Posts

Showing posts with the label Cultural Studies

Cultural Studies: Two Paradigms by Stuart Hall (UGC NET English Unit VII)

       Stuart Hall: Brief Overview ü   Born on 3 Feb 1932 in Kingston,   Jamaica (then a colony of UK) into a middle class family of Indian, African & British descent- Caribbean ü   A Cultural Theorist/ Sociologist ü   Lived and worked in UK since 1951 ü   Studied at Merton College, University of Oxford ü   One of the founding figures of British Cultural Studies/ The Birmingham School of Cultural Studies ü   Served as the Director of CCCS (Centre for Contemporary Cultural Studies) at Birmingham University   from 1968 to 1979 ü   Professor   of Sociology at the Open University (1979- 1997) ü   Now, a Professor Emeritus ü   Married to Catherine Hall, a Feminist Professor at University College, London ü   Founding   editor of NEW LEFT REVIEW ü   Major Works §   Situating Marx: Evaluations & Departures (1972) – article §   Encoding & Decoding in th...
Post a Comment
Read more

Cultural Studies: Its Origins and Characteristics (UGC NET English Unit VII)

Image
Origins of Cultural Studies The name “cultural studies” derives from the Centre for Contemporary Cultural Studies (CCCS) at the University of Birmingham, established in 1964. CCCS was founded as a postgraduate centre initially under the directorship of Richard Hoggart (1964–1968) and later Stuart Hall (1968–1979). It is during the period of Hall’s Directorship that one can first speak of the formation of an identifiable and distinct domain called cultural studies. The initial focus of CCCS was on ‘lived’ culture, with an emphasis on class cultures that chimed with the work of Hoggart and Raymond Williams . However, this moment of ‘culturalism’ – formed from an amalgam of sociology and literary criticism – was surpassed by the influence of structuralism, particularly as articulated with Marxism. Here the decisive intellectual resources were drawn from Barthes , Althusser and, most crucially, Gramsci . The key conceptual tools were those of text, ideology and hegemony as explored th...
Post a Comment
Read more

Popular posts from this blog

Banaras Hindu University (BHU) M. A. English Entrance previous years questions papers (2010 to 2019)

Image
Banaras Hindu University: The Capital of All Knowledge Questions papers of previous years are important milestone for any exam. These papers give the students guidelines of which way and how to proceed in their preparation. Going through the questions gives them the insight and clarity needed for any exam. Banaras Hindu University (BHU) is the largest residential university of Asia and has its rank "Third" among all the universities of India. Lots of students have their dreams of becoming a part of this eminent university. So, I am here providing you all with the questions papers of the entrance test following the latest pattern and trend in Post Graduate English Literature. Click the following links to download the respective old question paper:    BHU entrance question_M.A. ENGLISH 2010   https://drive.google.com/file/d/189LtnwP0-QK4qZtq47lLWQViy3wa7TZu/view?usp=sharing   BHU entrance question_M.A. ENGLISH 2011 https://drive.google.com/file/d/13Sk67LcnK6fVc1shFUQhY...
Read more

Old English Religious/ Christian Poetry (Caedmon, Cynewulf)

Image
    The coming of Christianity introduced the Anglo-Saxons with the Holy Bible that influenced a rich body of Christian literature. After conversion to Christianity the Anglo-Saxon poets turned away from pagan themes, and sought subjects for their poetry in the Bible or in the lives of saints. They did not, however, wholly abandon the pagan sentiments and ideas, but used them after getting them filtered through their new religion. They applied the techniques of Anglo-Saxon heroic poetry to purely Christian themes. As a result, the old English religious poetry shows a great blending of pagan and Christian elements. There are two glaring stars in the sky of Anglo-Saxon religious poetry- Caedmon and Cynewulf.   The story of Caedmon ’s miraculous transformation into the first religious poet of England and his nine-lined Hymn of Creation is contained in Venerable Bede’s Latin work, Ecclesiastical History of the English People.  Caedmon was a layman at the monastery of Wh...
Read more

Use of Irony in Ralph Ellison's "Invisible Man"

Image
Irony, the use of words to convey an idea that departs from its literal meaning, underpins many of the protagonist’s earliest experiences in Ellison's Invisible Man . In particular, Ellison’s use of structural irony reveals his authorial goals because we, along with the mature writer-narrator whom we meet in the prologue, observe an incredibly naïve central character stumbling towards self-understanding. This pervasiveness of structural irony, or the reader’s perpetual sense of knowing more than the narrator, allows Ellison to have fun as he inserts his protagonist into various conundrums. In addition to injecting bursts of humor, the comic aspects of his narrator’s experiences facilitate Ellison’s artful handling of the weighty issues that he invites readers to explore. The novel’s first episode sets this tone.  In the battle royal scene, the narrator’s earnest recitation of his Washingtonian valedictory speech, one which exhorts his audience of white segregationists to join hands...
Read more

Significance of the Battle Royal scene in Ralph Ellison's "Invisible Man"

Image
  Invisible Man is invited to present his valedictorian speech to a group of wealthy white patrons at a Southern gentlemen’s club. When he arrives, however, he is forced to participate in a blindfolded ‘battle royal’ against a group of men he believes to be his ‘peers’: adolescent African American males. The irony of the situation is, he finds no commonality with these youths, only bitter rivalry. The hypocrisy of the Southern socio-economy is figuratively actualised in the poignant symbolism of the young black adolescents, who are induced to beat each other to bloody pulps for the amusement of rich white patrons, with the promise of coins as reward (which, they later discover, are counterfeit). Like many members of the Jazz Age intelligentsia before him, Ellison is interested in satirising the cultural apologue of an American ‘aristocracy’ built on slavery in a pure, high capitalist society where there has never been a decline of the ruling class. The mere prospect of wealth enf...
Read more

Wole Soyinka’s Theatre: the “Fourth Stage”

  The “Fourth Stage” is uniquely Soyinka’s interpretation of Yoruba mythology in which there are four parallel worlds of the living, the dead, the unborn and the chthonic (underworld) realm, where the ambiguities of cultural identities are contested. These worlds exist in a non-hierarchical manner, and their membranous nature allows the dwellers to access these different worlds at will. This interpretation is the central thesis of Soyinka in his essays, “Morality and Aesthetics in the Ritual Archetype”, “Drama and the African Worldview” and “The Fourth Stage”. The main argument is that African myth and ritual (exemplary in Yoruba mythology) are not discrete background cultural objects but form the continuing aesthetic and social foregrounding of African society. By starting off with Nietzsche’s theory of the ritual roots of classical Greek theatre, Soyinka explains the roots of African (Yoruba) ritual tragedy in the myth of Ogun and the sacral rites depicting his prowess in bat...
Read more

Narrative Technique of Ralph Ellison's "Invisible Man"

Image
  Invisible Man can be seen as a Bildungsroman (novel of education), similar to Voltaire’s Candide , which captures the personal growth and development of the protagonist. The novel focuses on the life of the Invisible Man as a young man and his experiences from adulthood through maturity. The narrator is older now as he reflects on his life story backwards. The novel is framed by a Prologue and an Epilogue. The story opens in the present, switches to flashback, and then returns to the present, but a step forward from the Prologue. Writing down the story has helped the hero to make up his mind about things. Leonard J. Deutsch attributes the complexity of the novel in part to this juxtaposition of perspectives of the “I” of the naïve boy and the “I” of the older, wiser narrator. Warren French has described the formal organization of the narrative as “a series of nested boxes that an individual, trapped in the constricting center, seeks to escape.” Several critics cite the use ...
Read more

Ralph Ellison's "Invisible Man" as a Bildungsroman (novel of growth/development)

Image
  In the traditional European prototype, coming-of-age is charted through the representation of ordeals and life lessons which the young protagonist or Bildungsheld must overcome in order to achieve their harmonious course of maturation. The American model forgoes this necessity of harmony. Ralph Ellison’s Invisible Man (1952) is one such coming-of-age narrative , following the pedagogical and experiential education of an African American adolescent in the 1920s and 30s. Ellison subverts the inefficiencies of representing race in American literature and culture that had come before him. At the same time, the author illuminates the hypocrisies of racial and ideological identity politics in a post-Abolition American society. The linear temporality of the traditional Bildungsroman form is subverted by Ellison’s reflexive use of direct, first person narration in the present and past tense, featuring an ironic use of the in medias res technique with flashbacks. It is indeed ironic ...
Read more

Major Characters of Ralph Ellison's "Invisible Man"

Image
  The Invisible Man The protagonist escaped from the Black Nationalist madman  Ras the Destroyer during a race riot in Harlem and  now lives underground. He begins his story by relating  how he naively believed in the system and the people who  ran it. He went to college with aspirations of gaining  acceptance in middle-class mainstream society. When he  gets into trouble at an unnamed black southern college,  he is expelled. He goes to New York, only to discover  that he has been betrayed by the college’s president,  Bledsoe. The protagonist winds up joining the Brotherhood,  an organization similar to the Communist Party, and begins to work against the system that he once  believed in, but the Brotherhood betrays him, too. Mr. Norton Mr. Norton is a wealthy, white, Northern trustee of the  unnamed southern black college. He is a condescending  patrician who is strangely obsessed with his daughter. The  Invisibl...
Read more

Important Short Stories (UGC NET Unit III)

Image
  James Joyce Araby The Dead Eveline The Sisters   Mark Twain The Celebrated Jumping Frog of Calaveras County The Man That Corrupted Hadleyburg The Invalid's Story No. 44, The Mysterious Stranger A Dog's Tale A Ghost's Story The Stolen White Elephant   Washington Irving The Devil and Tom Walker The Legend of Sleepy Hollow Rip Van Winkle   Gabriel Garcia Marquez The Handsomest Drowned Man in the World A Very Old Man with Enormous Wings The Woman Who Came at Six O'Clock Eyes of a Blue Dog Death Constant Beyond Love The Autumn of the Patriarch   Ralph Ellison King of the Bingo Game   Saki (Hector Hugh Munro) The Open Window   Joseph Conrad The Secret Sharer   Ernest Hemingway The Short, Happy Life of Francis Macomber Hills Like White Elephants In Another Country A Clean, Well-lighted Place The Snows of Kilimanjaro The Killers Indian Camp The Undefeated   Ray Bradbury ...
Read more

Nadine Gordimer's "Burger's Daughter": Narrative Technique

Image
  The narrative of Nadine Gordimer’s novel Burger’s Daughter is in two modes of narration ; one is a third person narration by the omniscient author , and the other is by Rosa herself . The latter, Rosa's own narration, is very much in the stream-of-consciousness technique . The double discourse of the private disruptive voice and the public conventional tone informs the narrative structure of the novel. The narration alternates between first person and third person- "My version and theirs". The narration by the omniscient author is like a detached record of the happenings in Rosa Burger's life. The opening is a perfect example of this third person narrative: “ Among the group of people waiting at the fortress was a schoolgirl in a brown and yellow uniform holding a green eiderdown quilt and, by the loop at its neck, a red hot-water bottle. ” But at times, even this detached omniscient authoress penetrates into the labyrinths of Rosa Burger's mind to explore th...
Read more