Monday 27 December 2021

Thinking Activity: Themes of the poem ''Piano and Drum''

 Hello Readers!


Welcome to my blog. I have written about the thematic study of the poem ''Piano and Drum''. We have group task about the wrote theme of the three or five poem. This task assigned to Yesha Ma'am. 


''Piano and Drum''



Gabriel Okara, the writer of "Piano and Drum" was born in Bayelsa state, Nigeria in 1921. A novelist and a poet; he was once a civil servant. His poem "Piano and Drums" was well beautified with imagery and symbolism.


The themes of the poem can be divided into three: (1) Childhood reminiscence and its effect (2) Complexity of the present and future (3) Dilemma.


THEMES OF THE POEM, PIANO AND THE DRUMS 


1. Nature

In stanza one, the way the poetic persona expresses the details of the jungle drum depicts his appreciation of the normal natural environment of things.  

2. Childhood Reminiscence and its Effect 


Since the poem is about the poet's experience with two different cultures or lifestyles, the poet used the experience of his village background to depict African culture which he grew up with, while comparing it to his present civilized way of living. The poem speaker was reminded of his/her "primal youth and the beginning" through the quietness of the early to morning river and the echoing forest. While at the riverside, the poem speaker could "hear jungle drums telegraphing/the mystic rhythm..." (Line 2 & 3) and other things like panther, leopard, hunters crouching with poised spears, etc added to his/her memory.

The poem speaker revealed in stanza 2, the effect such reminiscence brought to his/her memory of sitting "in my mother's lap a suckling", "walking simple paths with no innovations", and groping in green leaves with wild flowers in naked hurrying feet. 


3. The Theme of Culture / Conflict 


Culture in Piano and Drums by Gabriel Okara In the poem “Piano and Drums” the poet Gabriel Okara depicts and contrasts two different cultures through symbolism of pianos and drums. The Poem is divided into four stanzas. The first two stanzas represent the “drum” culture and the second two stanzas show the “piano” culture. The description of the drums is in two stanzas, but is one sentence long. The first line of the first stanza: ‘When at break of day at a riverside’ Uses trochees to emphasize the deliberate broken rhythm. The stanza has savage words, “bleeding flesh,” “urgent raw,” “leopard snarling,” “spears poised,” to show that this is a primitive culture, one which has dependency on the environment, as is represented by the “hunters crouch with spears poised.” The environment in this culture is physically dangerous, surrounded by wild animals. Drums here are a way of communication, and “jungle drums telegraphing the mystic rhythm, urgent, raw…” shows the way of life in this culture. This is life which is simple, near the beginnings of man. The stanza ... ... middle of paper ... ...with one another, with Drums illustrating primitive behaviour, and a savage, dangerous culture. The connotations of the piano are complex and technical. The piano uses significantly different word sounds, showing that it is learnt, westernized and intricate compared to the drums which is instinctive and naturally acquired, and simple. The poem uses no set rhyme pattern which suits the poem as it has an undecided effect, emphasizing the confusion of the persona over his future. The Themes in Piano and Drums 


4. The Theme of Innocence 


The theme of innocence in the poem is explored in the poem is explored in the depiction of african culture, from the very first line of the poem where we are told that the events take place "at break of day", the idea of innocence is already implied. This is because the day is fresh and uncontaminated by other activities or sounds. The sound heard from the jungle drums are therefore pure and not corrupt, the poem also invokes the idea of innocence. The Themes in Piano and Drums 


5. Dilemma 


The poem speaker concluded that he found himself/herself in dilemma "wandering in the mystic rhythm/of jungle drums and the concerto."(line 28 & 29) because he didn't know which culture to totally embrace. He preferred the simple rural life but it was also impossible to let go of the civilisation he had got unto despite it was complex and confusing.


6. No place like home 


Although, this theme cannot be identified on a surface level in the poem, but, when the poetic persona laments over the confusion that emanates from the contact of the two instruments: piano and drum (African lifestyle and western lifestyle), he shows how comfortable one can be at home with the things and way of life that he is familiar with. There was no confuse when it was all African and their drums until civilization came.


7. Living a Double Standard Lifestyle


 By emphasizing the confusion that comes out from the marriage of the piano and drum sounds, the poetic persona tells us that living two contracting lives can only breed confusion and complexities.


8.Acculturation


The notion of acculturation is brought into the poem with the contact of the piano and the drums. Acculturation is when two distinct cultures meet and start to adopt and absorb each other’s norms. 


9.Complexity of the present and future


How complex, unstable and confusing the present and the upcoming future look were portrayed in the stanza 3 of the poem "Piano and Drums". As said before, Okara preferred his past life to the present that was why he symbolized his rural life with drum, a musical instrument which very easy to learn and operate while he symbolized his civilized modern lifestyle with piano and describe it as complex.


The poem speaker heard "a wailing piano" which symbolised a painful sound which "solo speaking of complex ways" (the confusing present and the unknown future) and such painful sound brought a silent cry which the poem referred to as "in tear-furrowed concerto". In spite of the pain, the poem speaker got "lost in the labyrinth of it complexities" which symbolised the confusing complexity of the future through rough(coaxing) mild(diminuendo) opposite-change(counterpoint) and tough(crescendo).



Citation 


  • Tayor. “Piano and Drums Analysis, Themes, Setting, Summary, Symbolism, Subject Matter.” Piano And Drums Analysis, Themes, Setting, Summary, Symbolism, Subject Matter, 20 June 2021, https://www.emmanuel366.com/2021/06/piano-and-drums-analysis-subject-matter.html



  • “Themes of Piano and Drums by Gabriel Okara.” Themes of Piano and Drums by Gabriel Okara ~, https://www.naijapoets.com.ng/2015/06/themes-of-piano-and-drums-by-gabriel.html




Feminism In Kamala Das's poem

 


Title :- Feminism In Kamala Das's poem


Abstract 



Kamala Das is regarded as a one of the remarkable Indo-Anglian women. She established herself as the forerunners of the feminist writers in India.  Her feminine sensibility is the motivating and governing force behind her poems. The idea of Feminism in her writing is derived from the Indian patriarchal society.  We can say that she is very frank and talks about her woman's body and female body. She talks about womanliness and how females are subjugated in society. The paper focuses on Das's complex emotion regarding the system controlling her life and the lives of countless suffering women. The paper  about the women who have pased through a period of frustration, depression, pain and torture. Her poetry strongly expresses feminine sensitivity. 


Keywords:-


Feminism, Gender Issues, Identity, Woomanhood, Women  and Man.


Introduction:-


Kamala Das was a major Indian English poet and literature and at the same time a leading Malayalam author from Kerala, India.  She is known as a Kamala Madhavikutty.Her open and honest treatment of female sexuality, free from any sense of guilt, infused her writing with power, but also marked her as an iconoclast in her generation. On 31 May 2009, aged 75, she died at a hospital in Pune, but has earned considerable respect in recent years. 


Feminism is belief in and advocacy of the  political, economic, and social equality of the sexes expressed especially through organized activity on behalf of women’s rights and interests. Mostly people thinks that the Feminism against man but feminism is not agaist man or but Feminism is about that man and women should have equal rights and opportunities. 


Feminism in Kamala Das's poem 



In the conversation between P.P.Raveendran and Kamala Das we can find some interesting questions asked by Raveendran and good answers given by Kamala Das.


P.P. Raveendran : In spite of the feminist concerns that can be read off or read into your stories and poems many of your statements are quite critical of feminism.


Kamala  Das : I'll tell you something, Feminism as the westerns see it is different from the feminism I sense within myself. Western feminism is an anti-male stance. I can never hate the male because I have loved my husband and I still love my children, who are sons. And I think from masculine company I have derived a lot of happiness. So I will never be able to hate them. Most of the feminists I met outside the country were lesbians-out and out lesbians. I do not think I'm lesbian. I tried to find out.  I experiment with everything.  I tried to find out our if I were a lesbian, if I could respond to a woman. I failed.  I must speak the truth. I believe that we must abandon a thing if it has no moral foundation whether it be a belief, a political system or a religious system. 


Feminism in poem 'An  Introduction'


Kamala Das's poetry, like the poetry of Shiv K. Kumar, begins in pain and anguish caused by her loss of freedom to live her life, the way she liked. Her best known poem, "An Introduction" sets the tone of her poetry and reveals her mind.


I was a child, and later they Told me I grew, for I became tall, my limbs Swelled and one or two places sprouted hair. When I asked for love, not knowing what else to ask For, he drew a youth of sixteen into the Bedroom and closed the door. He did not beat me


But my sad woman-body felt so beaten.

The weight of my breasts and womb crushed me.

I shrank Pitifully.


The above quoted lines suggest the pain and anguish that crushed the poet. This line of An Introduction is interesting as she is placing her own body in one of the categories she rebelled against in the first stanza. It is due to this simplification of a woman as nothing more than a body that led her to marriage at sixteen. She also places blame on her own body for leading her to this place. Her distinctly female parts, “breasts and womb” are a crushing weight on her life. The pressure placed on her by her husband and by her family led to an emotional and mental shrinking. It was a “Pitiful” process. But it ended.


 In our society we can see that man wants the wife who is under him, who blindly follows him and whatever happens she doesn't speak against him, whatever happens she accepts it and doesn't raise her voice to fight against wrong things. Man thinks that they are superior. In married life men have the right to hit women but women speak against wrong things. Then she was hit by her husband and other women also told that She is not a good wife and many things they told her. So in our patriarchal society women were suffering a lot. 


Women Identity 


Kamala Das hates traditional sex roles assigned to women by the patriarchy. In the poem “Introduction” 


Then I wore a shirt and a black sarong, cut my hair short and ignored all of this womanliness.

Dress in sarees, be girl

Be a wife, they said. Be embroiderer, be cook,

Be a quarreller with servants. Fit in. Oh,

Belong, cried the categorizers. Don't sit

On walls or peep in through our lace-draped windows.

Be Amy, or be Kamala. Or, better

Still, be Madhavikutty.


In the poem 'An Introduction' it becomes clear that the speaker is truly meant to be the poet herself. She wonders at her own identity.  Here in this line the speaker talked about women's identity, that women have to wear a saree and behave like a girl or a wife. They don't sit on the walls and they have to cook in the kitchen. But they don't be  like men. 


In the words of K. Satchidanandan, “The woman can not change her body; so the poet changes her dress and tries to imitate men. But the voices of the tradition would force her back into sarees, the saree becoming here a sign of convention. She is pushed back into her expected gender roles: wife, cook, embroiderer, quarreling with servants: the gender role also becomes a class role” (13).


Conversation between P.P.Raveendran and Kamala Das Raveendran asked interesting questions related to her identity. 


P.P.Raveendran : Let me relate this interesting discovery to another question concerning identity. This is about the two names "Kamala Das" and "Madhavikutty" that you used for your English and Malayalam writings respectively. Again there are fellow-bilingual writers like Isak Dinesen and Fernando Pessoa who adopt similar ploys to keep their language identities separate. How would you respond to this?


Kamala Das : I think I was compelled to choose a name because I didn't want to embarrass my conservative family. I knew that I was a misfit within my family. I think I practised writing as people practice a secret vice. Like boys going to the bathroom to smoke. Especially, I didn't want to hurt my grandmother who was my favourite human being. And I don't think she knew that I was Madhavikutty till she died.


Patriarchal Society 


'An Introduction' by Kamala Das womanthe poet's own mental and emotional state as she aged and pushed back against patriarchal society.Kamala Das's love poems are rooted in her defiance of the patriarchal tradition of our country and especially against male dominance. Her frankness in expressing the desire of a woman to fulfill her love makes her a feminist in the western sense of the word. 



The influence of patriarchy is found in all 



Shiv K. Kumar, the well known poet and critic, makes an apt observation in the following lines:


It seems that the past two decades or so have witnessed an unprecedented upsurge of longing for freedom in our women's outlook. They have not only claimed parity with men but have vehemently questioned certain age old social practises and prejudices. This is the predominant theme in Kamala Das's poetry which exposes male chauvinism, its persistent endeavour to play the role of the 'stronger' sex. No wonder, the contemporary woman writer is never tired of articulating her disgust for the insensitive, aggressive male. If there is, therefore, a recurring element of sex in her work, it is more to expose it as form I male dominance than to glorify it. All that Kamala Das is trying to do is to salvage the Indian woman from the sexual exploitation of man, her husband or lover. In one of her early poems, titled "The Freaks'', she portrays her lover as only someone who arouses 'the skin's lazy hungers'.



Conclusion 



Kamladas remarkable feminist poet. Her poems are most readable because she reveals her feelings of anxiety, alienation, meaninglessness, futility, acute sense of isolation, fragmentation and loss of identity. Women live in male dominated society where their individuality, identity and freedom are in question. We can see that women are constantly denied love and passionate satisfaction in their married life. It just fills a woman's life with dissatisfaction and embarrassments. Kamala Das's poetry is about women. She reflects on how women are suffering in male dominance society. 



Reference 


“An Introduction by Kamala Das - An Introduction Poem.” PoemHunter.com, 28 Mar. 2012.


Dr. K. V. Dominic. (2016, January 19). Kamala Das (madhavikutty) kamala suraiyya. Kamala Das (Madhavikkutty) Kamala Suraiyya. Retrieved December 24, 2021.


Kumar, N. Prasantha. Writing the Female: A Study of Kamala Das. Kochi: Bharatiya Sahitya Pratishthan,2018. Print.


Raveendran, P. P., and Kamala Das. “P.P. Raveendran in Conversation with Kamala Das.” Indian Literature, vol. 53, no. 3 (251), Sahitya Akademi, 2009, pp. 64–75.






Sunday 26 December 2021

Thinking Activity Revolution Twenty20

 

Hello Readers!


Welcome to my blog. I have written about the Task on Revolution Twenty20 by Chetan Bhagat this task assigned to Dr  Dilip Barad. Click here to know more about this task.


Chetan Bhagat

Chetan Bhagat Photo

Chetan Bhagat, rising star in the contemporary modern Indian literature, is a multitalented personality. He is a novelist, columnist, public speaker and a screenplay writer. His notable works include Five Point SomeoneThe 3 Mistakes of My Life and 2 States.Most of his literary works address the issues related to Indian youth and their aspirations which earned Baghat status of the youth icon.

Revolution Twenty20 

Revolution 2020 is a gripping and fast paced novel about love, corruption and ambition. The story delves into the underbelly of a small town, Varanasi, and explores the various hues in the characters of the protagonists in it. Bhagat unearths the darker side of the education system, and for that matter, love too.

In the small and historic town of Varanasi in India, two boys Raghav and Gopal fall in love with the same girl, Aarti. Both of them are intelligent, ambitious and are the best of friends, but destiny has something else in store for them. One of them wants to use his intelligence to make a lot of money and the other wants to create a revolution; but again, their plans are disrupted by their love.

Gopal hails from a poor family and fails to get an admission to the best engineering colleges in the country. Heartbroken, he moves to Kota for a year to prepare for the exams. Raghav comes from a well-to-do family and achieves a good rank in JEE. Delighted, he joins IIT-BHU, one of the premier institutes of India, and embarks on his ambition to become a journalist. Aarti hails from a powerful bureaucratic family, and her aim is to become an airhostess. Aarti falls in love with Raghav while Gopal is at Kota.

The story starts when Gopal rises as the director of a new engineering college opened in Varanasi, with the power of MLA Shukla, a corrupt politician. He uses the legally strangled land of his uncle to manipulate and build the college. Raghav, on the other hand, completes his engineering and joins the largest selling newspaper Dainik as an intern. He starts shedding light on all the wrongdoings of Shukla and exposes him in public.

Things take a different turn when Aarti starts developing a soft corner for Gopal.

Who will win her love towards the end?

Will Raghav’s crusade against the corrupt system fail?


Revolution 2020 is a gripping story of love, the corrupt educational system and clashing ambitions.

Questions - Answer 

Q : 1   If you were to adapt this novel for the screen, what sort of changes you would make in the story and characters to make it better than the novel?


Ans: 

If I'm adapted The novel 'Revolution Twenty20 for the screen paly I would like to change Story and character of Gopal, Raghav and Arti. When we read The tile of the novel 'Revolution Twenty20' we can assume that the novel is about the Revolution but when we read the novel we can find that the novel about Love mora than Revolution. So I would like change here that Revolution depicted more than love. 


In the Novel we can see the two main male characters Raghav and Gopal. Gopal who wanted to use his intelligence to make money and second character is Raghav who wanted to use his intelligence to start a revolution. In tbis novel Raghav presents as a week character. But in my adaptation I will make a strong character of Raghav who fight for Revolution. Why I make strong character of Raghav not Gopal because Raghav is intelligent as well as he was educated more than gopal. So I make Raghav's character more bright in the novel. 


In the novel  Character of Arti presented as a week character. She is not sure about her love. She love Raghav aftre that Gopal and the end of the novel she married with Raghav. So she is not sure her life. In my adaptation of novel I will make very strong character of Arti who sure about her life. She love Raghav and she helps him for Revolution. 



Q : 2 'For a feminist reader, Aarti is a sheer disappointing character.' Do you agree with this statement? If yes, what sort of characteristics you would like to see in Aarti. If you disagree with this statement, why? What is it in Aarti that you are satisfied with this character?


'For a feminist reader, Aarti is a sheer disappointing character'. I agree with this statement. In novel of 'Revolution Twenty20' character of Aarti presented as a week or sheer disappointing character. Aarti doesn't sure about her life that what she wants in her life. Fisrt she attracted toward Raghav because Raghav was clear exam and got a good rank. Gopal was week compared to Raghav. But after that Gopal became more successful compared to Raghav than she attracted toward Gopal and make relation with him. When she real see  Gopal with two Girls than she rejected him. At the end of the novel she married with Raghav so here we can see that she is  disappointing character. 


I would like to see Aarti as a strong character in novel. Who love Raghav and help him in the Revolution.  She against corruption. 


Q: 3 For a true revolutionist, the novel is terribly disappointing.' Do you agree? If yes, what sort of changes would you make in character or situation to make it a perfect revolutionary novel? If you disagree, what is in the novel that you are satisfied with?



Yes, I strongly  agree with the statement that for a tru revolutionist, the novel is terribly disappointing. When we  see the title page of the book of Revolution Twenty20 we realize that the novel is about the revolution. But when we read the novel we can say that the novel more focus on love rather than revolution.


I make change in the novel that the novel more focus on Revolution rather than love. The end of the novel we can see that the marriage of Raghav and Aarti. But I change that the end is Aftre marriage Raghav engaged in politics and he removed corruption and make a good country. 


Citation 


Book Summary of Revolution 2020.” Awadhplaza, 18 Aug. 2012, https://awadhplaza.wordpress.com/2012/08/18/book-summary-of-revolution-2020/. 


“Chetan Bhagat.” Chetan Bhagat | Biography, Books and Facts, https://www.famousauthors.org/chetan-bhagat. 






Saturday 25 December 2021

Neo- Colonialism in the novel 'Petals of Blood'

 

Hello Readers!


Welcome to my blog. I have written about Neo-Colonialism in the novel 'Petals of Blood'. This task assigned to Yesha ma'am. 


Ngugi Thiong'o


Ngugi wa Thiong’o, original name James Thiong’o Ngugi, (born January 5, 1938, Limuru, Kenya), Kenyan writer who was considered East Africa’s leading novelist. His popular Weep Not, Child (1964) was the first major novel in English by an East African. As he became sensitized to the effects of colonialism in Africa, Ngugi adopted his traditional name and wrote in the Bantu language of Kenya’s Kikuyu people.


Petals of Blood

Petals of Blood is a 1977 novel by  Ngugi wa Thiong'o set in post-independence Kenya; its title derives from a line in Derek Walcott’s poem, “The Swamp.” The story centers on four characters whose lives are drastically changed as a result of the rebellion, as they learn how to adapt and survive in a rapidly Westernizing environment.

In 1969, Ngugi told an interviewer that the ideal African novel would

 "embrace the pre-colonial past[,] . . . the colonial past, and the post-independence period with a pointer to the future,” 

and critics see Petals as the encapsulation of such an ideal. Ngugi worked on the novel for five years, finishing it in 1975 at the Soviet Writers Union in Yalta.


Neo- Colonialism in Petals of Blood


The perceptions of Ngugi Wa Thiong’o concerning the reflection and impacts of colonialism from the viewpoints of the colonial languages and the local elites constitute the main substance of his theoretical and literary works. While aiming to arouse the colonized peoples’ awareness of the prospective risks of acquiring the colonial languages and theemergence of the local elites working in harmony with the white colonizers after formal colonization ends, Thiong’o attempts to be an inspirational source of regaining anti-colonialist national culture and system for his society.


Thiong’oPetals of Blood might be handled through the same emphasis placed by Thiong'o on the potency of the colonial languages as regards putting out new alienated identities and minds. To illustrate, when imparting the school memories in the past, Karega complains of the fact the Western literature and English language are taught at school in place of their national historical achievements and literature by turning attention to the black headmaster’s reprimand of the teachers concerning the insufficient education of English: “Teach them good idiomatic English” (Petals 173), which points out his adoption of the significance of English and his anxiety to impose it on the colonized students. Karega continues to narrate  the approach of the headmaster to Shakespeare whom he speaks in praise of since he attributes significance and perfection to this poet as is disclosed in the novel: “He read a passage from Shakespeare … ‘Those words are words of a great writer – greater even than Maillu and Hadley Chase.’ … whoever heard of African, Chinese and Greek mathematics and science?” (Petals 172). This specifies the belief that the Eastern nations have not been able to make any contributions to the scientific world whereas the Western science and literature as more estimable and praiseworthy subjects have to be instructed at each school in Africa. Karega reveals his discomfort caused by the subjects and fields of study at their school that are inculcated into them in order to make the Western figures and historical events absorbed well when he mentions it: “Chaucer, Shakespeare,Napoleon,Livingstone, Western conquerors, Western inventors and discoverers were drummed into our heads with even greater fury. Where, we asked, was the African dream?” (Petals 173). In preference to the indigenous subjects and fields of the African studies, the English language and other branches of Eurocentric studies are always chosen to enlighten the fresh and blank minds of the native students. As regards the intense effect of language on imposing a worldview on its users, Fanon argues: “To speak a language is take on a world, a culture. The Antilles Negro who wants to be white will be the whiter as he gains greater mastery of the cultural tool that language is” (Black Skin 25). 


Therefore, the educational system with English and the Western subjects carry the means of removing the African culture and civilization from the native students’ brains and cramming them with the so-called supreme European thinking. With the colonial languages and Western studies taught at native schools, a new phase of colonialism which does not take in any violent and bloody actions forming the first phase emerges. Being aware of the possibility that the ex-colonized nations might enter the protests and nationalist struggles against the colonial system, the Western powers have endeavored to set up formidable barriers between the native peoples and these peoples’ civilization or indigenous culture with the help of the colonial languages and education that have enabled them to make the native peoples forget their local values and to make them overcome by an inferiority complex as well as deviated by the desire to mimic the European models.


Citation 


Thiong'o's Criticism of Neocolonial Tendencies: Petals of ... https://www.researchgate.net/publication/342199989_Thiong'o's_Criticism_of_Neocolonial_Tendencies_Petals_of_Blood_and_Weep_Not_Child. 



Tuesday 26 October 2021

Thinking Activity : Why are we so Scared of Robots/ AI


Hello Readers!

Welcome to my blog now I'm going to write about Why are we so Scared of Robots/AI. This thinking activity is given by Dr Dilip barad head of English department. 


👉Why are we so Scared of Robots/ AI 


It is within human nature to fear the unknown. And regardless of how much debate there is around artificial intelligence, most of it still remains mysterious. The concept of AI exists since the 1950s, however, it has gained considerable ground and attention starting with 2000. Catchy headlines in well-known publications constantly make us aware of the advancements in the field and the raising concerns as well as dangers awaiting just around the corner. 


First and foremost, you’ll hear about how robots aren’t safe. While it’s true that fenced robots in manufacturing are behind said fences for a reason, that’s not to say that their collaborative counterparts are dangerous as well. While nothing is completely safe, collaborative robots are in fact built using a standard set of guidelines known as the ISO TS 15066.


👉They are not safe

Today’s standards, combined with safety technology, has resulted in several excellent options for safety with collaborative robots:


● Power and force limiting


● Speed and separation monitoring


● Hand guiding


New safety technology continues to emerge as time goes on, quickly revealing that humans have no need to fear their safety around robots in the workplace, so long as they are well informed.


👉They all take our Jobs

Throughout history, people have always feared technology, because they were scared it would make their jobs obsolete. Cars, the printing press, industrial technology, all of these things were met with fear in the past. Instead, technology creates new industries, new jobs, and more prosperity as a whole. With robots, the same thing is happening today. People in manufacturing are afraid their jobs will be taken, but new jobs are already being created. Whether it’s someone to program the robots, or a human to work on more intricate tasks that robots can’t perform, new roles are emerging as robots increase production and lower costs. Back-breaking jobs that humans hate can now be given to robots, thus freeing them up to do more rewarding work. There’s nothing to fear, because technology creates far more than it destroys when it comes to industries, jobs, and careers.


👉How can we address these fears?


In some parts of the world people talk about connected homes, artificially-enhanced lives, robots that perform outstanding operations in hospitals, whereas, in other countries individuals still fight for the right to get an education. In 1956 when John McCarthy held the first workshop on artificial intelligence, there were villages in the world that did not have electricity or running water. Obviously, first thing that needs to be done is to address the inequality and inequity that exists in the world. Education is the best chance humanity has to survive.


Going back to the specific case of artificial intelligence, it is clear that most people's fears come from not clearly understanding the concept and what it implies. So, governments should invest more in raising awareness on what's happening in the field of AI. Additionally, there is a need for creating some regulation around artificial intelligence. Although it is being said the rules and laws might sometimes hinder innovation in such areas, AI could benefit greatly from regulation. And it would help keep track of every way that the technology is being used. Even though there have already been a lot of breakthroughs, artificial intelligence is still at the beginning, and we all have the possibility to contribute to its development. By pointing out how we don't want it to be, we can together shape the AI era.


👉 IMom-Mom Robot 





This short movie is an award winning work where a futuristic concept of robot nanny is shown, taking care of kids and how parents find the robot nanny a huge help. We might just lose our human touch, that human connection. It scares us, giving so much power to machines, the very Artificial Intelligence was not enough that we have started to give emotions to the machines as well.



Frankenstein's Monster 


The monster is Victor Frankenstein’s creation, assembled from old body parts and strange chemicals, animated by a mysterious spark. He enters life eight feet tall and enormously strong but with the mind of a newborn. Because of his ugly look he was rejected by his creator and society.  Why ? Because people are afraid from the monster. Why we are afraid from monster and Robert? They are not harmful but we behave rudely with them and that's why they become dangerous. For example of Frankenstein's Monster. Monster not bad but he was repeatedly rejected and hated by people that's why he became anger and killed people. 




Thank you....



Sunday 24 October 2021

Assignment Sem-3 : Themes of The Wretched of the Earth


Name : pina Gondaliya 

Subject : Postcolonial Studies 

Topic : Themes of The 'Wretched of the Earth'

Submitted To  : Department of English M.K.Bhavnagar 



Frantz Fanon

Born on the island of Martinique under French colonial rule, Frantz Omar Fanon (1925–1961) was one of the most important writers in black Atlantic theory in an age of anti-colonial liberation struggle. His work drew on a wide array of poetry, psychology, philosophy, and political theory, and its influence across the global South has been wide, deep, and enduring. In his lifetime, he published two key original works: Black Skin, White Masks  in 1952 and The Wretched of the Earth in 1961. Collections of essays, A Dying Colonialism  and Toward the African Revolution, posthumously published in 1964, round out a portrait of a radical thinker in motion, moving from the Caribbean to Europe to North Africa to sub-Saharan Africa and transforming his thinking at each stop. The 2015 collection of his unpublished writings, Ã‰crits sur l’aliénation et la liberté, will surely expand our understanding of the origins and intellectual context of Fanon’s thinking.



Fanon engaged in the fundamental issues of his day: language, affect, sexuality, gender, race and racism, religion, social formation, time, and many others. His impact was immediate upon arrival in Algeria, where in 1953 he was appointed to a position in psychiatry at Blida-Joinville Hospital. His participation in the Algerian revolutionary struggle shifted his thinking from theorizations of blackness to a wider, more ambitious theory of colonialism, anti-colonial struggle, and visions for a postcolonial culture and society.


The Wretched of the Earth 


The Wretched of the Earth is a 1961 book by the psychiatrist Frantz Fanon, in which the author provides a psychological and psychiatric analysis of the dehumanizing effects of colonization upon the individual and the nation, and discusses the broader social, cultural, and political implications of establishing a social movement for the decolonization of a person and of a people. The French-language title derives from the opening lyrics of "The Internationale".



Colonialism, Racism, and Violence



the practice of taking political control of another country with the intention of establishing a settlement and exploiting the people economically. Colonialism began in Europe around the 15th century, and it is still practiced today in some parts of the world. Fanon, a French West Indian from Martinique, a French colony located in the eastern Caribbean Sea, had a personal interest in colonialism, and his book focuses on the ways colonialism historically sought to oppress and subjugate much of the Third World through blatant racism and repeated violence. At the time Fanon wrote his book in 1961, many colonized nations were struggling for independence, and the damage of hundreds of years of racism and exploitation was acutely felt by many. The Wretched of the Earth serves as a sort of guidebook for understanding the colonized and their struggle, and in it, Fanon ultimately argues that colonialism, an inherently racist and violent practice, can only be overcome by using violence in return.



Fanon maintains that colonialism divides the world into light and dark or in this case, black and white in a process he refers to as Manichaeism. Manichaeism is a Persian religious practice from the 3rd century that is based on the basic conflict of light and dark, and, Fanon claims, it serves as the basis for the racist practice of colonialism. Since “the colonial world is a Manichaean world,” Fanon says, the colonized individual is seen as the “quintessence of evil” and is considered void of any morals or ethics. Manichaeism assumes that light the white settler represents good, whereas dark the black colonized individual represents evil. To Fanon, colonialism is rooted in this basic racist belief. Based on the same Manichaean concept, the colonial world is likewise divided into the civilized and the savage. In keeping with the themes of light and dark, the white colonist is considered civilized, and the colonized is a savage. The colonized individual is “reduced to the state of an animal” and is referred to in “zoological terms.” Under the racist practice of colonialism, the colonized individual is completely dehumanized. According to Fanon, colonial countries are further divided into two separate “sectors'': the “colonist’s sector” and the “’native’ quarters.” The colonist’s sector is clean and well maintained; but the “native” quarters, which are crowded and neglected, are “disreputable place[s] inhabited by disreputable people.” At the very foundation of colonialism, Fanon thus argues, is a basic principle that seeks to separate and oppress people based on the color of their skin. 



Racism 



In addition to a system of racism, Fanon argues that colonialism is also a system of violence, which seeks to control and oppress the colonized through violent means. From the beginning, Fanon claims that the colonial situation “was colored by violence and their cohabitation or rather the exploitation of the colonized by the colonizer continued at the point of the bayonet and under cannon fire.” Colonial control was taken by violence and is maintained in much the same way. The colonized world which again is separated into the colonizer and the colonized is divided by military barracks and police stations. In a colonized country, Fanon says,



 “The spokesperson for the colonizer and regime of oppression, is the police officer or the soldier.” 



The mere presence of the dividing border between the worlds maintains order through intimidation and the threat of violence. Fanon argues that for the colonized, 


“all he has ever seen on his land is that he can be arrested, beaten, and starved with impunity.” 


Thus, Fanon implies, there is no end to the violence of colonialism; it doesn't stop once power is established. Rather, violence is a constant presence that is front and center in the lives of all colonized individuals. 


Violence 


Fanon refers to the widespread violence in colonial countries as “atmospheric violence,” which he claims is perpetually “rippling under the skin.” To Fanon, this constant violence is proof that colonialism cannot be overcome through peaceful or passive means. The colonized masses, Fanon asserts,


 “intuitively believe that their liberation must be achieved and can only be achieved by force.” 


For the colonized, “violence is a cleansing force,” and it also rids them of the “inferiority complex” forced upon them by the racist ideology of colonialism. As a practice rooted in violence, Fanon thus argues that colonialism must be answered in kind.


Psychological effects of colonialism. 


Fanon’s The Wretched of the Earth is an examination of the psychological effects of colonialism. Fanon was a practicing psychiatrist in France, and later in Algeria during the Algerian War of Independence a war fought between France and the Algerian National Liberation Front between 1954 and 1962, which resulted in Algeria becoming an independent nation. Fanon was particularly interested in the psychological impact of colonialism on the colonized individual. The colonial situation, Fanon contends, is rooted in racism and violence, and it keeps the colonized living in a constant “state of rage.” Fanon explores this rage and its role as a cause of Algerian criminality, and he looks more specifically at other forms of psychological stress, such as brainwashing and physical torture, including electrocution. In Algeria, Fanon treated both Algerian torture victims and the French soldiers and officers who tortured them, and he reflects on such cases in his book. Through The Wretched of the Earth, Fanon effectively argues that the practice of colonialism is psychologically damaging to both the colonized and the colonist. 


Oppression and Mental Health 


Fanon includes several cases of Algerian patients he treated for mental illness during the Algerian War of Independence. Fanon argues that their various illnesses are “psychotic reactions,” which are directly related to the stress of colonialism. Fanon includes the case file of an Algerian man known only as B, who was treated for impotence, migraines, and anorexia after his wife was raped by a French soldier. Each of B’s symptoms and conditions are in response to the violence of colonialism and the trauma of his wife’s rape. Fanon also includes the case of S, another Algerian man who was treated for “random homicidal impulses” after surviving a massacre in his small Algerian village perpetrated by the French military in 1958. Twenty-nine Algerians were killed in the massacre, and S suffered two bullet wounds. Since the massacre, S has had the urge to “kill everybody,” a desire that only began after the violent attack on his village by the French soldiers. Fanon also includes notes on a group of young Algerian children, each under the age of 10, whom he treated for adjustment disorders. The children, whose parents had been killed in the war with France, suffered from bedwetting, sleepwalking, insomnia, and anxiety, and like both S and B, their pathologies were also directly related to the psychological stress of colonialism.



Fanon also includes case notes relating to his work with colonial soldiers and officers, as well as their families, which suggests that colonialism has a negative psychological effect on both the colonized and the colonizer. Fanon includes notes on A, a young European police officer whom he treated for depression and anxiety, which began after he was expected to begin torturing Algerians on behalf of the colonial police. Like the Algerians Fanon also treated, A was likewise psychologically impacted by colonialism. Fanon, too, treated a young Frenchwoman who suffered from an anxiety disorder after her father, a civil servant, was killed during an ambush in Algeria. The Frenchwoman was disgusted and embarrassed by her father’s involvement in the oppression of the Algerian people, and she found it impossible to be proud of him. This shame is directly related to colonialism, and it has a negative effect on the young Frenchwoman’s psychological wellbeing. Lastly, Fanon includes his notes on R, a European police inspector who, after his involvement in colonialism and the oppression of the Algerian people, tortures his wife and children just as he tortured the Algerians. Like all of the patients mentioned in Fanon’s book, R suffers from a “psychotic reaction” that is directly related to colonialism.

Fanon argues colonialism


 “sows seeds of decay here and there that must be mercilessly rooted out from our land and from our minds.”


 In addition to being a moral stain on the history of Europe, Fanon underscores the psychiatric phenomena emerging from the colonial situation and advocates for colonialism to stop. Of course, at the time Fanon wrote his book in 1961, there was little evidence to suggest the colonial situation in Algeria would resolve anytime soon. “The truth is,” Fanon claims, “that colonization, in its very essence, already appeared to be a great purveyor of psychiatric hospitals.” In other words, there is no shortage of mental illness within the colonial situation.


Capitalism, Socialism and Third World countries.


While Fanon’s The Wretched of the Earth is primarily focused on the fundamental confrontation of colonialism and anticolonialism, the book is also concerned with the confrontation of capitalism and socialism. When Fanon wrote his book in 1961, the Cold War was in full swing, and it further complicated the colonial situation and the struggle for independence in the colonized world. The Cold War was an extended period of political tension between the socialist Soviet Union and their allies the Eastern Bloc and the capitalist United States and their allies the Western Bloc. The Cold War divided the world into either socialist or capitalist countries, and even the Third World the developing countries of Africa, Asia, and Latin America, who did not align with any nation or side during either World War I or World War II was pressured to pick a side. Through The Wretched of the Earth, Fanon at once argues that while socialism is more conducive to the needs of a developing nation, nation-building is an inherently capitalist venture, and he further argues that most of the wealth and capital of the West rightfully belongs to the Third World.


Third World Countries 


Fanon explains that the Third World was neutral during the Cold War, meaning they did not align with either the Eastern Bloc or the Western Bloc. By claiming neutrality, a Third World country was given protection under the law of war, although this protection was not nearly enough to account for years of oppression and economic exploitation. Neutrality, Fanon says, consists basically “of taking handouts left and right,” and it allows Third World countries to receive economic aid from countries on both sides of the conflict. However, Fanon maintains, neutrality does not ensure that either side aides the Third World in “the way they should.” The developed world owes much to the Third World after hundreds of years of colonialism, and the sparse aid given with neutrality is simply not enough. Despite not having any money or troops, Third World countries were “wooed” by both sides during the war. “To be frank,” Fanon says, 



everyone wants a piece of them. And that is what we call neutrality.” 



Being neutral during the Cold War was simply another reason to entice an underdeveloped country to one of the conflicting sides and continue to exploit them through political and economic means. Third World countries remained neutral, since, Fanon asserts, 


underdeveloped countries have no real interest in either prolonging or intensifying this cold war.” 


According to Fanon, for the amount of money spent on arms and nuclear research alone during the Cold War, the living conditions in the Third World could have been improved by 60 percent in just 15 years. The Cold War, it seems, was just another excuse to neglect the Third World.


While the Third World was tirelessly pursued by both the Eastern Bloc and the Western Bloc, Fanon argues that neither economical model entirely fits the needs of the underdeveloped nation. “Capitalist exploitation,” Fanon says, including the cartels and monopolies, “are the enemies of the underdeveloped countries.” The people and natural resources of underdeveloped countries have been exploited by capitalist colonists, and the Third World is not prepared to join forces with a capitalist cause. Socialism, Fanon explains, more closely benefits the developing nation, as it is concerned with “human investment” and is based in the belief that people are a nation’s “most precious asset.” However, Fanon argues, nation building needs “something other than human investment.” Like capitalism, socialism is not entirely suited to the needs of the developing country. According to Fanon, socialism “cannot be sustained for long,” and the effort “will not produce the results expected” for a new and developing nation. It would take centuries, Fanon argues, to right the economical wrongs of colonialism and put the Third World back to a prosperous place.


Nation building, Fanon asserts “requires capital,” thus, it only makes sense for the Third World to follow a capitalist economic model. However, Fanon argues that this choice should come with a caveat. The Cold War and capitalism versus socialism, he says, is not “the fundamental issue of our time.” Instead, the fundamental issue of the time as Canon sees it is colonialism, and the reparations due to the Third World for the systematic theft of their people, land, culture, and wealth. Europe, Fanon says, “was built on the backs of slaves,” and it is time that the Third World is paid back.


Decolonization,Neocolonialism and social class 


The Wretched of the Earth follows the struggles of the colonized nation and its move to independence in a process known as decolonization, which, plainly put, is the undoing of colonialism and the oppression that goes along with it. The primary way in which a new nation is built is through the development of national consciousness, a shared national identity that identifies people as collective parts of an independent nation. However, the problem with national consciousness, according to Fanon, is that building a collective identity that encompasses all members of a nation is nearly impossible. The national consciousness of a newly emerging nation revolves around the national bourgeoisie, or the ruling class, but this same national identity does not fit everyone and it leaves much the nation unaccounted for. Furthermore, Fanon argues that a nation built solely on the needs of the ruling class will quickly lead to neocolonialism, and colonial methods of oppression will remain largely intact, even in the official absence of the colonial power. Through The Wretched of the Earth, Fanon ultimately argues that the only way to avoid neocolonialism in the developing nation is to incorporate rural populations into government and to involve the lumpenproletariat the very lowest social class, but also the most important into the process of decolonization.


Political parties of the emerging nation are run by and for the national bourgeoisie, which is made up of the urban proletariat and includes tradesmen and civil servants. They are a small part of society and account for less than one percent of the nation’s total population. The national bourgeoisie, Fanon says, are the taxi drivers, doctors, nurses, and lawyers, and they “are indispensable for running the colonial machine.” They stand to lose the most through decolonization, and their politics closely resemble that of colonists. The national bourgeoisie and those who run the nationalist unions “represent the most well-to-do fraction of the people” in a colonized country, and, according to Fanon, they are the most “pampered by the regime” of colonialism. It is better for the bourgeoisie if colonial channels of oppression are maintained, despite the negative impact on the rest of the nation. The national bourgeoisie conflicts with the feudal rulers of a nation, such as witch doctors and other cultural roles, like djemaas, the legal and tribal leaders of outlying tribes. The bourgeoisie, which includes medical doctors and lawyers, for example, must eliminate such feudal barriers to grow in an independent nation, even if it is to the detriment of the rural masses and feudal rulers.


Decolonization and the formation of a new nation, Fanon argues, therefore cannot be obtained without the peasant masses, particularly the lumpenproletariat, who are crucial to revolution. According to Fanon, the peasant masses “are generally the least politically conscious, the least organized as well as the most anarchistic elements,” and in the act of rebelling against a foreign power during revolution, they are invaluable. National politics tend to ignore the peasant masses and consider them unimportant, but Fanon warns that is a mistake.  The lumpenproletariat “constitutes one of the most spontaneously and radically revolutionary forces of a colonized people,” Fanon says,” and overcoming the colonial power is not possible without them. The bourgeoisie, who live in the cities and are steeped in colonial culture, are often hesitant to rebel against the same economic system that benefits them. Fanon claims that any national liberation movement should give “maximum attention” to the lumpenproletariat. The lumpenproletariat will always answer a call to revolt, Fanon says, but if they are ignored, they will pick up the side of the oppressor and “join the colonialist troops as mercenaries” instead and actively work against decolonization. The lumpenproletariat must be recruited before they jump to the other side, and decolonization cannot hope to be accomplished without them. 



Fanon ultimately argues that the act of decolonizing “concerns the entire nation.” The classes must come together in fighting colonial power, or they are destined to fall right back into colonialist practice. The national struggle, Fanon further argues, must involve the peasant masses, especially the lumpenproletariat, who are always “prepared to make sacrifices, willing to give all they have, impatient, with an indestructible pride.” When the classes come together, Fanon says, it “can produce an explosive mixture of unexpected power,” which is just what is needed to decolonize a country and build a new nation.



Citation:


Fanon, Frantz (1925–1961). The wretched of the earth. Harmondsworth: Penguin. 


John, Drabinski. “Frantz Fanon.” Stanford Encyclopedia of Philosophy, Stanford University, 14 Mar. 2019, https://plato.stanford.edu/entries/frantz-fanon/. 


LitCharts. “The Wretched of the Earth Themes.”LitCharts,https://www.litcharts.com/lit/the-wretched-of-the-earth/themes. 






Monday 11 October 2021

Assignment Sem-3 : Topic : Four Goals of Cultural Studies

 

Name  :   Pina Gondaliya 

Semester  : 3 

Assignment Paper No.  10 : Cultural studies 

Topic : Four Goals of Cultural Studies 

Submitted to: Department of English M.K.Bhavnager 



 What is Cultural Studies?


Cultural studies is an innovative interdisciplinary field of research and teaching that investigates the ways in which "culture" creates and transforms individual experiences, everyday life, social relations and power Research and teaching in the field explores the relations between culture understood as human expressive and symbolic activities, and cultures understood as distinctive ways of life. Combining the strengths of the social sciences and the humanities, cultural studies draws on methods and theories from literary studies, sociology. communications studies, history, cultural anthropology, and economics. By working across the boundaries among these fields, cultural studies addresses new questions and problems of today's world. Rather than seeking answers that will hold for all time, cultural studies develops flexible tools that adapt to this rapidly changing world.


 Cultural life is not only concerned with symbolic communication, it is also the domain in which we set collective tasks for ourselves and begin to grapple with them as changing communities. Cultural studies are devoted to understanding the processes through which societies and the diverse groups within them come to terms with history, community life, and the challenges of the future.


Cultural studies are one of the more controversial intellectual formations of the 1990s and the first decade of the third millennium. It has experienced a period of rapid growth in the academy, appearing at many universities in a variety of forms and locations (although rarely as degree-granting departments). At the same time, it has been broadly attacked both from inside the university and outside academia.


Definitions


The word "culture" itself is so difficult to pin down, "cultural studies" is hard to define. As was also the case in chapter 8 with Elaine Showalter's "cultural" model of feminine difference, "cultural studies" is not so much a discrete approach at all, but rather a set of practices. As Patrick Brantiinger has pointed out, 


cultural studies is not "a tightly coherent, unified movement with a fixed agenda," but a "loosely coherent group of tendencies, issues, and questions''.


 Arising from the social turmoil of the 1960s, cultural studies is composed of elements of Marxism, poststructuralism and postmodernism, feminism, gender studies, anthropology, sociology, race and ethnic studies, film theory, urban studies, public policy, popular culture studies, and postcolonial studies: those fields that concentrate on social and cultural forces that either create community or cause division and alienation, For example, drawing from Roland Barthes on the nature of literary language and Claude Lévi-Strauss on anthropology, cultural studies was influenced by structuralism and poststructuralism. Jacques Derrida's "deconstruction" of the world/text distinction, like all his deconstructions of hierarchical oppositions, has urged-or enabled--cultural critics ``to erase the boundaries between high and low culture, classic and popular literary texts, and literature and other cultural discourses that, following Derrida, may be seen as manifestations of the same textuality."


The discipline of psychology has also entered the field of cultural studies. For example, Jacques Lacan's psychoanalytic theory of the unconscious structured as a language promoted emphasis upon language and power as symbolic systems. From Michel Foucault came the notion that power is a whole complex of forces; it is that which produces what happens. 


Four Goals of Cultural Studies 


Cultural studies approaches generally share four goals.


  1. First Goal of Cultural Studies. 


First, cultural studies transcends the confines of a particular discipline such as literary criticism or history. 


Practiced in such journals as Critical Inquiry, Representations, and boundary 2, cultural studies involves scrutinizing the cultural phenomenon of a text-for example, Italian opera, a Latino telenovela, the architectural styles of prisons, body piercing-and drawing conclusions about the changes in textual phenomena over time.


Cultural studies is not necessarily about literature in the traditional sense or even about "art." In their introduction to Cultural Studies, editors Lawrence Grossberg, Cary Nelson, and Paula Treichler emphasize that the intellectual promise of cultural studies lies in its attempts to "cut across diverse social and political interests and address many of the struggles within the current scene" (1-3).


Intellectual works are not limited by their own "borders" as single texts, historical problems, or disciplines, and the critic's own personal connections to what is being analyzed may also be described. Henry Giroux and others write in their Dalhousie Review manifesto that cultural studies practitioners are "resisting intellectuals" who see what they do as "an emancipatory project" because it erodes the traditional disciplinary divisions in most institutions of higher education (478-80). For students, this sometimes means that a professor might make his or her own political views part of the instruction, which, of course, can lead to problems. But this kind of criticism, like feminism, is an engaged rather than a detached activity.


    2 Second Goal of Cultural Studies



Second, cultural studies is politically engaged. 


Cultural critics see themselves as "oppositional," not only within their own disciplines but to many of the power structures of society at large. They question inequalities within power structures and seek to discover models for restructuring relationships among dominant and "minority" or "subaltern" discourses Because meaning and individual subjectivity are culturally constructed, they can thus be reconstructed. 


Such a notion, taken to a philosophical extreme, denies the autonomy of the individual, whether an actual person or a character in literature, a rebuttal of the traditional humanistic "Great Man" or "Great Book" theory, and a relocation of aesthetics and culture from the ideal realms of taste and sensibility, into the arena of a whole soci ety's everyday life as it is constructed.


      3. Third Goal of Cultural Studies 



Third, cultural studies denies the separation of "high" and "low" or elite and popular culture. 


You might hear someone remark at the symphony or at an art museum: "I came here to get a little culture." Being a "cultured" person used to mean being acquainted with "highbrow" art and intellectual pursuits. But isn't culture also to be found with a pair of tickets to a rock concert?


 Cultural critics today work to transfer the term culture to include mass culture, whether popular, folk, or urban. Following theorists Jean Baudrillard and Andreas Huyssen, cultural critics argue that after World War II the distinctions among high, low, and mass culture collapsed, and they cite other theorists such as Pierre Bourdieu and Dick Hebdige on how "good taste" often only reflects prevailing social, economic, and political power bases. For example, the images of India that were circulated during the colonial rule of the British raj by writers like Rudyard Kipling seem innocent, but reveal an entrenched imperialist argument for white superiority and worldwide domination of other races, especially Asians. But race alone was not the issue for the British raj: money was also a deciding factor. Thus, drawing also upon the ideas of French historian Michel de Certeau, cultural critics examine "the practice of everyday life," studying literature as an anthropologist would, as a phenomenon of culture, including a culture's economy. Rather than determining which are the "best" works produced, cultural critics describe what is produced and how various productions relate to one another. They aim to reveal the political, economic reasons why a certain cultural product is more valued at certain times than others.


Transgressing boundaries among disciplines high and low can make cultural studies just plain fun. Think, for example, of a possible cultural studies research paper with the following title: "The Birth of Captain Jack Sparrow: An Analysis." For sources of Johnny Depp's funky performance in Dis ney's Pirates of the Caribbean: The Curse of the Black Pearl (2003). you could research cultural topics ranging from the trade economies of the sea two hundred years ago, to real pirates of the Caribbean such as Blackbeard and Henry Morgan, then on to Robert Louis Stevenson's Lorg John Silver in Treasure Island (1881), Errol Flynn's and Robert Morgan's memorable screen pirates, John Cleese's rendition of Long john Silver on Monty Python's Flying Circus, and, of course, Keith Richards's eye makeup. You'd read interviews with Depp on his view of the character and, of course, check out the extra features on the DVD for background (did you know Depp is a book collector?). And you wouldn't want to neglect the galaxy of web sites devoted to the movie and to all topics Pirate.


    4 Fourth Goal of Cultural Studies 



Finally, cultural studies analyzes not only the cultural work, but also the means of production. 


Marxist critics have long recognized the importance of such paraliterary questions as these: 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 well-known 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, which demonstrates the textual effects of the publishing industry's decisions about books that will minimize its financial risks. Another contribution is the collection Reading in America, edited by Cathy N. Davidson, which includes essays on literacy and gender in colonial New England; urban magazine audiences in eighteenth-century New York City; the impact upon reading of such technical innovations as cheaper eyeglasses, electric lights, and trains; the Book-of-the-Month Club; and how writers and texts go through fluctuations of popularity and canonicity. These studies help us recognize that literature does not occur in a space separate from other concerns of our lives.


Cultural studies thus joins subjectivity, that is, culture in relation to individual lives-with engagement, a direct approach to attacking social ills. Though cultural studies practitioners deny "humanism" or "the humanities'' as universal categories, they strive for what they might call "social reason," which often (closely) resembles the goals and values of humanistic and democratic ideals.


What difference does a cultural studies approach make for the student? 


First of all, it is increasingly clear that by the year 2050 the United States will be what demographers call a "majority-minority" population; that is, the present numerical majority of "white," "Caucasian," and "Anglo-Americans will be the minority, particularly with the dramatically increasing numbers of Latina/o residents, mostly Mexican Americans.


 As Gerald Graff and James Phelan observe, "It is a common prediction that the culture of the next century will put a premium on people's ability to deal productively with conflict and cultural difference. Learning by controversy is sound training for citizenship in that future". 


To the question "Why teach the controversy?" 


they note that today a student can go from one class in which the values of Western culture are never questioned to the next class where Western culture is portrayed as hopelessly compromised by racism, sexism, and homophobia: profes can acknowledge these differences and encourage students to construct a conversation for themselves as "the most exciting part of education ".


Citation  :

Bertend, Hans. “Cultural Materialism .” Cultural Materialism - Literary and Critical Theory - Oxford Bibliographies, 26 Feb. 2020, www.oxfordbibliographies.com/view/document/obo-9780190221911/obo-9780190221911-0091.xml.