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07/12/2017
20/04/2017

The Bakhtin School UGC NET TH.F2

The attribution of several important works to Mikhail Bakhtin is disputed. Three theorists worked closely together and precise attribution may never be obtained. The three associates were Mikhail Bakhtin, Pavel Medvedev and Valentin Volosinov.As a student and teacher in the 1920s, Bakhtin began to take a critical stance against Russian Formalism but the ideas of the three may be considered formalist in their interest in the linguistic structure of literary works.Also, the three men believed in the social nature of language and reveal clear influence of Marxist thought. But they differed from orthodox Marxists in their assumptions about the relationship between language and ideology. For them, ideology is not a reflex of socio-economic conditions but is conditioned by the medium through which it manifests itself: language. And language is a material reality.The meanings of words change according to the different social and historical situations in which they are used. Multiple meanings are in fact the normal condition of language (‘heteroglossia’).The reflection of social interaction (in the novel, for instance) reveals this ‘heteroglossia’. The novel which embodies a single authorial voice is, in fact, a distortion of natural language, imposing unity of vision where naturally there is none.The monologue has always been an unnatural genre. Bakhtin, in particular, developed these ideas in relation to literary texts, principally in three works: Problems of Dostoievsky’s Art, the revised version Problems in Dostoevsky’s Poetics (1963) and Rabelais and his World (1966). He argued that all language partakes of the nature of dialogue. Every speech is inspired by a previous utterance and expects a future response. And the language always seems to encourage reflection on its own nature. In this respect, Bakhtin is still essentially a formalist. In From the Prehistory of Novelistic Discourse (probably written in 1940 but first published in Russia in 1967) he wrote: ‘To a greater or lesser extent, every novel is a dialogized system made up of the images of “languages”, styles and consciousnesses that are concrete but inseparable from language. Language in the novel not only represents, but itself serves as the object of representation. Novelistic discourse is always criticizing itself.’

20/04/2017

Russian Formalism UGC NET - TH.F1

Both American and Russian Formalists were concerned to examine what was specifically literary about a text. As has been noted in the Introduction to the present volume, defining ‘literariness’ has proved to be virtually impossible,both because its attributes are not unique and because statements which are true about all literary works are not, on the whole, very useful. Early Formalism developed quite independently in America and Russia but it was Russian Formalism, which flourished during the pre- and post-revolutionary period in Russia, that had the more far-reaching effects. As the name suggests, formalism, and especially Russian Formalism, was more interested in analysis of form, the structure of a text and its use of language, than in the content. Formalists wanted to establish a scientific basis for the study of literature. The credo of the early Russian Formalists was an extreme one: they believed that the human emotions and ideas expressed in a work of literature were of secondary concern and provided the context only for the implementation of literary devices. Unlike the New Criticism in America, they were not interested in the cultural and moral significance of literature, but wished to explore how various literary devices produced certain aesthetic effects.

Avant-garde: Much of modernism, especially in its first phases, can be regarded as an exemplary avant-garde that is a mo...
01/10/2016

Avant-garde: Much of modernism, especially in its first phases, can be regarded as an exemplary avant-garde that is a movement at the forefront of change and experimentation, a cultural movement that would popularize radical view ways of viewing life and culture, eclectic, eccentric and yet full of innovative energy. Its artists and intellectuals participated in a complex and varied ways, but in some senses one can trace certain recurrent dispositions in the recognition of the newness, the acceptance of perpetual change and the embracing of cultural dislocation and transformation. For some it was simply an aesthetic and cultural enterprise, for others it was ideological, highly politically charged. There were contradictions, as with suffragettes from the highest classes propounding a set of feminist convictions that might lead to an equalitarian democracy that would surely have appalled at least some of them. Modernist art was often urban and metropolitan, eager to convey the perceptual shock of new technology (aircraft, cinema, radio, telephony) and cultural practices (whitewashed walls and disturbing art, explicit and active sexuality, and a profound sense of the unconscious). The modernist avant-garde in a sense established the very parameters of how the term was to be understood in the future, being anti-traditionalist, its aesthetic economy drawn variously to the exotic, the incongruous, the irrational, the obscure, the scurrilous, the spontaneous and the primitive. Universal absolutes were abandoned, anarchy and nihilism embraced, and many in the avant-garde were drawn to the political extremes: Anarchism, Communism and Fascism.

01/10/2016

UGC NET/SET/SLET/JRF
HISTORY OF ENGLISH LITERATURE, THE ELIZABETHAN ERA
Main Literary Figures
Spenser (1552-99)-
Drayton (1563-1631)
Donne (1573-1631)
Marlowe (1564-93)
Shakespeare (1564-1616)
Ben Jonson (1573-1637)
Ho**er (1554-1600)
Bacon (1561-1626)
Burton (1577-1639)
Historical Background
1. Settlement- stability, No open warfare, end of the conflict between France and England.
2. Expansion- Expansion of mental and geographical horizon.
Literary Features of the Age
1. New Classicism- Ardent revival of Greek and Latin shaped the rudeness of English
2. Output- historical situation creates a healthy production
3. New Romanticism- romantic quest for remote, wonderful and beautiful
4. Drama- in spite of strong puritanical attack drama made a swift leap, Marprelate Controversy
Development of Literary Genre
Poetry :
1. Edmund Spenser-
a. The Faerie Queen-
• The work appeared in installment, first three book in 1589. Remaining 3 in 1596.
• After his death two cantos and two odd stanza of Bk VII appeared.
• A preface in the form of letter was written by him to Sir Walter Ralegh for explaining the scheme.
• There were to be 12 Books, each containing adventure of a particular knight to represent some sorts of virtue.
• 1st Book – Red Cross Knight- representing holiness, 2nd with Temperance, 3rd Chastity, 4th with Friendship, and so on .
• Arthur is the chief of all 12, appears in the critical moment who at the end is to marry Gloriana.
• Strong political elements of the Elizabethan Era , Gloriana representing Elizabeth, Duessa may be Mary,Archimago may be the pope.
• Weakness in style but the pictorial description, magical color make it supreme in English.
• Technique- Archaic Diction helps to create medieval atmosphere. Spenserian stanza.
b. The Shepherds Calender
• Published in 1579, a series of 12 eclogues, one for each month of the year.
• Stock character such as Cuddie, Colin Clout and Perigot.
c. Amoretti
• Published in 1595, containing 88 petrarchan sonnets celebrating his love.
d. Epithalamion
• Written in honor of hid marriage.
e. A View of the Present State of Ireland ( Prose)
• Published in 1594, view on the settlement of Irish question
2. John Donne
a. Of the progress of the Soule
• Written in couplet form
b. A nocturnal Upon St lucies day.
3. Sir Thomas Wyatt
• His 96 poems appeared posthumously in Tottel’s Miscellany.
• All were written in Petrarchan form except the couplet ending.
4. Henry Howard, Earl of Surrey
• Shakespearean style.
• Founder of Blank Verse before Shakespeare.
5. Thomas Sackville, Earl of Dorset.
• Myrroure for Magistrates ( Rhyme Royal)- 1563
• Sackville collaborated with Norton in Gorboduc.
6. George Gascoigne
• The Stelle Glass (1576) – Satire
• Jocasta – Tragedy
7. Sir Philip Sidney
a. Astrophel and Stella (1591)
• 108 love sonnets
• Written to his mistress Lady Penelope Rich
• Petrarchan Style
b. Arcadia ( Prose Romance)-
• Published incomplete 1590, complete in 1598
c. Apology for Poetry
• Published in 1595
• Answer to Gosson’s School of Abuse
8. Michael Drayton
a. The Harmony of the Church
b. Poly- olbion- longer poem- tedious and careful description of England.
c. The Man in the Moon (science)
d. Nymphidia
9. Thomas Champion
a. A Booke of Ayres (1601)
b. Songs of Mourning
10. Fletcher
a. The Purple Island or The Isle of Moon-
• 12 cantos describing human body in allegorical term.
b. Christ’s Victory and Triumph
11. Samuel Daniel
a. Delia
b. The complaint of Rosamond
c. The Civil Wars
d. Hymen’s Triumph
e. Defence of Ryme
f. Art of English Poesy

Drama Before Shakespeare
Influence of Seneca
• English Tragedy was not developed from Miracle plays of Middle ages but from the model of Seneca, latin dramatist of 12 c A.D
The University Wits
Chief Members-
1. Geroge Peele1558-99
a. The Arrangement of Paris
b. The Old Wives Tale
c. The Love of King David and Fair Bethsabe

2. Robert Greene
a. Frier Bacon and Friar Bungay
b. Alphonsus
c. King of Aragon

3. Thomas Nash
a. The Unfortunate Traveller or Life of Jack Wilton

4. Thomas Lodge
a. The wounds of Civil War

5. Thomas Kyd
a. The Spanish Tragedy (1558)
b. Cornelia
c. Soliman Persida
6. Christopher Marlowe (1564-93)
a. Tamburline the Great Part-1587, Part-2 – 1588
b. The Jew of Malta (1589)
c. Edward II (1591)
d. Doctor Faustus (1592)
e. The Tragedy of Dido, Queen of Carthage (1593

7. Shakespeare (1564-1616)
Poems:
a. Venus adonis
b. The R**e of Lucrece
c. The Passionate Pilgrim
Drama:
Early Period- 1589-1593
a. King Henry VI – P 1 , 2, 3
b. Titus Andronicus
c. The comedy of Errors
d. The Two Gentlemen of Verona
e. The Taming of the Shrew
f. King Richard III
2nd period- 1593-1598
a. King John
b. Love’s Labours Lost
c. Romeo and Juliet
d. A Midsummer Night’s Dream
e. The Merchant of Venice
f. King Richard III
g. Henry IV P 1 & 2
h. The Merry Wives of Windsor
3rd Period 1598-
a. Much Ado About Nothing
b. King Henry V
c. Julius Caesar
d. As You Like It
e. Hamlet
f. Twelfth Night
g. Troilus and Criseyde
h. All’s Well That Ends Well
i. Measure for Measure
j. Othello
k. King lear
l. Macbeth
m. Antony and Cleopatra
n. Timon of Athens
o. Coriolanus
Last Plays
a. Pericles
b. Cymberline
c. The Winter’s Tale
d. The Tempest
e. King Henry VIII
Post – Shakespearean Drama
1. Ben Jonson
a. Everyman In His Humour
b. Out of His Humour
c. Cynthia’s Revels
d. The Poetaster
e. Volpone
f. Epicorne
g. The Alchemist
h. Bartholomew Fayre
i. Sejanus his fall ( historical Tragedy)
j. Catiline
k. The Masque of Beauty
l. The Masque of Queens

2. Beaumont and Fletcher
a. A King and No King
b. The Knight of the Burning Pastle
c. The Maid’s Tragedy
d. Philaster
e. The Faithful Shepherds

3. Geroge Chapman:
a. Bussy d Ambois
b. All Fools
c. Eastward Hoe

4. Marston:
a. Antonio Mellida
b. Antoni’s Revenge

5. Thomas Dekker
a. Old Fortunates
b. The Shoemaker’s Holiday

6. Thomas Middleton
a. The Changelling
b. Women Beware Women

7. Thomas Heywood
a. A women Killed With Kindness

8. John Webster
a. The White Devil
b. The Duchess of Malfi

9. Tourneur
a. The Revenger’s Tragedy
b. The Atheist Tragedy

Prose Writing

The English Bible- The Authorized Version
a. King James Version / Authorizes – 1611. 47 scholars , celebration for its freedom from Rome.
b. William Tyndale

Bacon:
a. The Advancement of Learning
b. The New Atlantis
Robert Burton
a. The Anatomy of Melancholy

THE SECOND S*X: A GENERAL OVERVIEW(‘One is not born, but rather becomes, a woman’)The Second S*x is divided into two vol...
30/07/2016

THE SECOND S*X: A GENERAL OVERVIEW

(‘One is not born, but rather becomes, a woman’)

The Second S*x is divided into two volumes: the first is entitled Facts and Myths; the second, Woman’s Life Today, although a philosophically correct translation of the latter would be Lived Experience, reflecting Beauvoir’s phenomenological approach. Overall, it focuses on how femininity has been conceptualized and how women ‘become’ relative beings in a patriarchal society. Its main argument is that, throughout history, ‘woman’ has been constructed as man’s Other and denied access to an autonomous existence. Men have positioned themselves as uniquely responsible for all aspects of public life and correspondingly women have been confined to a marginalized position in society according to which they are made to support male interests. Beauvoir argues that man has assumed the position of universal subject, and woman is positioned as relative ‘Other’, or object of male consciousness. Society is consequently structured to perpetuate patriarchal ideology and women are maintained in an inferior position. This persistence of patriarchal ideology throughout history has enabled men to assume that they have a right to maintain women in a subordinate state and women have internalised and adapted to this oppressed state. Beauvoir argues that both men and women perpetuate patriarchy, which is why it is able to continue.

S*xual oppression continues because, according to Beauvoir, gender roles are learned from the very earliest age and reinforced perpetually. The famous phrase that opens the second volume of The Second S*x, ‘One is not born, but rather becomes, a woman’, means that there is no pre-established female nature or essence. Here, Beauvoir adapts existentialism’s notion of ‘existence precedes essence’ to the ways in which gender identity is experienced. There only appear to be distinct and determining male or female identities because society has traditionally organized itself according to a sexual apartheid or segregation, rooted in men’s and women’s different biological make-up and reproductive
roles. For example, the fact that, to a lesser or greater degree in the world, patriarchal societies traditionally value women’s reproductive capacity more than her intellectual development or autonomy, means that laws, institutions and belief systems reflect this view of women’s role in society. Beauvoir accepts that there are certain minor physiological and
biological differences between women and men. A common misreading of The Second S*x is that she does not recognise sexual difference and thinks that women should become like men in their quest for freedom. In fact, Beauvoir recognises sexual difference, but does not accept that the valuing of these differences between women and men should justify the oppression of women and their traditional status as second-class citizens in patriarchal society. For Beauvoir, society is organised in such a way as to favour male projects and aspirations. The obvious question which arises is: How did such a system come into being? In The Second S*x, Beauvoir provides a thorough survey of the origins and perpetuation of the patriarchal oppression of women. She explains that, since the beginning of social organisation, men, as physically stronger beings, were better adapted to heavy manual work involved in hunting, fishing and defending the tribe. Women were involved in domestic work and raising children. Men consequently had more freedom to invent systems of thought and social and political organisation because they did not bear children. These conceptual, social and political systems then developed to favour male interests rather than society’s interests as a whole. Women have been obliged to adapt to this patriarchal system, which maintains them in a subordinate position. Beauvoir argues that women have been assimilated to their body and sexed identity and traditionally confined to the roles of wife and mother. Marriage and motherhood have consequently been artificially promoted as the most important roles for women in society and this has been inscribed in the laws, customs, beliefs and culture of society. As a result, women have been traditionally prevented from working outside the home and, hence, have been obliged to attach themselves to a male breadwinner to ensure their survival and that of their children. Women have adapted to this state of affairs in a variety of ways which encourage ‘inauthenticity’ to a lesser or greater extent. Beauvoir argues that the way forward for women is to pursue economic independence through independent work and through a socialist organisation of society, which would favour women’s emancipation and autonomy.

FYODOR DOSTOEVSKY (1821–81) RussiaCRIME AND PUNISHMENT (1866)The psychological intensity and raw power of Dostoevsky’s f...
25/07/2016

FYODOR DOSTOEVSKY (1821–81) Russia

CRIME AND PUNISHMENT (1866)

The psychological intensity and raw power of Dostoevsky’s fiction emerged from the dramatic events of his own life. As a young man he was arrested and tried for revolutionary activity and sentenced to death. He even faced a firing squad in a mock ex*****on before he was told his sentence had been reduced to hard labour and he was sent to a Siberian prison camp. On his release from prison, he was a changed man, a convert to more conservative political views and to a new religious faith which was to be tested in the years to come by the deaths in swift succession of his wife and his much-loved elder brother. His three great novels are Crime and Punishment, The Idiot and The Brothers Karamazov. Of these, the earliest is Crime and Punishment, the story of Raskolnikov, a young and impoverished student, who is convinced he is such an extraordinary man that he is not bound by conventional morality. He decides to prove his special status by committing murder and chooses as his victim the elderly money-lender, Alyona Ivanovna. Taking on himself the role of judge and jury that he believes is his prerogative, as a member of the intellectual and moral elite, he comes to the conclusion that she is a parasite and unworthy to live. Entering her rooms he kills both the pawnbroker and her sister who disturbs him while he is looking for money. After the killings, Raskolnikov discovers that he is not quite the superman he believed he was. Enslaved by his own feelings of guilt and remorse, he falls prey to a paranoia and misery that can only be ended by confession to his crime. Dostoevsky’s novel records the slow disintegration of Raskolnikov’s personality and his painful journey towards some kind of ambivalent redemption.

ALBERT CAMUS (1913–60) Algeria/France----WORLD IS MEANINGLESS,  SEARCH FOR  MEANING IS FRUITLESSTHE OUTSIDER (1942)Of No...
25/07/2016

ALBERT CAMUS (1913–60) Algeria/France----

WORLD IS MEANINGLESS, SEARCH FOR MEANING IS FRUITLESS

THE OUTSIDER (1942)
Of Nobel Prize winners in literature only >> Rudyard Kipling was younger than Camus was when he received the award in 1957. According to the judges, he received the prize for work which ‘illuminates the problems of the human conscience in our times’.
This work ranges from The Plague, a novel set in a quarantined North African town, and The Fall, the record of one man’s disillusionment with the life he had been leading, to plays and philosophical essays such as The Rebel and The Myth of Sisyphus. His best known and most widely read book, however, is The Outsider, sometimes translated, more accurately, as The Stranger. Set in Algeria, the country in which Camus grew up, the novel focuses on the alienated figure of Meursault. At the beginning of the novel he has just received word of his mother’s death (‘Mother died today. Or yesterday maybe, I don’t know’ are the famous opening lines which establish very concisely Meursault’s detachment from everyday emotions) and he is about to travel to her funeral. The narrative follows the next few days in Meursault’s life, culminating in his shooting of a man on a heat-ravaged beach. As the law moves into action to deal with Meursault’s crime, attention focuses as much on his apparent indifference to his mother’s death and on his unsettling beliefs about the essential meaninglessness of life as on the murder he committed. Albert Camus died in a car crash three years after becoming a Nobel Laureate. The legacy he left consists of the writings, both fictional and non-fictional, in which he presents his vision of an absurd universe where man can only assert his freedom and individuality by coming to recognize that rationality and meaning in life are unattainable goals. Of these writings, The Outsider continues to be the most accessible and the most rewarding for readers.

24/07/2016

Oedipus complex: Sigmund Freud’s theory that a male child feels unconscious jealousy toward his father and lust for his mother. The name comes from Sophocles’ play Oedipus Rex, in which the main character unknowingly kills his father and marries his mother. Freud applies this theory in an influential reading of Hamlet, in which he sees Hamlet as struggling with his admiration of Claudius, who fulfilled Hamlet’s own desire of murdering Hamlet’s father and marrying his mother.

24/07/2016

Logocentrism: The desire for an ultimate guarantee of meaning, whether God, Truth, Reason, or something else. Jacques Derrida criticizes the bulk of Western philosophy as being based on a logocentric “metaphysics of presence,” which insists on the presence of some such ultimate guarantee. The main goal of deconstruction is to undermine this belief.

24/07/2016

Dialogic/monologic: Terms that the Russian critic Mikhail Bakhtin used to distinguish works that are controlled by a single, authorial voice (monologic) from works in which no single voice predominates (dialogic or polyphonic). Bakhtin takes Leo Tolstoy and Fyodor Dostoevsky as examples of monologic and dialogic writing, respectively.

24/07/2016

Diachronic/synchronic: Terms that Ferdinand de Saussure used to describe two different approaches to language. The diachronic approach looks at language as a historical process and examines the ways in which it has changed over time. The synchronic approach looks at language at a particular moment in time, without reference to history. Saussure’s structuralist
approach is synchronic, for it studies language as a system of interrelated signs that have no reference to anything (such as history) outside of the system.

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