BA' s Blog

Saturday, 16 November 2024

Mahesh Dattani's Final Solution

 Mahesh Dattani's Final Solution 

This blog is based on the activity where we have read and performed the play of Mahesh Dattani's on the stage and have also rehearsal it many a times and it is assigned by Alpa Ponda Mam, Department of English, MKBU.


The which was performed by all the students of batch 2024 Sem 3.




How does Mahesh Dattani manipulate time and space within the dramatic framework of Final Solutions to create meaning?


 Explore the interplay of these elements with specific reference to the stagecraft techniques employed by the playwright. Ans: In the play we find the past and the present of Hardika. When she came to her in-laws home newly married and the experience of her still reflected on the stage through the memory of Hardika. Dattani wonderfully captures the past and the present in his play. In the beginning of the play we might wonder why the Ramnik was so eager to give a job to the Javed but lately we know that the shop belongs to another persona and they burnt the shop and took that from Muslim family. The regret that Ramnik suffers makes him do something good for Javed. In Javed’s case there is a past that he also suffers from. He was a person who was one of the troublemakers in the riots but now he has changed. But others do not let him forget that accident, his humanity does not allow him to kill the Poojari. His background incident in childhood also made him follow such a path but he was misguided. This story told by Bobby adds sympathy for Javed in the audience's heart. There is a wonderful role that is given to the chorus, that becomes the public sometimes they become the members of Hindu and Muslim crowd. This shows the hatred of the people among various religious groups. 





Examine the complexity of guilt experienced by the characters in the play. How does this emotion shape their actions and relationships?

Firstly the character who is more in guilt is Ramnik, because he knows what his father has done to the shop of a Muslim family. So time and again tries to give a job to Javed to get out from the guilt. In the story we also find that due to his guilt he gives shelter to Javed and Bobby.

In Javed’s character there is also a guilt that he was associated with the group that spreads riots. In that he knows whatever he did was wrong but he justified it with what happened to him in childhood.

At last when Hardika gets to know about the wrong deed of her family, she also feels guilty and she asks Ramnik why did he not tell her that before. And he replies that now she only has to live with that for a few years.

Smita also regrets that she misbehaved with Javed in anger, later she gets to know about the past and she feels sorry for him.

Reflect on your journey through Final Solutions as a student of theatre. How did the process of studying, rehearsing, and performing this play shape your understanding and appreciation of theatre?




In the workshop we read the whole play with intonation. There we get to know about the characters and their way. We also tried to read between the lines, and get the essence of the play. In the performance there is altogether a different story, there we have to remember the dialogue.

On the first day when I got to know about my role I gave up on the first day, that I thought I could not remember all the dialogue. But later on I was able to remember the dialogue and then only I was able to put my emotions into that.

While practising the scene with others I also learned to be patient, sometimes I forgot the dialogue sometimes others also forgot the dialogue, at that time we supported each other and gave prompts to one another. I learned to cooperate with others and work as a team.

On the performance day I was a little nervous, in the final rehearsal I performed not quite not well, that makes me more nervous. But in the final performance I performed quite well, so many people praised me. I was happy and satisfied with my performance.

Thank for visiting my blog!!!

















Friday, 15 November 2024

Pravin Gadhvi's Laughing Buddha

 Laughing Buddha

This   blog is based on the Pravin Gadhvi's Poem Laughing Buddha assigned by Prakruti Bhatt Mam, Department of English, MKBU.



Pravin Gadhavi, born on May 13, 1951, serves as an IAS Officer in the Gujarat Government. He is also a renowned writer, with poetry collections titled 'Bayonet' (1985), 'Padchhayo' (1996), and 'Tunir' (2002). His short story compilations include 'Pratiksha' (1995), 'Antarvyatha' (1995), and 'Surajpankhi,' with the latter receiving an award from the Government of Gujarat.



Presented here is the entire poem, "Laughing Buddha", written by Pravin Gadhvi.



(Full Moon day of Buddha's birthday)

There was an

Underground atomic blast on

Buddha's birthday-a day of

Full Moon


Buddha laughed!


What a proper time!

What an auspicious day!


Buddha laughed!


At whom ?


There was a laughter on his

Lips and tears in his

Eyes

He was dumb that day.


See,

Buddha laughed!



Reference of the poem:



On May 18th, 1974, India became one of the few countries in the world to test a nuclear bomb. This big event happened in the desert of Rajasthan, at a place called the Pokhran Test Range. It was given the name "Smiling Buddha". Interestingly, this day was also Buddha Purnima, a very special day for Buddhists because it is the birthday of Siddhartha Gautama, who became the Buddha.

to get more information on operation smiling buddha (Click here)


Here is the answers to the questions related to Pravin Gadhvi's poem  Laughing Buddha 


 Q-1) What should be of a higher moral importance for governing bodies, national security, or basic needs of its citizens? What do you think is Gadhvi's opinion about this?

Response:

National security is important to keep a country safe from external threats. However, people's basic needs—like food, water, healthcare, and education—are crucial for a decent life. 


Gadhvi’s poem focuses on inner peace and harmony, which suggests that he may believe that taking care of citizens' basic needs should come first. If people’s basic needs are met, they can live peacefully, which would naturally make a nation secure.


Overview :While safety is crucial, it's equally important for governments to ensure that people’s basic needs are fulfilled for a truly peaceful society.




Q-2) In light of Henri Bergson's essay titled Laughter : An Essay On The Meaning Of The Comic,  share your thoughts about the possible interpretations of Buddha's laughter in Gadhvi's poem.

Response:

Henri Bergson believed that laughter arises from unexpected situations that don’t fit into our normal life experiences—like seeing someone trip in a funny way. 


In Gadhvi's poem, the Buddha's laughter is unexpected because he’s usually known for wisdom and calmness. His laughter here might reflect how absurd life can be. It could symbolize how life is full of contradictions but still offers moments of joy.


Or, maybe the laughter represents something deeper. It might be Buddha’s way of showing that life, with all its ups and downs, should be taken lightly, encouraging us to find peace even in difficult times.


Overview : Buddha’s laughter might invite us to see life’s contradictions with a lighter, more accepting view.



Q-3)  The rise and fall of significance of a particular moment in history depends on the narrative that is built around it. Discuss this statement with specific reference to Laughing Buddha. 

Response:

The poem talks about India's first nuclear test, called  Smiling Buddha on the Buddha’s birthday. This event was significant for India but happened during a time when many Indians were struggling with poverty. Critics saw it as a misuse of resources.


Initially, people criticized India for focusing on nuclear power instead of helping its citizens. But over time, as India's economic condition improved, later nuclear tests were seen as a sign of strength and progress.


Overview : This shows how the way we narrate history affects its significance. The same event can be viewed differently depending on the context and the stories people tell about it.



 Q-4) Share your interpretation of the lines: "What a proper time! What an auspicious day!"


Response: 

The lines “What a proper time! What an auspicious day!” are deeply ironic. Normally, these words are used to celebrate something good, but here they describe a nuclear explosion on Buddha’s birthday—a day that represents peace and compassion.


By using words like 'proper' and 'auspicious' in this context, the poet makes us question how society can celebrate something so destructive. It’s a powerful way to criticize the gap between our ideals (peace) and our actions (violence).


Overview : These lines highlight the absurdity of celebrating a violent act on a day that’s supposed to symbolize peace, pushing us to rethink what we value as a society.


Thank you for visiting my blog!!!๐Ÿ™‚๐Ÿ™‚๐Ÿ™‚












'Black' movie review

 'Black' Movie Review 

This blog is a part of 'Black' Movie screening in which I will share some point of critical views in this blog.


Here is the trailor of movie ๐Ÿ‘‰.


About Black movie : 

Sanjay Leela Bhansali co-wrote, directed, and co-produced "Black," a 2005 Indian drama film in English and Hindi. The film stars Rani Mukerji and Amitabh Bachchan, with Shernaz Patel and Dhritiman Chatterjee in supporting roles. It centers on Michelle (Mukerji), a woman who is deaf-blind, and her relationship with her teacher Debraj (Bachchan), an elderly alcoholic instructor who later develops Alzheimer's disease. It all started when he met a group of physically challenged youngsters while filming Khamoshi: The Musical in the 1990s.


Helen Keller's life and her autobiography, "The Story of My Life," published in 1903, inspired the story. The film received widespread acclaim from critics, who lauded the narrative, Bhansali's direction, and the performances, particularly those of Bachchan and Mukerji. It won a total of eleven Filmfare Awards, the most for a single film at that time, along with three National Film Awards. Bachchan received awards for Best Feature Film in Hindi and Best Actor. In 2013, "Benim Dรผnyam," a Turkish adaptation, was released.


    "Sanjay Leela Bhansali’s Black is not just a film; it's an experience. It’s a journey into the depths of human spirit, a testament to the indomitable power of the mind, and a stark portrayal of the complexities of the teacher-student relationship."


Disability Perspective: 


The film explores the profound challenges faced by Michelle, portrayed by Rani Mukerji, as she navigates a world of darkness and silence. Her disability is portrayed with depth, focusing on her internal experiences and her relentless quest to communicate and connect.

Debraj’s Philosophy


Dialogue: 

               

                “Life is an ice cream. Enjoy it before it melts.”


in this dialogue, Debraj shares this metaphor with Michelle, encouraging her to embrace life and its fleeting moments. This line reflects Debraj’s philosophy of living life to the fullest, despite its challenges and impermanence.


Michelle’s First Word: 


While watching this scene from the movie, we realized that after much struggle and persistence, Michelle finally uttered her first word, "water," as she felt the water flow over her hands.


This moment is a breakthrough in Michelle’s education and communication. It symbolizes the beginning of her journey towards understanding and interacting with the world.


From a cinematographic perspective, this frame utilizes close-up shots of Michelle's hands and face to capture the intense emotions and the pivotal nature of the moment. The lighting is deliberately bright, symbolizing enlightenment and hope.


The Teacher and the Student: A Complex Dynamic


The movie is mainly about the complicated relationship between Debraj and Michelle. They fight a lot but also deeply care for each other. Amitabh Bachchan plays Debraj, a very smart but troubled man who wants to make a big difference. Rani Mukerji plays Michelle, and she shows how much she's feeling without saying much. Her face tells a powerful story.


The Role of the Teacher & The Power of Human Connection: 


Debraj Sahai is not just a teacher; he is a catalyst for change. His character challenges the traditional role of a teacher, moving beyond the mere imparting of knowledge. He becomes a surrogate parent, a therapist, and a relentless advocate for his student. The film emphasizes the importance of teachers as mentors and role models.

At its core, Black is a story about human connection. The bond between Debraj and Michelle is a testament to the power of empathy and understanding. The film suggests that it is through these connections that we find meaning and purpose in life.


Black also touches upon the theme of intergenerational relationships. The film explores the complexities of the bond between teacher and student, as well as the challenges faced by older generations in adapting to a changing world.

A Window into Child Psychology: 


Black is a powerful exploration of child psychology. It delves into the world of a child who is denied the basic human senses. Michelle's behavior, her rage, her frustrations, are all manifestations of a mind trapped in a silent, dark prison. The film underscores the importance of early intervention and specialized education for children with disabilities.


Inspirational Value:

Black is undeniably uplifting, showcasing the triumph of the human spirit against seemingly insurmountable challenges. Michelle’s journey from a world shrouded in darkness and silence to one filled with communication and connection exemplifies the transformative power of education and sheer determination. The film inspires viewers to look beyond disabilities, urging them to recognize the untapped potential within every individual. It also highlights the significant role of dedicated educators in changing lives, making it a compelling watch for those who believe in the transformative power of teaching and learning.


A Film Worth Watching?

Absolutely, Black is a film that lingers in your mind long after the credits fade. It challenges your perceptions, provokes deep thought, and ultimately fills you with a sense of hope. At its core, it’s a story of resilience, human connection, and the unyielding power of love. It’s not merely a film but a call to action, reminding us that even in the darkest moments, there is always a glimmer of hope. It embodies the belief that every person, no matter their circumstances, holds the potential to achieve greatness.


Conclusion:

In summary, Black  stands as a cinematic masterpiece that delves deeply into themes of disability, education, and the human spirit. Its compelling performances, innovative teaching approaches, and nuanced exploration of child psychology make it a film worth experiencing. The inspirational essence of the film is rooted in its celebration of resilience and the profound impact of education. With Bhansali’s masterful direction and breathtaking cinematography, Black  becomes a must-watch for anyone in search of a deeply emotional and thought-provoking cinematic journey. 

Thank you for visiting!!! ๐Ÿ™‚ ๐Ÿ™‚ 


Wednesday, 13 November 2024

Short Stories by R.K. Narayan

Short Stories by R.K. Narayan

This blog is a part of thinking activity task assigned by Megha Trivedi Mam, Department of English, MKBU.

An Astrologer's Day is a Short Story 


AN ASTROLOGER'S DAY

Punctually at midday he opened his bag and spread out his professional equipment, which consisted of a dozen cowrie shells, a square piece of cloth with obscure mystic charts on it, a notebook, and a bundle of palmyra writing. His forehead was resplendent with sacred ash and vermilion, and his eyes sparkled with a sharp, abnormal gleam which was really an outcome of a continual searching look for customers, but which his simple clients took to be a prophetic light and felt comforted.
The power of his eyes was considerably enhanced by their position—placed as they were between the painted forehead and the dark whiskers which streamed down his cheeks: even a half-wit’s eyes would sparkle in such a setting. To crown the effect he wound a saffron-colored turban around his head. This color scheme never failed.
People were attracted to him as bees are attracted to cosmos or dahlia stalks. He sat under the boughs of a spreading tamarind tree which flanked a path running through the town hall park. It was a remarkable place in many ways: a surging crowd was always moving up and down this narrow road morning till night. A variety of trades and occupations was represented all along its way: medicine sellers, sellers of stolen hardware and junk, magicians, and, above all, an auctioneer of cheap cloth, who created enough din all day to attract the whole town. Next to him in vociferousness came a vendor of fried groundnut, who gave his ware a fancy name each day, calling it “Bombay Ice Cream” one day, and on the next “Delhi Almond,” and on the third “Raja’s Delicacy,” and so on and so forth, and people flocked to him. A considerable portion of this crowd dallied before the astrologer too. The astrologer transacted his business by the light of a flare which crackled and smoked up above the groundnut heap nearby.
Half the enchantment of the place was due to the fact that it did not have the benefit of municipal lighting. The place was lit up by shop lights. One or two had hissing gaslights, some had naked flares stuck on poles, some were lit up by old cycle lamps, and one or two, like the astrologer’s, managed without lights of their own. It was a bewildering crisscross of light rays and moving shadows. This suited the astrologer very well, for the simple reason that he had not in the least intended to be an astrologer when he began life; and he knew no more of what was going to happen to others than he knew what was going to happen to himself next minute. He was as much a stranger to the stars as were his innocent customers. Yet he said things which pleased and astonished everyone: that was more a matter of study, practice, and shrewd guesswork. All the same, it was as much an honest man’s labor as any other, and he deserved the wages he carried home at the end of a day.
He had left his village without any previous thought or plan. If he had continued there he would have carried on the work of his forefathers—namely, tilling the land, living, marrying, and ripening in his cornfield and ancestral home. But that was not to be. He had to leave home without telling anyone, and he could not rest till he left it behind a couple of hundred miles. To a villager it is a great deal, as if an ocean flowed between.
He had a working analysis of mankind’s troubles: marriage, money, and the tangles of human ties. Long practice had sharpened his perception. Within five minutes he understood what was wrong. He charged three paise8 per question, never opened his mouth till the other had spoken for at least ten minutes, which provided him enough stuff for a dozen answers and advices. When he told the person before him, gazing at his palm, “In many ways you are not getting the results for your efforts,” nine out of ten were disposed to agree with him. Or he questioned: “Is there any woman in your family, maybe even a distant relative, who is not well disposed towards you?” Or he gave an analysis of character: “Most of your troubles are due to your nature. How can you be otherwise with Saturn where he is? You have an impetuous nature and a rough exterior.” This endeared him to their hearts immediately, for even the mildest of us loves to think that he has a forbidding exterior.
The nuts vendor blew out his flare and rose to go home. This was a signal for the astrologer to bundle up too, since it left him in darkness except for a little shaft of green light which strayed in from somewhere and touched the ground before him. He picked up his cowrie shells and paraphernalia and was putting them back into his bag when the green shaft of light was blotted out; he looked up and saw a man standing before him. He sensed a possible client and said, “You look so careworn. It will do you good to sit down for a while and chat with me.” The other grumbled some reply vaguely. The astrologer pressed his invitation; whereupon the other thrust his palm under his nose, saying, “You call yourself an astrologer?” The astrologer felt challenged and said, tilting the other’s palm towards the green shaft of light, “Yours is a nature ...” “Oh, stop that,” the other said. “Tell me something worthwhile....”
Our friend felt piqued. “I charge only three paise per question, and what you get ought to be good enough for your money....” At this the other withdrew his arm, took out an anna, and flung it out to him, saying, “I have some questions to ask. If I prove you are bluffing, you must return that anna to me with interest.”
“If you find my answers satisfactory, will you give me five rupees?”
“No.”
“Or will you give me eight annas?”
“All right, provided you give me twice as much if you are wrong,” said the stranger. This pact was accepted after a little further argument. The astrologer sent up a prayer to heaven as the other lit a cheroot. The astrologer caught a glimpse of his face by the match light. There was a pause as cars hooted on the road, jutka drivers swore at their horses, and the babble of the crowd agitated the semidarkness of the park. The other sat down, sucking his cheroot, puffing out, sat there ruthlessly. The astrologer felt very uncomfortable. “Here, take your anna back. I am not used to such challenges. It is late for me today....”
He made preparations to bundle up. The other held his wrist and said, “You can’t get out of it now. You dragged me in while I was passing.” The astrologer shivered in his grip; and his voice shook and became faint. “Leave me today. I will speak to you tomorrow.” The other thrust his palm in his face and said, “Challenge is challenge. Go on.” The astrologer proceeded with his throat drying up, “There is a woman ...”
“Stop,” said the other “I don’t want all that. Shall I succeed in my present search or not? Answer this and go. Otherwise I will not let you go till you disgorge all your coins.” The astrologer muttered a few incantations and replied, “All right. I will speak. But will you give me a rupee if what I say is convincing? Otherwise I will not open my mouth, and you may do what you like.” After a good deal of haggling the other agreed. The astrologer said, “You were left for dead. Am I right?”
“Ah, tell me more.”
“A knife has passed through you once?” said the astrologer.
“Good fellow!” He bared his chest to show the scar. “What else?”
“And then you were pushed into a well nearby in the field. You were left for dead.”
“I should have been dead if some passerby had not chanced to peep into the well,” exclaimed the other, overwhelmed by enthusiasm. “When shall I get at him?” he asked, clenching his fist.
“In the next world,” answered the astrologer. “He died four months ago in a far-off town. You will never see any more of him.” The other groaned on hearing it. The astrologer proceeded:
“Guru Nayak—”
“You know my name!” the other said, taken aback.
“As I know all other things. Guru Nayak, listen carefully to what I have to say. Your village is two days’ journey due north of this town. Take the next train and be gone. I see once again great danger to your life if you go from home.” He took out a pinch of sacred ash and held it to him. “Rub it on your forehead and go home. Never travel southward again, and you will live to be a hundred.”
“Why should I leave home again?” the other said reflectively. “I was only going away now and then to look for him and to choke out his life if I met him.” He shook his head regretfully. “He has escaped my hands. I hope at least he died as he deserved.” “Yes,” said the astrologer. “He was crushed under a lorry.” The other looked gratified to hear it.
The place was deserted by the time the astrologer picked up his articles and put them into his bag. The green shaft was also gone, leaving the place in darkness and silence. The stranger had gone off into the night, after giving the astrologer a handful of coins.
It was nearly midnight when the astrologer reached home. His wife was waiting for him at the door and demanded an explanation. He flung the coins at her and said, “Count them. One man gave all that.”
“Twelve and a half annas,” she said, counting. She was overjoyed. “I can buy some jaggery and coconut tomorrow. The child has been asking for sweets for so many days now. I will prepare some nice stuff for her.” “The swine has cheated me! He promised me a rupee,” said the astrologer. She looked up at him. “You look worried. What is wrong?”
“Nothing.”
After dinner, sitting on the pyol, he told her, “Do you know a great load is gone from me today? I thought I had the blood of a man on my hands all these years. That was the reason why I ran away from home, settled here, and married you. He is alive.”
She gasped. “You tried to kill!”
“Yes, in our village, when I was a silly youngster. We drank, gambled, and quarreled badly one day—why think of it now? Time to sleep,” he said, yawning, and stretched himself on the pyol.


2)Crime and Punishment 



R.K. Narayan 



Rasipuram Krishnaswami Narayan famously known as R.K. Narayan, was an Indian writer and novelist known for his work set in the fictional South Indian town of Malgudi.

Born : 10, October 1906, Chennai
Died : 13, May 2001, Chennai
Awards : Filmfare Award for Best Story, Padma Vibhushan, Padma Bhushan
Education : Maharaja's College, University of Mysore. 

Crime and Punishment : 

Crime and Punishment is a short story 

The teacher child relationship is humorously presented in the story. The child gives repeated wrong answers on purpose. But the teacher is not in a position to enjoy his playful behaviour. In a sudden response he slaps on the child's cheek. He threatens him to report the matter to his parents. The teacher asks him to be bold like a soldier and take it silly. He replies, "A soldier will shoot with a gun if he is hit." What follows is the teacher being blackmailed for his crime. He is made to play the station master and tell stories. Already exhausted with work he refuses to obey him. The child runs out to the parents and the teacher follows. He runs after him around the garden three times and collapses on the portico step. The twist in the story happens when the parents come out and enquire about his maths test. The word 'test' frightens the child and he hides behind his parents, begging the teacher to not betray him. The teacher is relieved and says he is catching up. The teacher saves the student and in turn saves himself from his crime.


Here are the suitable examples of movies, novels or short stories related to R.K. Narayana crime and Punishment 
(generated with the help of Chatgpt)


1. Movies

To Sir, with Love (1967):

 This film, starring Sidney Poitier, deals with the dynamics between a teacher and rebellious students. The story explores respect, discipline, and personal transformation, though with a more positive outcome compared to Narayan’s story.

Dead Poets Society (1989):

 While not directly about crime or punishment, this film focuses on the influence a teacher has over his students, which leads to unintended consequences, touching on themes of authority and guilt.
Whiplash (2014): A powerful film about the intense relationship between a demanding music teacher and his student. The psychological tension and abuse of authority echo the teacher-student dynamic in Narayan’s story, exploring the lengths one might go to achieve success.

2. Novels

Lord of the Flies by William Golding: 

This novel explores the dark side of human nature when left unchecked by societal rules. It reflects on authority, punishment, and the moral dilemmas of leadership, somewhat parallel to the moral questioning in Narayan's story.

The Remains of the Day by Kazuo Ishiguro:

 Although centered on a butler’s reflections on his life, the novel deals with obedience to authority and the resulting guilt. It explores the moral implications of actions taken under the guise of duty.

Hard Times by Charles Dickens: 

This novel critiques the rigid education system in Victorian England and the power wielded by educators, similar to the teacher's authority over the student in Crime and Punishment.

3. Short Stories

The Use of Force by William Carlos Williams:

 This short story revolves around a doctor's forceful attempt to examine a sick child. It delves into the dynamics of power, authority, and moral ambiguity, akin to Narayan’s exploration of the teacher-student relationship.

The Lottery by Shirley Jackson:

 Although this story deals with a different setting, it explores the theme of authority and societal norms, showing how individuals justify cruel acts under the guise of tradition.

The Lesson by Toni Cade Bambara: 

This story highlights the power dynamics between a teacher and students, focusing on themes of education, authority, and social inequalities.

These examples explore themes similar to those in Narayan’s Crime and Punishment, such as authority, power imbalance, guilt, and the consequences of one's actions.

Thank you for visiting my blog and it will be useful to you !!!

Monday, 11 November 2024

Marginalization in Shakespeare’s Hamlet and Stoppard’s Rosencrantz and Guildenstern Are Dead

 Thinking Activity: 

Exploring Marginalization in Shakespeare’s Hamlet and Stoppard’s Rosencrantz and Guildenstern Are Dead

This blog is a part of thinking activity assigned by Professor Dr.Dilip Barad Sir which is based on Cultural studies.


1. Marginalization in Hamlet 

o Describe how Rosencrantz and Guildenstern represent marginal figures in Hamlet. How does Hamlet’s reference to Rosencrantz as a “sponge” reflect their expendability in the power dynamics of the play?

Response : 

In Hamlet, Rosencrantz and Guildenstern are depicted as minor characters with little power or agency. They are used by King Claudius to spy on Hamlet, showing their lack of independence and purpose. Hamlet calling Rosencrantz a "sponge" highlights how easily they are used and discarded by those in power. Just like a sponge absorbs and is later squeezed dry, these characters serve Claudius’ needs until they are no longer useful, at which point they are cast aside, eventually leading to their deaths.


2. Modern Parallels to Corporate Power 

o The passage compares Rosencrantz and Guildenstern to modern workers impacted by corporate downsizing and globalization. Reflect on this parallel: How does their fate in Hamlet mirror the displacement experienced by workers when multinational companies relocate or downsize? 

Response: 

The fate of Rosencrantz and Guildenstern in the play can be likened to modern-day workers affected by corporate downsizing or globalization. Just as these characters are manipulated by the king and then discarded, employees today can feel like expendable resources when companies relocate or cut jobs to save money. These workers, much like Rosencrantz and Guildenstern, often have little control over their fate, being moved around like chess pieces by those in Power.


3. Existential Questions in Stoppard’s Re-interpretation  

o In Rosencrantz and Guildenstern Are Dead, Stoppard deepens their marginalization by questioning their existence and purpose. Why might Stoppard emphasize their search for meaning in a world indifferent to them? How does this mirror the feeling of powerlessness in today’s corporate environments?

Response :

In Tom Stoppard’s Rosencrantz and Guildenstern Are Dead, the characters are even more marginalized as they question the meaning of their existence. Stoppard focuses on their confusion and lack of control over their lives, highlighting the existential crisis of trying to find meaning in a world that seems indifferent. This mirrors the sense of powerlessness that many people today experience in large corporations where they feel like insignificant parts of a much larger, impersonal machine. 


4. Cultural and Economic Power Structures 

o Compare Shakespeare’s treatment of power in Hamlet to Stoppard’s reimagining. How does each work critique systems that marginalize “little people”? How might Stoppard’s existential take resonate with contemporary issues of job insecurity and corporate control?

Response :

Both Shakespeare and Stoppard critique how those in power marginalize the "little people." In Hamlet, the focus is on how kings and princes use others for their own ends, while Stoppard shifts the focus to existential and philosophical questions, relevant to modern issues like job insecurity. Stoppard’s portrayal resonates with today’s world, where workers can feel powerless in the face of corporate decisions that prioritize profits over people.


5. Personal Reflection 

o How does the marginalization of Rosencrantz and Guildenstern in Hamlet relate to the modern experience of being seen as a dispensable “asset”? Reflect on how these parallels shape your understanding of Cultural Studies and power dynamics.

Response :

The way Rosencrantz and Guildenstern are treated in Hamlet as expendable reflects how some employees are seen in modern companies—as disposable "assets" rather than people with value. This realization deepens our understanding of Cultural Studies by showing how power structures can marginalize individuals, whether in literature or in real life. It reveals the harsh reality of power dynamics, where the less powerful are often at the mercy of those who control resources and decisions.





Sunday, 13 October 2024

The Kurse or Karna


 The Kurse or Karna

In this blog I am going to deal with the thinking activity task of The Curse or Karna assigned by Megha Mam. Department of English, MKBU.

Q.1) Karna : The Voice of Subalertern 

The Subalertern Theory

Spivak refers to women, black people, colonised people, and the working class as "subaltern.Her use of the term "subaltern" was influenced by Italian academic Antonio Gramsci. Gramsci frequently alluded to a submissive position in aspects of class, gender, race, and culture. Spivak's article Can the Subaltern Speak? focuses on how the 'subaltern woman is portrayed as detached, dumb, or unheard. Her work is mostly concerned With women's "muteness" in postcolonial settings. 

Karna :  'The voice of Subaltern'

The story of Karna begins with the misfortune of his secret birth and unfolds itself amidst the unremitting gloom of injustice and insult.

The intriguing story of a hero who despite being born to royalty was cast away by his mother brought up lovingly by a lowly charioteer and his wite, his whole life was one great struggle against cruel destiny and all the odds placed in his way by the inequities of his time. 

On the psychological front, the stigma of his perceived lineage never left him. It required Adhiratha his father, to quote him the equally tragic story of Ekalavya to bring him out of depression into which Guru Dronacharya's rejection for his enrolment for higher studies had pushed him. His psyche again suffered a setback when he was debarred from the tournament on the basis of his lineage, despite being the best performer of the day.

Another big shock came his way in the Swayamvar of Draupadi. The biggest ambition of any warrior is to display his powers in battle. But cruel fate even denied him that privilege when he was forced to sit out of the Kurukshetra war for the first ten days. He might have looked normal from the outside but his inner personality was surely impacted by these and many other tragedies.

He was rejected and insulted by society at every step, he developed some flaws engendered by a defiant spirit and nurtured by association with the devil designs of Duryodhana. his benefactor prince. But those very things seem to enhance. and enliven the appeal of his character


At every stage in his life he had to endure immense hardships and yet, never did he deter from the path of righteousness. The various sacrifices he made were only one aspect of his towering, though complex personality. Sometimes it was hard to believe to what extent he could drive himself to adhere to his principles of not sending anybody back empty-handed from his presence. 

His commitment to his principal's generosity was so strong that he knew that he was virtually giving away his own life to Indra in the shape of his armour and earrings despite having been warned beforehand by Surya-deva, his divine father. In another instance, he broke the sandalwood panels of his own palace for charity, when he could not otherwise procure the sandalwood demanded by an old Brahmin.


Before him, all of the Kaurava, as well as Pandava princes, including Arjuna, had pleaded helplessness in meeting the Brahmin's request. because of the non-availability of sandalwood in Hastinapura. The commitment to his principles was so deeply embedded in his psyche. that he could not breach the same even in the thick of battle and i his worst nightmares. 


Q.2 ) Various themes of the Kurse or Karna.


Karma and reward 

One of the interesting themes I found is karma and rewards Karna as we know that he has a sad story scene in his childhood. He is the son of Kunti and Surya and he lived with the Bramhin family. As a ‘ yoddha’ is greater than Arjun as well but he has tragedy in his life. So here we can not find justice. So What're karma he did, he rewarded just sadness and disappointment in life. Here I am mentioning some of the original lines. 


“Forgive my sin, rever’d, loved Gurujee! For- give th’ unwitting sin of a child—a child that all these years hath found father, mother, brother, kith and kin in none but thee! Oh! Woe is me! “


“POOR KARNA! POOR, POOR KARNA!”

 Theme of curse


As we see, the theme of curse can be seen in this work of T. P. Kailasam. Karna wanted to learn archery and other Vidhyas from Parshurama. But Parshurama can teach only brahmins. And in the end we see Karna get the curse by Parshurama because he lied about his true identity. 


Theme of casteism


From ancient times this topic can be considered as the talk of the Town. Upper class only have the right to receive education, use of public places, respect etc, this all is for rich and upper class people. So we can see that in this work Karna took education by lying that he belongs to Kshatriya Kul. If he tells the truth to Parshurama, he won't be able to take education because at that time people were very casteist. Class did matter a lot to them (today also some people are casteist). So the theme of casteism is also a possible theme of "The Curse". 


1. Caste Discrimination 

This is practiced in India since ancient times & we see this when Guru Drona denied Karna and Eklavya to teach Dhanurvidya. Such discrimination is not good. All humans have the same blood and humanity is the highest religion. We should not encourage building such walls on caste basis or racism, rather we should try to get equal rights for all humans. 


2. Guru Dakshina

Eklavya learned the art of archery by himself when Guru Drona refused to teach him. He observed Guru Drona secretly, made his idol and with all his devotion, he excelled in the archery skills. As he learned archery without the permission of Drona, so it was considered as an act of stealing knowledge. Hence Drona demanded Ekalavya of his thumb as Guru Dakshina. At this Eklavya willingly gave his thumb without any hesitation. Here we see the true devotion of Eklavya towards his Guru.


Casteism 

We can find this theme in the play by T.P. Kailasam. This theme play vital role in the play. We find this theme in the scene where Karna goes to Drona to become his student to learn vidya from him. But because he wasn't kshatriya Drona rejects him to become his shishya. He denied to Karna. We can discover here casteism that Drona allows only selected cast which is kshatriya.


The Betrayal 

The theme appears in the scene where Kunti betrays Karna. Karna was her elder son whom she receives by using the mantra given by Surya dev. She wasn't ready to become single mother or mother before marriage that's why she leaves Karna in river. So we see that the theme of betraying appears here.

1.Education system in India with reference to Past and Present time

In the society there is a cast system and class system. So who deserves something to get in a real sense that gain nothing but pain.Education is one of the field we can see this kind of partiality. Movie is one medium to show this we have many movies like Super 30,


        " เค•ोเคจ เคคोเคกेเค—ा เคฏे เคชเคฐंเคชเคฐा? เคฆ्เคฐौเคฃाเคšाเคฐ्เคฏ เคคो เคนเคฎेเคถा เคฐाเคœा เค•े เคนी เคธाเคฅ เคฅे เค”เคฐ เค†เค—े เคญी เคฐเคนेंเค—े।เคเค•เคฒเคต्เคฏ เค•ा เค…เค—ुंเค ा เค•เคŸเคตाเคคे เคฐเคนेंเค—े เค”เคฐ เค…เคฐ्เคœुเคจ เค•ो เคฌเคกा เคฏोเคฆ्เคงा เค•เคนेเคฒเคตाเคคे เคฐเคนेंเค—े ।"


    In a past time who belongs to Brahmin or Kshatriya they can learn all kind of vidhya. Who are not belongs the upper class they have no right to learn. Other exam of we can say the 'Karna' another character from Mahabharata. Kai

lasam wrote upon him also. 


Thank you and I hope it will be helpful to you!!!





Wednesday, 2 October 2024

ThA: CS-1 - Cultural Studies, Media, Power, and the Truly Educated Person

ThA: CS-1 - Cultural Studies, Media, Power, and the Truly Educated Person

This blog is thinking activity task assigned by Professor Dr. Dilip Barad Sir in which I am going to describe my own point of views.

First let's start with Power

What is power?

- ability to do or act; capability of doing or accomplishing something.

- In one word Capacity

- In cultural studies, power refers to the ability to influence or control the behavior, beliefs, and values within a society. It is not just about direct political or economic control but extends to more subtle forms of social control through culture, ideology, and representation. Cultural studies examine how power operates through institutions like media, education, and popular culture, shaping our understanding of identity, race, gender, class, and nationhood.

Thinkers like Michel Foucault emphasized that power is not just repressive but also productive—it shapes knowledge, discourse, and how people view the world. Power in cultural studies is often diffuse and decentralized, operating through societal norms, language, and cultural practices. It also ties into issues of resistance, as groups can challenge or negotiate these power dynamics through countercultures, alternative media, or political activism.

This concept of power helps to understand how dominant ideologies perpetuate inequalities and how marginalized groups can resist or subvert these structures.



Assignment 210A : Research Project Writing : Dissertation Writing

 Assignment 210A : Research Project Writing : Dissertation Writing This blog is a part of Assignment writing in which I will discuss about m...