Sargasso Sea" is a novel written by Jean Rhys, published in 1966. It serves as a prequel to Charlotte Brontë's classic novel "Jane Eyre" and provides a backstory for the character of Bertha Mason, who is Mr. Rochester's mad wife in "Jane Eyre."

Important Characters:-

• Antoinette Cosway
• Annette (Mother of Antoinette)
• Tia (Black Girl, Cheated Antoinette)
• Pierre (Insane Brother)
• Daniel Cosway ( Step brother of Antoinette)
• Amelie (Maid)
• Bertha ( Husband renamed Antoinette )
• Grace ( Poole Caretaker )

The novel is set in Jamaica during the early 19th century. It explores the life of Antoinette Cosway, a Creole woman of mixed race who grows up on a decaying plantation. The Cosway family faced social isolation and financial decline after the passage of the Emancipation Act, which freed the slaves but left the white Creole population in a precarious position.

Antoinette's mother is mentally unstable, and her family's fortunes decline further after the death of her brother. Eventually, she is married off to an unnamed Englishman, who later becomes Mr. Rochester in "Jane Eyre." The novel delves into Antoinette's experiences as she struggles with her identity, her tumultuous relationship with her husband, and her descent into madness.

The narrative is divided into three parts, each with a different narrator—Antoinette, her husband, and finally, Grace Poole, the caretaker of Bertha Mason in "Jane Eyre." The novel explores themes of racial identity, colonialism, and the consequences of societal expectations and oppression."Wide Sargasso Sea" is celebrated for its exploration of postcolonial and feminist themes, providing a voice to the marginalised character of Bertha Mason and offering a fresh perspective on the classic "Jane Eyre."

Wide Sargasso Sea explores the power of relationships between men and women and discusses the themes of race, Caribbean history, and assimilation as Antoinette is caught in a white, patriarchal society in which she fully belongs neither to Europe nor to Jamaica.

Racism in Wide Sargasso Sea:-

 

What is Racism?

Racism is most commonly used to name a form of prejudice in which a person believes in the superiority of what they consider to be their own 'race' over others. This most often takes the form of believing that those with other skin colours - especially darker skin colours - are inferior physically, intellectually, morally and culturally, and mistreating and discriminating against them because of this.

"A belief or doctrine that inherent differences among the various human racial groups determine cultural or individual achievement, usually involving the idea that one's own race is superior and has the right to dominate others or that a particular racial group is inferior to the others."

When used in this way , racism typically refers to a system that has oppressed people of colour all over the world throughout history. Such a system is often thought to operate through white people using the advantages that the system gives them to maintain their supremacy over people of colour.

Race and Gender :-

In "Wide Sargasso Sea," Antoinette, a Creole woman, marries Rochester, an Englishman. The novel explores the impact of their racial and gender differences. Antoinette faces societal challenges due to her identity as a black woman. Rhys depicts her as a vulnerable character, influenced by societal expectations. The novel reflects Rhys's own struggle with identity, as Antoinette grapples with being caught between two cultures, mirroring the author's own uncertainties.

Antoinette says about the black people:

"Still they were quiet and there were so many of them I could hardly see any grass or trees. There must have been many of the bay people but I recognised no one. They all looked the same, it was the face repeated over and over, eyes gleaming, mouth half open to shout…"

Antoinette, much like Rhys herself, is portrayed as a sensitive and lonely Creole girl in "Wide Sargasso Sea." Growing up without her mother's love and lacking companionship from peers, she exhibits early signs of emotional vulnerability. Her time in school accentuates her isolation as she becomes increasingly lost in thought. Antoinette's passionate nature contributes to her melancholy and hints at impending madness. Her arranged marriage to a controlling Englishman exacerbates her condition, leading to fits of violence. The situation worsens when her husband brings her to England, confines her to the attic, and assigns a servant to watch over her. Filled with fear, Antoinette, prompted by a vivid dream, decides to set the house on fire.

Antoinette as a miserable woman character:-

Rhys frequently focused on portraying women in precarious situations in cities like London or Paris. Her depictions often showcased women living on the economic edge, relying on men for financial support, engaging in activities like drinking, sitting in cafes, and wandering endlessly. Her writing style is characterised by its simplicity, austerity, and lack of sentimentality, creating a wonderful and immersive experience. In "Wide Sargasso Sea," Rhys maintains a singular vision without external narration or alternative perspectives, allowing the story to unfold through the eyes of Antoinette. Despite the seemingly isolated narration, Rhys skillfully weaves in the cultural and familial context, presenting Antoinette's story as a model of progress for women. The novel's narrative is shared between Antoinette and Rochester, yet Rhys includes other voices, providing insights beyond the central narrators and offering a more nuanced view of the characters and their perspectives.

Identity of black and white:-

In this context, blackness is portrayed as a fundamental and crucial aspect of identity, serving as a foundational category. The depiction of black Creoles suggests a lack of individuality, presenting them as an undifferentiated and irrational collective. Physically similar and filled with animosity, the portrayal suggests a homogeneity that erases personal identity and a distinct psyche among black individuals. They are presented as mere components of an indistinguishable mass, lacking differentiation and personal distinction. This portrayal highlights a dehumanising perspective that reduces black individuals to a uniform and unthinking entity, devoid of individual characteristics.

The same objectivising and derisive use of "they" to talk about the black creoles is recurrent in the narrative. The young narrator offers an illustration: referring to her mother standing in the glacis and visible to anybody who could pass by, Antoinette says "they stated , sometimes they laughed. Another illustration is given by her mother Annette two years after her second marriage. Mason, Annette's second husband, looks at the blacks the same way.

In the Wide Sargasso Sea, the British racial classification equates ex- slaves with poverty or lack of economic resources. In the novel, Black Caribbean owns nothing, according to colonial history, and is not a distortion of the past. The imperialist ideology of the west indies has set the categories of representation. The legal castes of slaves are replaced by a race - colour system of stratification.

Consequently binary oppositions which are at work in the diegesis assign the lower level of the society to the black characters, deprive them of any power, consider them as subaltern and ultimately reduce them to silence. The dominant white character makes up the hegemonic group while black creoles from the landless rural proletariat.

Racism in Wide Sargasso Sea:-

The first example is that at the beginning of the book, when the horse dies Godfrey , a black servant that is staged at Antoinette's house , is known for being somewhat untrustworthy and morose. After the horse dies in part one, he mentions, "The lord made no distinction between black and white, black and white, they are the same for him". 

At first glance, we may think he is talking about the death of the horse. Although there is an argument for that, if we compare the lord's idea of life and death to black and white, there may be a racial meaning behind it. Godfrey's attitude was further proved to be very morbid towards the white people, as he later said : "this world doesn't last so long for mortal man". Antoinette makes 'friends' with the little girl named Tia, who actually bullied her as Antoniette walked home one day, Tia called her a "White Cockroach". 

When Tia takes Antoniette's pennies Antoniette snaps " Keep them then, you cheating nigger", and Tia replies with a rant on how "real white people, they got gold money". The emancipation of slavery for Jamaica was passed in 1834, so the tensions between the black people and the white people were still deflating. Instead of the previous reality of the white people being able to overpower people of colour, the black people were able to fight back, and often used it aggressively to expose prejudices.

Rochester as a new type of Colonizer:-

In "Wide Sargasso Sea," Rochester is depicted as a unique and unconventional coloniser. Unlike the traditional colonial powers, he is a different type of oppressor who colonises Antoinette, a Creole woman. This character represents a colonial force that shows little respect for both Creoles and black individuals. Rochester's dominance is evident in his control over Antoinette, reflecting his oppressive identity. Antoinette's sense of identity is shattered by Rochester as he not only dominates her but also changes her name. As the novel progresses, particularly in Part 2 when Rochester is leaving the Caribbean for England with Antoinette, he solidifies his role as an oppressor, underscoring the power dynamics and the impact of colonisation on individual identities. He utters that:

“I hated the mountains and the hills, the rivers and the rain...

 She had left me thirsty…”

These lines mean that he does not love the Caribbean people and their lifestyle and therefore he is willing to go to England and to satisfy the thirst that he had.

Is Rochester responsible for Antoinette’s Madness?:-

Critics argue that Rochester is responsible for Antoinette's descent into madness. He, being a white man with authority, wields power over her identity. Rochester renames her Bertha, aiming to distance her from her mentally ill mother, also named Antoinette. He not only takes away her name but also silences her by refusing to hear her perspective. Rochester further fractures her identity by creating the derogatory name Marionetta, mocking Antoinette's flexibility. Ultimately, he reshapes her into a wild madwoman, treating her as if she were a ghost, illustrating the extent of his torment.

Ultimately, Rochester transforms Antoinette into a wild madwoman, treating her as if she were a ghost. His rejection of her and her local traditions emphasises his imposition of English rule over the Caribbean. The contention arises whether Antoinette's madness predates her marriage to Rochester. However, the argument here is that while Antoinette may have had some psychological struggles, Rochester's actions significantly contribute to her descent into total madness. Had he shown care and understanding, it is suggested that Antoinette might not have reached such a severe state. Thus, the assertion is that Rochester is primarily responsible for Antoinette's madness.

In Conclusion, Wide Sargasso Sea" by Jean Rhys explores complex themes, including racism, colonialism, and identity. 

Word Count:- 2,039

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