Thinking Activity : The Home and The World by Rabindranath Tagore

 

Hello Readers!

 Welcome to my blog I'm going to write about the Novel The Home and The world by Rabindranath Tagore. This task was given by Heena ma'am. 

Rabindranath Tagore 

Rabindranath Tagore, , Bengali Rabīndranāth Ṭhākur, (7 May 1861 – 7 August 1941) was a poet, short story writer, novelist, playwright, painter, educator, philosopher and humanitarian. He also composed roughly 2,230 songs. His writings address a variety of topics. He was highly influential in introducing Indian culture to the west and vice versa. In 1913 he became the first non-European as well as the first lyricist to receive the Nobel Prize for literature. In 1915, he was knighted by the George V, King of the United Kingdom and Emperor of India, but he later renounced the knighthood as a protest against the 1919 Jaliānwala Bāgh massacre. His songs, Jana Gana Mana and Amar Śonar Bangla, later became the national anthems for India and Bangladesh respectively.

To the west, Tagore is mainly known as the voice of India’s spiritual heritage; and that certainly does not do justice to his all pervasive influence upon generations of authors as well as common people. In India, his authority is exploited to justify all sorts of political and ideological stance – expanding from extreme right to the liberal and the left. What is really missing is a healthy critical discourse on this great author. Tagore’s genius is comparable with that of Shakespeare's.

The Home and The world by Rabindranath Tagore  

The Home and the World (in the original Bengali, ঘরে বাইরে Ghôre Baire or Ghare Baire, lit. "At home and outside") is a 1916 novel by Rabindranath Tagore.  The book illustrates the battle Tagore had with himself, between the ideas of Western Culture and revolution against the Western culture. These two ideas are portrayed in two of the main characters, Nikhilesh, who is rational and opposes violence, and Sandip, who will let nothing stand in his way from reaching his goals. These two opposing ideals are very important in understanding the history of the Bengal region and its contemporary problems. 1 To see the growth of individual character. 

Write about Rabindranath Tagore’s art of characterization. 

The novel "The Home and The World" is a 1916 novel by Rabindranath Tagore. The book illustrates the battle Tagore had with himself, between the ideas of Western culture and revolution against the Western culture. Here our main concern is his art of characterisation. 

The ‘Home and the World’ is a superb study in the psychological analysis of character. In the novel, we feel Tagore’s adept use of the multiple points of view technique which makes for a clear renunciation of the motives and states of mind of the principal characters. The device of presenting separate segments of the story through different characters helps Tagore to highlight the internal conflicts and convulsions. The principal characters in the novel are Nikhil, his wife Bimala and his close friend Sandip. 

In the character of Nikhil, we see a true picture of a patriot who reflects the extra-national ideas that one should possess. Nikhil, a landlord of substantial means, is a man of noble ideas. Gently, rational and thoughtful, he cannot approve of any political programme based on violence and cunning. Nikhil has a rationalistic and constructive approach with emphasis on self-reliance and righteous means, to the problem of Indian emancipation. Nikhil though supports Swadeshi has not wholeheartedly adopted the spirit of Bande Matram. His “dull, milk and watery Swadeshi” does not appeal to his wife Bimala. Nikhil, though perturbed and pained by Bimala’s growing infatuation with Sandip, refuses to intervene and waits patiently for her to realize the truth of circumstances and recent herself headlong rush to ruin. He even refuses to banish foreign goods from the markets and argues that it is for the people to choose between indigenous and foreign goods. He declares, 

“To tyrannize for the county is to tyrannize over the country” 

He believes in the eventual triumph of the good. 

As opposed to Nikhil’s genuine patriotism, sandip is opportunistic and means for achieving personal power. He is a hypocrite, unscrupulous, capable of sweeping along everyone with magnetism, sophistry and rhetoric. He is a man of action, dynamic, adventurous, experienced in the use of stratagems. Sandip goes about inflaming the people with the cult of Bande Matram and the concept of freedom by force Sandip exploits Bimala, Nikhil’s wife by exploring her as the “Queen Bee” of the Swadesh workers. Through clever flattery she lays a share for her mind and body by hailing her as the “Shakti of the Motherland” A juggler of words, Sandip succeeds however in winning the sympathies of Bimala and also prepares her to steal the gold sovereign’s from her own house. Tagore has represented Sandip as a black-hearted Patriot who shut the door on humanity and truth, and for his own utterly selfish and inflamed, immature minds to frenzy in the name of patriotism. 

In characterizing Bimala, Tagore has put his great efforts to expose, beautiful young wife torn between two men she loves and likes. Bimala has lived the sheltered a life of a Hindu wife and the “Home” is the world for her until Sandip makes his disturbing appearance. In the opening chapter, we are acquainted with Bimala as a true house wife, devoted to her husband and shares his ideals until she is swept off her feet by the eruption of the Swadeshi Movement. It breaks down the barriers between the home and the world for Bimala. In this critical situation the fiery eloquence of Sandip holds Bimala spellbound. She admires the seemingly glowing patriotism of Sandip. Bimala’s attraction for Sandip at first is purely intellectual but soon changes from admiration to infatuation. Bimala is temporarily swayed by the maddening cry of “Bande Matram” and robs her own house. Like a cunning thief, for the sake of so called national cause. But, she is horrified when in lucid interval the ugly truth flashes on her, and she detests wholeheartedly the filthy means of Sandip to worship the Mother. His greed and lust masqueraded and paraded as nationalism, are extremely repulsive to Bimala now. She repents sincerely for her folly in looking down on her husband Nikhil, as an impotent idealist, whom she misunderstood up till now. 

Assignment Sem-3 : The Curse of Karna : T.P. Kailasm

Name : Pina Gondaliya 

Semester  : 3 

Assignment Paper No : 6 Indian English literature pre- independence 

Topic : Analysis of the play 'The Curse of Karna.'

Submitted to  : Department of English M.K.Bhavnager. 

T . P. Kailasm

Tyagaraja  Paramasiva kailasam , popularly known as T. P. Kailasam was both a great playwright and a talented actor. His plays are lively representation of themes taken mostly from ancient Indian literature.  Commenting upon it S. Krishna Bhatta observs : 

It appears that his knowledge of ancient Indian literature and his long stay in England urged him to contribute something concrete to this sparsely cultivalted field. In spite of

The Curse of Karna 

Kailasam, in The Purpose, has beautifully concealed the conflict of the High-born and low-born behind the curtain of the struggler for supremacy in archery. However, as the play belong to pre-independent India, there can be identified certain hints and suggestions of colonial expansion and the exploitation of the have nots like Ekalavya. In this context Ekalavya seems to be representing fighters of freedom, wolves the English rulers, deer and fawns the people of India, and Arjuna symbolizes the feudal lords who obliquely helps the wolves.

Karna: The Brahmin's Curse (1946), better known as The Curse or Karna is Kailasam's "more sustained dramatic adventure."² Kailasam seems to have made up his mind to recast and reassess the characters like Ekalavya, Karna an Keechaka to whom, in his opinion, justice may not have been done in the original Mahabharata. In the Curse or Karna he, with certain dirgressions from the original epic, has exalted the character of Karna. "What attracts Kailasam to Karna is the peculiarly human predicament. Karna's divinity is not his concern. Karna is a great soul circumscribed by an irrevocable fate and driven to ruin by a relentless curse, and the very nobility of his choice haunts him. Kailasam narrows his focus on Karna to his inevitable humanity." Karna, born to Kuntee with the blessing of the Sun god invoked by her during the days of her virginity, is left drifting on the waters of the Ganga to live and die by his known fate.

 He is fortunately found by Adhiratha and Radha, a couple belonging to the low - class of the charioteers, and is brought up by them as their own son. Resultantly he is called the son of a suta, and therefore, he is debarred from all princely activities. Concealing his identity as the son of a low-born suta he becomes the disciple of Parasurama by calling himself a Brahmin's son. Somehow his identity is discovered and the angry Brahmin curses that the knowledge he has gained from him will be of no use to him in the moment of need. This curse follows Karna throughout his life.

The source of this play in five acts is The Mahabharata ('Adi', 'Sabha' and 'Karna' Parvas). It appears that this was originally designed by Kailasam to be a screenplay. S. Krishna Bhatta summarizes how the theme of this play flashed in the mind of Kailasam:

It is learnt that this concept of Karna flashed in his mind on the occasion of giving a recital of The Purpose in 1927 at the West End Hotel, Bangalore. He left C.R. Reddy for a few minutes and went out, all the time mumbling questions like 'Karna? his birth..Oh yes; son of the sun; flung adrift; Radha, the mother; suta; the Guru's curse.. The swayamavra; the sabha scene; the killing! Then he rushed in and said to Reddy, 'I have it, Sir. Thus sprang the play traversing the entire gamut of Karna's life.¹

K.V. Aiyer, one of Kailasam's close associates and disciples, also tells us of his intention of writing a play on Karna. On a cold December night both Kailasam and Aiyer had gone to see a play performed by an English company. On their way back, at about two in the morning, Kailasam stopped him and said, "Venkatesh, now I will entertain you with my Karna.. I have a great idea. This Karna is to be a big drama by Kailasam."

Kailasam has great fascination for the mythological characters, however, he makes them his own. The same is the case with Karna. He prefers characters from the Mahabharata to those from the Ramayana, because in the former they are all human while in the latter they are all spiritual. Kailasam believes that the figures in The Mahabharata are all human. They have all that the other human beings have-love, hate, virtues; but at a higher level. That is why it is possible to delineate them, while the persons of The Ramayana are all spiritual and possessed of self-knowledge-Sabari, Ravana, Vali, Indrajit, Rama, Laxman, Kaikeyi-they all know themselves. He admits that he can only sketch a scene here and there about Sabari or Bharata..The Ramayana is not his business. As far as this play is concerned, The Mahabharata means to him not more than the tragedy of Karna. The fate of Karna dazzles him so much that he takes from the original only that which subserves his dramatic vision; he distorts facts boldly and even recklessly to erect a magnificent Karna."

Act    1 

The play begins with Karana's completion of education at Parasurama's ashram. At the very last moment of his departure from the ashram he loses all he has earned during his stay there. Guru Parasurama is sleeping and Karna puts his head on his lap with tender concern for his teacher. Suddenly a wasp comes on to his lap and starts sucking blood from Karna's thigh, but he does not let his leg shake so as not to disturb the sleep of his Guru. But somehow the blood from his thing oozes out and the Guru wakes up. Seeing this extraordinary tolerance and patience Parasurama instantly concludes that such a youth cannot be Brahmin, as he has pretended to be; he must be no other than a Kshatriya. Guru, being a sworn destroyer of the Kshatriya, gets angry to the extent of cursing this sincere disciple thus : 

           .....And for thy dastard of lie,list to a brahmins curse:

THE USE OF ARMS YOU'VE LEARNT OF ME, ...THE BAREST TALK, THE MEREST THOUGHT OF THY MIND.. WILL SWELL THY HEART TO SENSE OF SHAME, WILL DULL THINE EYES AND MIND, NUMB AND PARALYSE THE LIMBS BEYOND THEIR POWER TO HELP THEE MAKE THE SLIGHTEST, SMALLEST USE OF KNOWLEDGE THAT YOU'VE LEARNT OF ME! AVAUNT! AVAUNT! ERE I INFLICT A FURTHER CURSE ON THEE !!

With Parasurama's declaration of this curse Karna's tragedy is ordained. The Guru himself feels, "Karna! My love for thee reveals to me that Fate hath wove thy life and death in the threads of tragedy."As a result of this curse, whenever, Karna tries to overpower his fate and circumstances, he is reminded of his low-caste and thus humiliated to the extent he forgets all his art and knowledge. 

Act  2  

In Act II, scene i, Karna is distinguished as matchless hero and Arjuna is about to lose his position of the best archer in the world, but the Brahmin's curse again appears before him in the form of Kripacharya who asks him for his credentials; and Karna has only this much to say:

... Intrinsic worth, it is, my liege, not accidental birth, That gauges human's use for Mother Earth! The Brahmin birth of these adversaries Of mine will no more guide their shafts Aright, than mine will turn away by reason of My suta-birth.

None is there to recognize Karna's merit irrespective of his birth and parentage. Without any shade of doubt he is a matchless warrior, but he repeatedly discouraged by the Pundits and the Pandavas. The magnificent hero is forced to cry thus:

It is a curse, my lord of Gandhara,That robbed mine arms and trunk of strength and life: A mighty Brahmin's potent curse that rules:Whensoever my lowly birth is flung at me, And made to cross my mind, my brain refuses thought! A Brahmin's curse!My heart refuse beat! Mine arms remain inert! Pray, pity me, lord, a helpless victim of A Brahmin's Curse. 

Act   3 

In Act III again the Brahmin's curse victimizes Karna, who is badly humiliated by Draupadi in her swayamvara. As soon as he rises to try his chance, she boldly declares that even if the sutui's son fulfils the condition of marriage, she will not accept him. Act IV presents the greatest moment of Karna's chivalry and nobility. With certain bold digressions Kailasam presents the episode of Drupadi's humiliation in presence of the elders of the Kuru family. In the original Mahabharata Draupadi is humiliated, dragged by hair to the assembly hall and an attempt is made to disrobe her by Dusshasana. Karna also passes certain insulting comments on Draupadi. It is only Krishna who comes on to rescue her with infinite drapery. But Kailasam's Karna, instead of passing remarks, comes forward for her rescue and defies the Kaurava princes with boldness and courage of a true warrior. He warns Dusshasana, "Move but a step and you die. " Ridiculing the passive husbands and the elders he throws a warning:

O King of Kuruland! Now list! This he That now addresses thee is not the suta king of Angaland! Nor is he thy servant or thy friend! I speak to thee and all assembled here As pupil of dread Rama who exacts his fee...

and the fee is "to extirpate Kshatriya who drunk of pow'r\And pride, do use the strength that God gave them\To harass humans. "Referring to their weaknesses and moral passivity Karna criticizes the high-born. And the challenge he throws to them becomes detrimental to Karna himself. He says:

Now watch the prowess of a pupil of The dread Bhargava even though he be A low-born suta.¹

The last words of his challenge remind Karna of his curse and paralyse his powers and prowess. He returns to his ownself and again becomes a friend of Duryodhana. The Brahmin's curse once again leaves its impact on Karna, who for his valour and virtues commands compliments from Draupadi:

Thou art, in sooth, some strary ray of Some strange, strange star that hath, by some Mishap, astrayed into this sinful world!2

Kailasam develops the character of Karna by and by through his certain dramatic innovations and digressions. It is Karna's character that receives appreciation from Draupadi who discloses her identity as under:

Ye all think I am naught but A fragile, helpless woman! why I that was A woman once, am not a woman now! I am but flame..A flame begat of hate! A flame brought forth to burn this house Of cold moon!³

Another dramatic invention of Kailasam is that the depicts Bheema springing like a panther on Karna to tear him to pieces for not using his brahmastra to finish the house of Kuru. Karna solemnly faces the situation and requests for pity in the following manner:

Bear with me, Vrikodara! What stayed my hand from slaying thee on the day Of Pariksha; what numb'd mine arm on the day Of Panchali's swayamvara; what paralyz'd Mine arm and did stop me from rescuing her From clutch of human brute was but relentless. curse Of dread Rama! Pity me, the helpless victim of a Brahmin's curse!!

 Act  5 

In Act V Kuntee, the virgin mother of Karna appears. before him to request him not use serpent shaft against the Pandavas. She, contrary to the original epic, does not disclose her identity² but reveals that he is not a suta's son, but a prince. This revelation may be a great relief to one who has so far been humiliated several times only for his low-birth. He before committing anything to Kuntee, is confronted with his foster mother Radha, who asks him to stick to his loyalty to the King. Duryodhana who has made him a man and ensured an honorable position for him in society. He unhesitatingly sides with Duryodhana and fights against the Pandavas who are protected by Lord Krishna. And he is engaged in a lost battle. Throughout his life Karna cannot make any use of the knowledge of arms that he has received from Parasurama because of his curse. When he is in the battlefield and fighting bravely, another Brahmin's curse starts working on him. 

When a student, near the ashram he unwittingly kills a sacrificial cow belonging to a learned Brahmin who curses him that Karna's chariot wheel will be swallowed by the earth when he will be fiercely comparing on the battlefield to kill his enemy. The same happens when he is engaged in a fierce fight with his avowed enemy Arjuna.¹ Karna tries hard to take the wheel out of the earth and asks Arjuna in the name of Dharma not to attack him in this condition. But Krishna throws upon him a series of questions and asks him when he has observed Dharma: 'Now, do you remember Dharma; generally the depraved, steeper in distress, chastise their fate but never their own bad deeds. You did not remember Dharma when Draupadi was dragged to the court by you, Duryodhana, Dusshasana and Sakuni. Where did your sense of dharma go when you very well knew how Yudhisthira, ignorant of the game, was defeated by Sakuni? Where was your sense of dharma when the Kuruavas did not give back the kingdom of the Pandavas when the thirteen years of vanavasa had elapsed? When Bheemsena was tortured by poisonous shakes and fed with poisonous food where was your sense of dharma? Where was your dharma when the wax house was set on fire, with the Pandavas sleeping within? When Draupadi, even in her menstrual days, stood mastered by Dusshasana and was ridiculed in the sabha, where was your sense of dharma? When the Pandavas stood the lovely Draupadi with the statement, "your husband are gone to perpetual hell; find another husbands," and you connived at the deed of slighted her, where did your dharma go? When you greedy for a kingdom and siding with Sakuni, challenged the Pandavas, where did your dharma go? Where did your dharma go when you, alongwith several heroes, encircled and killed the boy Abhimanyu?.." These arguments of Krishna in the original Mahabharata hold the same significance that the Brahmin's curse in Kailasam's play. In both the situations Karna's head is hung in shame, depression and frustration. In the end, at the instance of Krishna, Arjuna kills  Karna. 

Conclusion 

The Curse or Karna is a tragedy, described by the author himself as "an impression of Sophocles in five acts." In this play Karna undergoes troubles and tension like Oedipus in sophocles's Oedipus Rex. The thematic materials of this play of Kailasam are gathered from mythology. Its tragic atmosphere of and mythological materials collectively contribute to the artistic excellence of the play. In the Greek sense of the term, tragedy is a new genre in Indian dramatic writing and, therefore, the spirit of tragedy has to be carefully injected into the mythological substance.

Citation 

Google. (n.d.). Indian English drama. Google Books. Retrieved September 22, 2021, from https://books.google.co.in/books?id=9j7CbYk-IMIC&pg=PA99&lpg=PA99&dq=The%2Bcurse%2Bor%2Bkarna%2Bby%2Bt.p.%2Bkailasam&source=bl&ots=XNEViBDMTN&sig=ACfU3U0dTfZpi9hYCOzcJ46wqI5B-nBMIQ&hl=en&sa=X&ved=2ahUKEwjE36Pt-5LzAhUxH7cAHRaiDbkQ6AF6BAglEAI#v=onepage&q=The%20curse%20or%20karna%20by%20t.p.%20kailasam&f=false. 

Thinking Activity:Digital Humanities

 

Hello Readers!

Welcome to my blog. This blog is about thinking activity of Digital Humanities. We have one unit about Digital Humanities in which we will have done course of Introduction of Digital Humanities from EDX HARVARD. After that we have to done one thematic activity from CLIC Activity book. This task was given by Dr. Dilip Barad Bhavnagar University.

Chapter 1 

• Library collection and the research journey part1

A library is often the first place, or among the first places, that you might turn to when looking for data and other sources that you want to incorporate into your research. Libraries face many new and exciting challenges today as they grapple with how to help researchers produce digital scholarship, and how they will store and disseminate that digital scholarship when it's finished. 

We want to introduce you to some of the ways in which libraries approach these questions and challenges. At the same time, and as you will see, these questions are often approached collaboratively and in conversation between library staff and researchers. These videos show a conversation between Laura Wood, Associate University Librarian for Research and Education, and Stephen Osadetz, Assistant Professor of English. Think about the ways in which you might call upon library staff or library collections as you pursue your own research interests.

• Art museum collection part one

Similar to libraries, art museums face many unique and interesting questions about how to create and store digital scholarship. As you will see in the following videos, many times the digital scholarship conducted within a museum is done in the spirit of creating new meaning or providing new connections between viewers and art objects. In many cases, data about museum collections provides new meaning, or reveal otherwise hidden meaning, about an individual piece of art or an entire collection of art.

• What is Data?

A simplified picture of the traditional way academics work with information is that we have our sources, which we collect, study, and interpret. Then, we write the results, which we publish as articles or books. A digital scholarship workflow looks similar. You have sources in the form of data that you have to acquire, analyze, and interpret. Then, you present the results in the form of books, but also website visualizations or some other electronic medium.

Digital methods are not without their challenges, though. Oftentimes, for instance, researchers will start a project and only realize part-way into their work that they need to visualize their data digitally. For people in this situation, acquiring data can be a problem if the data they use is not in a format that can easily be translated to something digitally useful.

When it comes to data science work, the vast majority of your time is spent managing data. Likewise, researchers embarking on a digital scholarship project often find that much of their time is spent cleaning up data and ensuring that they accurately understand what the data is representing. For instance, if a researcher is dealing with a million rows of tabular data that have been collected over years, there are often differences between entries that will need to be reconciled in order to perform large-scale analyses. Examples of this could include the formatting of dates or the abbreviation of names.

                        Chepter   2 

👉Introduction to lesson 2

DIGITAL HUMANITIES PROJECTS, TOOLS, AND QUESTIONS THEY SUPPORT

List tools of data analysis that can be applied to text in any language, space, networks, images, and statistical analysis. Evaluate existing digital platforms based on features that can be used for data analysis within such fields as literature, history, art, and music.  

• Product visualizing Boardway

This lesson's major focus is showing you in more detail how specific people created and delivered their own digital humanities projects. The examples in this section include a discussion about each project and then a demonstration of some of the tools that were used to create that project.

As you learn more about these projects and their corresponding tools, keep in mind tools or ideas that you might find useful to your own work and interests.

• Tool for Network Analysis-Gephi

Derek Miller will now show and discuss one of the tools that he used in his project Visualizing Broadway, which is called Gephi. This tool is used to perform network analysis on a dataset. Network analysis is one very common digital humanities research method.

• Tool for text analysis 

In this series of videos you will learn about the Text Encoding Initiative External link External link(TEI), and the XML framework that allows for the mark-up and display of text in various online formats. TEI and XML will be described in the context of medieval manuscripts, which can be analyzed in many ways once they are encoded digitally using XML tagging.

One of the main characteristics of this type of tagging is the format for the "open" and "closed" tags. A closed tag is a repeat of the open tag with a "/" at the beginning. Because these tags do not include additional instructions that tell a computer how to display the content within the tags, additional lines of code, called "CSS," are added to control how the text looks on a given webpage. CSS stands for cascading style sheets. Keep an eye out for this structure within the videos. XML files will also be discussed further in Lesson 3.

• Tools for Geospatial Analysis 

Humanists make maps for the same reason those in public health, public policy, and urban development make maps. They make maps because they believe that the “where” matters and our job as humanists is to explain why where matters. This section will give you a sense of the process of taking humanistic information sources that you're used to working with, such as letters, documents from archives, imperial decrees, travel accounts, postcards, historical maps themselves, and transforming that familiar material into data, and specifically into spatial data. This process often strikes many humanists as the least familiar and perhaps the least comfortable part of the process. And that's because you're taking something that is complex and nuanced and you are separating it out into its constituent parts and it can feel a bit reductive. But you can also think of it as the process of distillation or a disaggregation, of identifying all of the pieces that make your source complex and identifying them separating them out so that we can either put them right back together again in the same way or build something new with them.

The process is complex and it's important to keep in mind three major rules of data organization. These are transparency, consistency, and the most important, the golden rule, one piece of information in each cell of your spatial data. If you follow those rules and if you're consistent and transparent in your method you will create beautiful spatial data and you will eventually find answers to the question, “Why does where matter?”

• More Digital humanities projects examples 

• Cleveland Historical

Cleveland Historical External linkis a free mobile app that showcases historic people, places, and moments in Cleveland, Ohio. The app incorporates layered, map-based, multimedia presentations. And the tours have been created by a variety of groups and individuals all contributing their curated tour to the app. This mobile app is one of a few projects created by the Cleveland State University Center for Public History + Digital Humanities External link.

• Digital Transgender Archive

The purpose of the Digital Transgender Archive (DTA) External link is to increase the accessibility of transgender history by providing an online hub for digitized historical materials, born-digital materials, and information on archival holdings throughout the world. Based in Worcester, Massachusetts at the College of the Holy Cross, the DTA is an international collaboration among more than fifty colleges, universities, nonprofit organizations, public libraries, and private collections. By digitally localizing a wide range of trans-related materials, the DTA expands access to trans history for academics and independent

                  Chapter 3

👉Introduction to Lesson 3

• ACQUIRING, CLEANING, AND CREATING DATA

• Understanding Shapes of Data 

You may be thinking about this idea "the shapes of data" for the first time. All this really means is that the structure around words and numbers can enable different types of analysis by either a human or a computer reading the text. Read on to learn about the three major categories: unstructured, structured, and semi-structured data.

• Unstructured Data

Unstructured data is data that is not organized into distinct, pre-defined semantic units. Typically, this means textual data, which could be a written account, literary work, newspaper article, or anything else represented as text. Human beings can process unstructured data by reading it, understanding its contents, and making inferences using context and common sense – all tasks which are extremely difficult for computers. Unstructured data is hard for computers to process in meaningful ways.

• Example:

George Washington was the first President of the United States, serving from April 30th, 1789 through March 4, 1797. He was succeeded by John Adams, who remained president until 1801, standing down on March the 4th.

• Structured Data

Structured data is data organized according to some particular data model, which explicitly defines the structure of the data. For example, key data about the presidents of the United States might be structured according to a model requiring that, for each president, we record:

Because this data is structured, any software processing can – and should – assume that each row of the table represents one individual president. Additionally, software can assume that the data in the “Took office” column is always one single date (as opposed to say a number, or name, or description, or time of day) representing the date that the president took office. This makes structured data easy to process. For instance, we could immediately calculate the length of time each president was in office by subtracting the date “Took office” from “Left office” in each row. This simple operation would be far harder to perform computationally on unstructured data, even if it contained all of the same information.

• DataSemi-structured Data

Semi-structured data is data which does not conform to a formal data model, but uses formal constructs to indicate separate semantic elements within the data. One method of indicating semantic elements is by adding special codes, or “markup,” to what is otherwise unstructured text. For example, we could add pairs of codes like “<name>” and “</name>” around each occurrence of a proper name, and “<date>” and “</date>” around each occurrence of a date to make some aspects of an otherwise unstructured document more easily processable computationally. This approach can be used to avoid ambiguities and appeals to context and common sense when processing content written in natural languages like English. In the following example, note how the “<date>” codes add an additional element representing each date in a common standardized form:

<name>George Washington</name> was the first president of the <placeName>United States</placeName>, serving from <date when="1789-04-30">April 30th, 1789</date> through <date when="1797-03-04">March 4, 1797</date>. He was succeeded by <name>John Adams</name>, who remained president until <date when="1801">1801</date>, standing down on <date when="1801-03-04">March the 4th</date>.

Although not as simple to process as structured data, semi-structured data can be used to add information to unstructured data that allows for effective processing in many applications

• Shape of Data Summary 

There are three broad categories of data: structured, unstructured, and semi-structured. Data that is organized according to an explicit, well-defined data model is called structured data. Unstructured data has no distinct, pre-defined units. Data that does not conform to a data model, but uses formal constructs, such as mark-up codes to indicate internal semantic elements, is called semi-structured data.

• Unit 3.3 File types and definition

• Understanding file types 

• File Types and Definitions

Data can be stored in a variety of different file types. Read on to learn about the major file types that you will encounter in Digital Humanities projects, along with the advantages and limitations of using each one. Specifically, we will cover plain text, CSV, Text, JSON, HTML, XML, Binary, MP3, and WAV file types.

• HTML

Hypertext Markup Language (HTML) is a format used to represent complex documents. For instance, the vast majority of web pages are primarily represented in HTML. Based upon the foundation of plain text, and unlike data-centric formats such as JSON, HTML uses a document-focused approach in which markup, meaning special codes representing additional information, is added to what is essentially a plain text document. In HTML, these codes primarily consist of tags, which are pieces of code providing additional data to elements of a document.

Tags in HTML are always enclosed between the two symbols “<” and “>”, and normally come in pairs: an opening tag and a corresponding closing tag. The sequence of characters appearing immediately after the opening or closing symbols specifies the type of element being described. Different elements are used to express different types of information. In HTML, elements are often closely used to convey formatting information. For example, the “b” element causes whatever text that appears within these two tags to be displayed in bold. Opening tags can also contain additional data in attribute-value pairs. Closing tags always have the same element type as the corresponding opening tag. In addition to representing general formatting information, an important use of tags in HTML is to provide machine-readable references to other documents. In particular, hyperlinks, represented using the “a” element, contain an attribute specifying a reference to another web document, and are displayed by a web browser as clickable links directing the user to the specified location.

• Binary Files

File types can be separated into two classes: text-based formats, and binary (i.e. non-text-based) formats. Text-based formats represent their contents on the most basic level as a sequence of characters; binary formats typically use a mixture of representations for storing data. The two are easily distinguished in practice: when viewed in a text editor, the contents of any text-based format file will appear as a coherent mixture of characters and a relatively small number of codes. By contrast, any file in a binary format when opened in a text editor will typically display large amounts of garbled, unintelligible material, if it can be opened at all.

Binary files represent their contents using methods other than character encodings. For example, whereas a text file containing the content “123” will consist of numbers representing a sequence of characters “1”, then “2”, then “3” using an encoding such as UTF-8, resulting in a sequence of numbers each representing one of these three characters, a binary file will instead often represent the numeric value 123 directly as a number. Because this representation is different from any character encoding, a text editor typically cannot display the content in a meaningful way regardless of which character encoding is used. A binary file generally requires special software designed to process the specific format of the binary file.

• Unit 3.4 Way of creating data

Introduction to Digital Data creation 

Digital Humanities data is often generated from physical, analog sources. For instance, if you wanted to digitize a rare book from the 16th century, you might retrieve the physical book, photograph the pages, and perform optical character recognition (OCR) to recognize written characters and transform the images into a text file format. In this lesson, we will explore several different modes of digitization that are common within the Digital Humanities, ranging from text digitization to archaeological artifact digitization, along with examples of their use.

Digitizing Objects 

Many humanities practitioners, such as archaeologists and art historians, study the broader world of objects that humans create, as well as their texts. Such objects may include the pictures people take, the physical artworks they produce, or the everyday utilitarian objects they use. Digital Humanities practitioners may want to digitize objects for a variety of reasons. For instance, some practitioners seek to understand the properties of objects at an aggregate or statistical scale via computational strategies. In this case, digitization of objects might involve collecting tabular data that contains measurements about an artifact and digitally representing it in a relational database.

Others digitize objects so as to present them to broader audiences. The objects they seek to represent, for instance, may be at risk of being destroyed and necessitate digital preservation at the very least. Additionally, objects in museums may only be accessible to a small group of people, making it necessary to digitize the objects in order to share them more broadly with the world. For the purposes of presentation, it is often most effective to take high resolution 2-dimensional images, or 3-dimensional scans of the objects, so they may be experienced in similar ways as the original analog artifact.

Digitizing Audio/visual information 

Whether they study live music, or seek to visually capture the human experience, other digital humanities practitioners digitally record information about the world around them via images, video, and audio. It might also be necessary to convert analog forms (i.e. paper photographs, tapes, or vinyl records) to digital in order to allow for unique digital analyses of these different forms. Digital forms also facilitate the presentation to (and preservation for) new audiences through popular services such as YouTube. Furthermore, high-resolution scans of images, or digital representation of audio and video may allow researchers to teach machine learning models to identify particular features in the data that the human eye/ear could not detect or broad-scale patterns that would be time-consuming to identify manually.

Example:

One example of digitizing audio/visual information is making a documentary film, to record visual and audio information, or podcast, to record audio, about an experience or topic. Alternatively, digitizing a historical film to preserve the film and present it to new audiences on the YouTube platform is another example of digitizing audio/visual information.

Unit 3 . 5 Getting Data

Different way of getting data

There are a variety of different ways to get Digital Humanities data. In this unit of the course, we will explore several of the most common approaches. For instance, we will discuss how to identify online data repositories and download data from them. We will also discuss how you might access data stored in relational databases, as well as data accessible via Web APIs. For those cases where online data is not easily accessible via APIs or repository downloads, we additionally discuss the use of web scraping to get data. Finally, at the end of the unit, you will have the opportunity to practice getting structured data about books via the Google Books API.

• Unit 3.6 Digital Ethics 

 Copyright 

All researchers should understand the basics of copyright and intellectual property, and the following videos aim to provide those basics. From the perspective of data and other source material that you want to use in your digital humanities project, to how you want to publish or share your project with others, there are a wide variety of copyright considerations that will be helpful for you to know about.

      

                        Chepter   4 

👉Introduction to Lesson 4

THE COMMAND LINE

A Command-Line Interface or command language interpreter (CLI), also known as command-line user interface, console user interface and character user interface (CUI), is a means of interacting with a computer program where the user (or client) issues commands to the program in the form of successive lines of text (command lines). A program which handles the interface is called a command language interpreter or shell.

A shell prompt indicates that the terminal is ready to receive a command. This prompt is typically shown as a dollar sign, $. You type a command after the shell prompt.

A command is an action that you want your computer to carry out, and it is often abbreviated using just a few letters, such as mkdr for the command to make a new directory.

A directory is a folder or taxonomy of files saved in a specific location on your computer. Files saved on your computer's desktop, for example, are saved in the desktop directory.

A file system refers to the way in which files are named, stored, and retrieved within your computer. File systems can differ across Mac, Windows, and Linux-based operating systems. File systems also include metadata about files such as date created, date modified, last date of access, last backup, file size, and access permissions.

Unit 4.2 Introduction to command line functions 

Optional installing a virtual machine 

If you would like to experiment using the command line, one option is to install a virtual machine running Ubuntu, a free Linux operating system (for more information about the operating system, consult the online manual here). The videos in this lesson are based on this Ubuntu operating system. If you try to use these command line functions within a different operating system (Mac or Windows, for example) some of the necessary commands may be different than what you see in the videos.

This step is not required for answering most of the graded questions in this lesson. Nearly all graded questions can be answered by watching the videos. In previous versions of this course, we attempted to guide all students through the Ubuntu installation so that the command line interface would be the same for everyone. Due to updates in the software, however, this became overly complicated.

If you use a Mac operating system, you can access the terminal window by searching for "terminal" on your computer.

                              Chepter   5 

 👉Introduction to Lesson 5

 Working with tools voyant

• Introduction to Voyant

The command line and other programmatic tools are useful for automating batch operations, manipulating files, automatically writing to spreadsheets, customizing summary statistics, and any number of programmatic tasks. However, there are easier ways to calculate standard summary statistics and create great visualizations for your text analyses.

Voyant Tools (voyant-tools.org), for instance, is a free online tool that automatically calculates summary statistics for large bodies of text data. Voyant also provides an interface for extending these calculations with visualizations, such as word clouds and bar charts, to display your findings. While not as customizable as the command line or another programmatic interface, Voyant provides most of the tools you need for an exploratory analysis of text data, either at the individual text or corpus level.

Q. 2  Complete one thematic activity from CLIC Activity book. Write your Interpolations. 

CLiC (Corpus Linguistics in Context) is a web app specifically designed for the corpus linguistic study of literary texts. While CLiC shares much of its functionality with other corpus tools — similarly to what is described in the Programming Historian’s lesson ‘Corpus Analysis with AntConc’ — it also contains additional features that are particularly relevant to literary analysis. These include the ability to search subsets of the text – such as character speech – and a sorting function that goes beyond alphabetic sorting: the ‘KWICGrouper’, which this post focuses on. The CLiC web app has been developed as part of the CLiC Dickens project for the analysis of patterns in 19th century fiction, particularly novels by Charles Dickens. CLiC currently contains 15 Dickens novels and 29 novels by other 19th century authors and a corpus of 19th century children’s literature will soon be added.

👉Activity 13.1 The social importance of the fire-place

1. Search for fire in DNov (Dickens’s Novels) in “All text”. This should give you over

1700 hits – too many to analyse in detail so that it’s best to use the

KWICGrouper for narrowing down the search.

2. Use the KWICGrouper and left-right sorting to search through the

concordance. First set the “Search in span” from L5 to L1 by dragging the

slider. Next “Search for types” by typing in back. Hit Return.

3. You should see a highlighted set of concordance lines showing phrases such

as back to the fire, like the one below.

Let's start with a simple concordance of Fire in Dickens 's novels in CLIC. This gives us an overview of how the word is used : see concordance 1. (Fireplace is, curiously, much less frequent and used in a different way!)

This will give you a set of concordance lines. In this activity we come to know about the words and it's frequency. 

Citation 

Course. edX. (n.d.). Retrieved September 20, 2021, from https://learning.edx.org/course/course-v1:HarvardX+DigHum_01+2T2021/home. 

Google. (n.d.). Digital humanities kirschenbaum_ade150.pdf. Google Drive. Retrieved September 20, 2021, from https://drive.google.com/file/d/1Iq5T2ghtV15YdarHhlRIDME1Opliktdu/view?usp=sharing. 

Wikimedia Foundation. (2021, September 8). Digital humanities. Wikipedia. Retrieved September 20, 2021, from https://en.m.wikipedia.org/wiki/Digital_humanities. 

Pre- independent Literature: Dino Daan by Rabindranath Tagore

 

Hello Reader's !

Welcome to my blog now I'm going write about the poem 'Deeno Daan by Rabindranath Tagore's. This task was given by heena ma'am. 

A translation of Tagore’s poem ‘Deeno Daan’ (’Destitute Donation’)

Said the royal attendant, “Despite entreaties, king,

The finest hermit, best among men, refuses shelter

In your temple of gold, he is singing to god

Beneath a tree by the road. The devout surround him

In numbers large, their overflowing tears of joy

Rinse the dust off the earth. The temple, though,

Is all but deserted; just as bees abandon

The gilded honeypot when maddened by the fragrance

Of the flower to swiftly spread their wings

And fly to the petals unfurling in the bush

To quench their eager thirst, so too are people,

Sparing not a glance for the palace of gold,

Thronging to where a flower in a devout heart

Spreads heaven’s incense. On the bejewelled platform

The god sits alone in the empty temple.”

At this,

The fretful king dismounted from his throne to go

Where the hermit sat beneath the tree. Bowing, he said,

“My lord, why have you forsaken god’s mighty abode,

The royal construction of gold that pierces the sky,

To sing paeans to the divine here on the streets?’

“There is no god in that temple,” said the hermit.

Furious,

The king said, “No god! You speak like a godless man,

Hermit. A bejewelled idol on a bejewelled throne,

You say it’s empty?”

“Not empty, it holds royal arrogance,

You have consecrated yourself, not the god of the world.”

Frowning, said the king, “You say the temple I made

With twenty lakh gold coins, reaching to the sky,

That I dedicated to the deity after due rituals,

This impeccable edifice – it has no room for god!”

Said the tranquil hermit, “The year when the fires

Raged and rendered twenty thousand subjects

Homeless, destitute; when they came to your door

With futile pleas for help, and sheltered in the woods,

In caves, in the shade of trees, in dilapidated temples,

When you constructed your gold-encrusted building

With twenty lakh gold coins for a deity, god said,

‘My eternal home is lit with countless lamps

In the blue, infinite sky; its everlasting foundations

Are truth, peace, compassion, love. This feeble miser

Who could not give homes to his homeless subjects

Expects to give me one!’ At that moment god left

To join the poor in their shelter beneath the trees.

As hollow as the froth and foam in the deep wide ocean

Is your temple, just as bereft beneath the universe,

A bubble of gold and pride.”

Flaring up in rage

The king said, “You false deceiver, leave my kingdom

This instant.”

Serenely the hermit said to him,

“You have exiled the one who loves the devout.

Now send the devout into the same exile, king.”

Translated from the Bengali by Arunava Sinha.

1) The poem is written before 120 years (approx.). Can you find any resemblance between the poem and the pandemic time? Some hints: During the pandemic time temples were closed - people were dying - there was no place in hospitals for Covid patients)

Prime Minister Narendra Modi laid the foundation stone in Ayodhya for the Ram templ on August 5 which received mixed reactions from Indians. A day after the public ceremony, a 120-years old poem written by 

Rabindranath Tagore has gone viral on social media. The reason: Tagore's poem 'Deeno Daan' has an uncanny resemblance to the present times we live in.

Corona Virus Plate clapping campaign amid public curfew viral on social meadia, question arose. Amidst the growing havoc of the Corona virus, where the enthusiasm was seen on March 22 for Prime Minister Narendra Modi's appeal of the public curfew. In fact appeal of janata Curfew was  due to people doing social distancing at home and increasing the enthusiasm of people to deal with global epidemic like Corona. But some people took to the street in Delhi, Indore, Ahmadabad and other parts of the country and made fun of camping by taking the crowd, they have also became a character of laughter.  We can see here stupidity of peoples and situation  become very critical.

In the corona pandemic thousands of people died and there was no space in hospitals. Countries like India have lakhs of people who believe in God except rather than humanity.  During the corona pandemic we see that everything was closed. People have to stay at home. Even temples were also closed !  People talked a lot about this topic. When the money came people built a temple rather than a hospital, so now temples are closed so where will they go ? Same thing is happening in this time also that there are people like this king who are using money only to become famous and popular. There is no humanity in their hearts. People face a lot of problems during the corona pandemic

2) Why do you think the King is angry on the Sage?

King is angry with the sage because the sage doesn't accept the proposal of the king. King offered him a beautiful temple for living there and for worship. But the sage denied his offer by saying that God is not there in the temple, God has gone away with the poor people. There is no need for this beautiful temple if you can't help poor people who are your (King's) responsibility. The sage speaks truth and all we know that,

"Truth is always bitter !"

So that's why the king thought that the sage was insulting my decision. The sage hurts the ego of the king. This is why the king is angry with him. 

3) Why do you think the Sage denies to enter in the temple?

The poem talks about a sage, who tells a king that the temple he has built with "two million gold coins," does not have god inside. The king is enraged, calls the sage an atheist, and asks if such a grand temple could be empty. The sage replies that it isn't empty - it's filled with the king's pride.

The sage denied to enter in the temple because he believes that God is not living in the gold temples. He thinks that God is living with the pure and kind people. What should we do with this gold, if the gold came from poor people's hard work. If they don't have enough food for survival, this gold temple is useless ! Instead of living there God will choose to live under the trees because the  poor people take rest under that tree. 

4) Can there be any connection between the text of the poem and the verdict of Ayoydhya Ram Mandir? (To get some ideas.

August 5th marked a historic day in India when Prime Minister Narendra Modi laid down the first bricks of the much-contested Ram Mandir in Ayodhya. The ceremony was marked with much fanfare and celebrations. The celebrations were in the middle of a pandemic that has gripped the world. On the same day, deaths from Covid-19 in India crossed the 40,000 mark, the fifth highest in the world, even as the country recorded its biggest single-day surge in fatalities at 918 on Wednesday, with the count crossing 900 for the first time.

Meanwhile, many on social media found parallels between Tagore's poem and the Ram Mandir ceremony.

Thank you....

Queer Theory, Marxist Criticism

 

Hello Readers!

Hello Readers!

Welcome to my blog I'm going to write about Queer Theory and Marxist Criticism this task is given by Dr. Dilip Barad. 

👉 Queer Theory 

Queer Theory is field of critical theory that emerged in early 1990s. Feminist challenges to the idea that gender is part of essential self and upon gay and lesbian studies close examination of the society constructed nature of sexual act and identities. Feminism was contrast between sex and gender - Queer Theory offers the view that all identities are social construction. 

👉What is Queer Theory 

An approach to literary and cultural studies that rejected traditional categories of gender and sexuality critical theory that emerged in 1990s. It is not only sexual desire but it is  emotional desire. Queer Theory does not concern itself exclusively with homosexuality - it is about all forms of identity. 

👉What lesbian/gay critic do?

1. Identify lesbian/gay episodes in mainstream work and discuss them as such (for example, the relationship between Jane and Helen in Jane Eyre), rather than reading same-sex pairings in non-specific ways, for instance, as symbolising two aspects of the same character (Zimmerman). 

2 . Set up an extended, metaphorical sense of 'lesbian/gay' so that it connotes a moment of crossing a boundary, or blurring a set of categories. All such 'liminal' moments mirror the moment of selfidentification as lesbian or gay, which is necessarily an act of conscious resistance to established norms and boundaries.

👉Examples

Manvendrasingh Gohil

• Manvendrasingh is Indian prince from Rajpipla
• Th 42 years old is only person of Royal lineage who has openly proclaimed to being a gay.
• He runs charity works with the LGBT community

👉Dostana Movie

• Dostana was the first mainstream comorcial movie that shows homosexuality as the theme of the story.
• It was a stereotypes and everything given a comic angle.
• Kirron kher accepting her son dating another man was step forward towards acceptance.

• 👉 Dickson Experimental Sound film. 

https://youtu.be/Y6b0wpBTR1s

1894, a poorly shot 17 second experimental film shows two men dancing, holding each other “awkwardly”. This was the first ever depiction of homosexuality that ran a stride of uncomfortability in the audience. The film was called Dickson Experimental Sound Film commonly labeled online as The Gay Brothers. It was shot to check the mixing of sound in moving images by William Dickson. The experiment did not work but the footage somehow became a benchmark.

Nineteenth century and in the mid 1930s and 40s, Hollywood saw its queer characters as nothing but flamboyant, laughing stocks who were just there to establish a twitchy note within the films. Conventional sexual behaviour between the same sexes was not accepted on the silver screen and was only used to typify homosexuality as a mental illness. “Sissy” looking man or the “hardboiled” woman in a film came only to enrich the negativity as perceived by the white Christian middle class culture.

👉 Meghadhanushya (The Color of Life)

https://youtu.be/DbkTKRm942c 

Meghadhanushya ( The Color of Life)Released in 2013, this is the first Gujarati film on homosexuality and was directed by former Ayurveda practitioner K R Devamani. It is partly narrated by Prince Manvendra Singh Gohil,   who is widely known for being the son and probable heir of the Maharaja of Rajpipla in Gujarat. In an interview with a Gujarati news channel, Gohil explained how the film is a bold attempt to subvert misconceptions about homosexuality and show the discrimination and stigma that is faced by the gay community.

Marxist Criticism 

Marxist criticism, in its diverse forms, grounds its theory and practice on the economic and cultural theory of Karl Marx (1818–83) and his fellow-thinker Friedrich Engels (1820–95), and especially on the following claims: 

 In the Marxist literary analysis, the evolving history of humankind, of its social groupings and interrelations, of its institutions, and of its ways of thinking are largely determined by the changing mode of its “material production”— that is, of its overall economic organization for producing and distributing material goods. 

What Marxist critics do

1. They make a division between the 'overt' (manifest or surface) and 'covert' (latent or hidden) content of a literary work (much as psychoanalytic critics do) and then relate the covert subject matter of the literary work to basic Marxist themes, such as class struggle, or the progression of society through various historical stages, such as, the transition from feudalism to industrial capitalism. Thus, the conflicts in King Lear might be read as being 'really' about the conflict of class interest between the rising class (the bourgeoisie) and the falling class (the feudal overlords). 

2. Another method used by Marxist critics is to relate the context of a work to the social-class status of the author. In such cases an assumption is made (which again is similar to those made by psychoanalytic critics) that the author is unaware of precisely what he or she is saying or revealing in the text. 

3. A third Marxist method is to explain the nature of a whole literary genre in terms of the social period which 'produced' it. For instance, The Rise of the Novel, by Ian Watt, relates the growth of the novel in the eighteenth century to the expansion of the middle classes during that period. The novel 'speaks' for this social class, just as, for instance, Tragedy 'speaks for' the monarchy and the nobility, and the Ballad 'speaks for' for the rural and semi-urban 'working class'. 

4. A fourth Marxist practice is to relate the literary work to the social assumptions of the time in which it is 'consumed', a strategy which is used particularly in the later variant of Marxist criticism known as cultural materialism.

👉Modern Times (Charlie Chaplin, 1936)

A classic movie by Charlie Chaplin is a Marxist film? Chaplin was always sensitive to social problems. England has always been the land of socialist battles. Highgate cemetery is a sufficient proof of how deeply related England is to Marx’s life.

This film could be seen as a social accusation toward industrialization . If one wants to better understand what proletariat alienation is, this is the film to see. This movie is based on a simple concept which it explains well through stereotypical and ironic characters.

A society that works in a crazy context cannot be fit for man, who continuously searches to be free. If it is only a critical film more than constructive one, it reflects a particular aspect of industrial proletariat problems, a very old problem that is a socialist vindication but at the same time, is the basis of Marx’s philosophy.

👉Avatar

Avatar was described by Yong Tang as a ‘Marxist Saga on a Far Distant Planet’ It is one of the only films to show how Marxist ideas in a film can be reflected literally in real society.

In January 2010 the Chinese Government banned Avatar despite its popularity. People have speculated that this is because the film shows the rise of socialism and how it can overcome capitalist nature, this is shown within the film as the Na’vi fight against the Human population and is speculated that people may think they can rise up against the current regime and have a similar situation as in Avatar appear in China. This may sound extreme but it has happened. In 2010 Palestinian Activists in the West Bank dressed up as Avatars and protested against the Israeli population of the area, and the barrier built across their land. Even while they were dressed up the Israelis gassed the protesters while they were demonstrating near the border.

👉The Story

Avatar itself actually shows an invasion of a planet, as the Humans are aliens they are robbing the planet of its natural resource. They do this with massive military power and have huge amounts of machinery and equipment. As the Humans mine the materials we see the pure size of the human occupation and this is pure capitalist pressure as the Na’vi are peace lovers who live in their own little colonies.

But Avatar is a great example of how socialism can rise up and be massively powerful. This and this happens when the Humans push the Na’vi over the edge when they destroy the Na’vi home.

The scene showing the destruction of the Home tree shows how helpless the Na’vi are from the power of the Humans. They have no way of fighting back and they have to allow the Home tree to get destroyed. But as in all good Marxist movies the Na’vi rise up and fight back against the Humans and eventually force them back, and destroy everything that they have achieved on the planet, and they get their planet back.

 Citation 

• Bdaloni, L. (2019, September 16). The 10 best movies influenced by Marxist philosophy. Taste of Cinema - Movie Reviews and Classic Movie Lists. Retrieved September 16, 2021, from http://www.tasteofcinema.com/2015/the-10-best-movies-influenced-by-marxist-philosophy/.

•      Google. (n.d.). Marxist criticism. Google Docs. Retrieved September 16, 2021, from https://docs.google.com/document/d/1dDC7Wm9xrg0zXBiS22ftDGZXtvr8oBvAccJWWyUoYCk/edit?usp=sharing. 

•  Google. (n.d.). Queer theory.      Google Docs. Retrieved September 16, 2021, from https://docs.google.com/document/d/1PHuDoHUT5Ayb4BhqqHeAoYh-6UzJtKl1yytaEUBaV6E/edit?usp=sharing.