This blog is an experiment in using blogs in higher education. Most of the experiments done here are the first of their kind at least in India. I wish this trend catches on.... The Blog is dedicated to Anup Dhar and Lawrence Liang whose work has influenced many like me . . . .
Sunday, September 12, 2010
Digital Initiatives in Higher Education
Guest Lecture on Indian Psychology by Anup Kumar Dhar
Monday, September 06, 2010
A Response to Jijo's write on Zizek
Click here for Jijo's write up
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Thursday, September 02, 2010
II Year JPEng Questions from American Literature Course
Monday, August 30, 2010
'When was Modernism'/ Report / MA Previous
Report by: Basreena Basheer
Raymond Williams was a welsh academic, critic and novelist. He is widely credited for the introduction of cultural studies and the cultural materialistic approach. His major works include Culture and Society (1958), The Long Revolution (1961), Marxism and Literature (1977).
In the lecture that was given on 17 March 1987 at the
In his lecture, Williams tries to confiscate the romantic element off the modernist movement. One problem with the selective appropriation of the movement is that in giving credit to only few writers who departed from conventional writing tradition, the older traditional writers are ignored. What is being overlooked here is the fact that without the older traditional writers, modernism could not have happened. In Williams’ words, “writers are applauded for their denaturalizing of language, their break with the allegedly prior view that language is clear, and for their making apparent in the narrative the problematic status of the author and his authority. But in excluding the great realists, this version of modernism refuses to see how they devised and organized a whole vocabulary and its structure of figures of speech with which to grasp the unprecedented social form of the industrial city.”
One possible explanation for this selective appropriation according to Williams was the change in the media of cultural production in the late nineteenth century and their ideological consequences. Photography, cinema, radio and television were gaining wide scale importance during that time. The public was getting increasingly drawn by these new mediums. Hence the sudden change in the field of arts and aesthetics was a reaction reacting to the sudden progression of media as an effort to defend their own territories. Therefore innovations like the stream of consciousness, interior monologue and the like.
In addition to this, this so called cultural reformation occurred only in the metropolitan cities, the new centers of imperialism such as
WORKS CITED:
Pinto, Anil. Lecture notes.
Williams, Raymond. “When was Modernism?” Art in Modern culture: An Anthology of Critical Texts. Eds. Francis Franscina, and Jonathan Harris.
http://en.wikipedia.org/wiki/Raymond_Williams.nd.web.09 august 2010
http://www.users.zetnet.co.uk/amroth/scritti/willaims.htm.nd.09 august 2010
Wednesday, August 25, 2010
MA Western Aesthetics CIA 3 - Audio-visual Presentation
How to Approach Your Research- For MA Previous
Tuesday, August 24, 2010
The digital classroom is here - Bangalore - DNA
The digital classroom is here - Bangalore - DNA by Shruti Gautham on 23 Aug 2010
Blogging and pinging a change by Noopur Raval on 23 Aug 2010
Tuesday, August 17, 2010
Global Virtual Conference on Technology for Blended and Distributed Education
Live blogging by CoverItLive. The conference is also being streamed live on UStream.tv
Thursday, August 12, 2010
Mid Semester Materials for V semester students of Literary Theory
V Semester Literary theory class notes 2
Structuralism notes by Anusha R.
Ferdinand De Saussure
Syntagm and paradigm
Claude Levis Strauss
Related links
Mapping the essay (Saussure
Levis Strauss
Humanist Literary Theory
Formalism
mid sem portions
works of Terry Eagleton
Literature as a construct
Birith of literature
Creative writing and Day Dreaming by Freud
more of Creative writing and Day dreaming
Psychoanalytic Approach
What is Literature by Terry Eagleton
What is literature?- Terry Eagleton
Mr. Pinto said "if there is any theory answers this question it must encompass all its dimensions, and even if one of the dimensions is missing the theory fails.
Terry Eagleton, in his essay challenges all the definitions of Literature that have been put forth and challenges the basic understanding of literature that we have. In fact he rejects the idea of any "basic understanding" of what is literature.
Literature as Imaginative writing
- He begins with Literature being defined as imaginative writing.
- With imaginative/fictional/creative writing such as works by Shakespeare, Milton etc. other works which were not exactly fiction or imaginative writing were included as a part for English Literature. Example: Sermons of John Donne, Madame De Sevigne's letters to her daughter, philosophy of Descartes and Pascal.
- There was no clear distinction between 'fact' and 'fiction'.
- In the late 16th and early 17th century 'novel' used both factual and fictional events and even news reports were not considered purely factual.
- Genesis read as fact by some and fiction by others. Therefore no clear cut difference between fact and fiction.
- Moreover if one still goes by this definition, there are many works of fiction that are not considered to be Literature. Example: Mills and boon, Superman comics, Sidney Sheldon.
- "If literature is 'creative' or 'imaginitive' writing, does this imply that history, philosophy and natural science are uncreative and unimaginative?"
Literature as 'writing' that uses peculiar language
- It is because Literature uses the language in peculiar ways that it is different from everyday 'normal' way of speech.
- Roman Jakobson, speaks of Literature as "organised violence committed on ordinary speech".
- Disproportion between signifier and signified: A mismatch between the signifier and the signified. For example when in Macbeth you read the line "tomorrow and tomorrow and tomorrow..." you know that the character is talking of eternal bore dome and not of the literal meaning of the word 'tomorrow' therefore creating a mismatch in the signifier (tomorrow) and the signified (the next day).
- By bringing in peculiarity the language draws attention to itself. This is the reason when you read a fairy tale that starts with "Once upon a time..." you know that there is no real history associated with the line but it refers to a time in the story therefore drawing attention to itself or the text present in front of you.
- "The formalists started out by seeing the literary work as a more of less arbitrary assemblage of 'devices' , and only later came to see these devices as interrelated elements or 'functions' within a total textual system.
- These devices included imagery, sound, rhythm, syntax, metre, rhyme, narrative techniques etc.
- These devices were used as literary elements to 'defamiliarise' or 'estragement'.
- In other words "It was language 'made strange'; and because of this estrangement, the everyday world was also suddenly made unfamiliar".
- What he is trying to imply here is that in our everyday routine we get so used to the usual things that we hardly notice them, we become "as Formalists would say 'automatised', Literature, by forcing us into a dramatic awareness of language, refreshes these habitual responses and renders objects more perceptile."
- By defamiliarising or alienating us from the text or ordinary speech gives a fuller understand or a kind of revelation or the same experience. Its like after you have a fight or an argument, you sit alone and do a flashback of what happened and you try to hear your own words and put yourself in the other person's shoes and realise the damage that you might have done by saying certain things. In this process you are looking at your behaviour from outside, or other person's perspective, hence estranging yourself from you, and in the process gaining a better understanding of yourself.
- "Most of the time we breathe in air without being conscious of it: like language, it is the very medium in which we move. But if the air is suddenly thickened or infected we are forced to attend to our breathing with new vigilance and the effect of this may be a heightened experience of our bodily life.”
- Then literature was looked by the formalists as a 'special' kind of language in contrast to the 'ordinary' language that we commonly use.
- But the problem here arises is that there is no universal 'ordinary' language. In other words the so called ordinary/common language is different for different classes, gender, region, status and so on.
- "One person's norm may be another deviation"
- Same is the case with 'estrangement' mentioned earlier. A piece of writing might estranging is one context or community but not so in certain other. Example: in a particular society if everyone uses the sentence "shall I compare thee to a summer's day.." in everyday life it will not be estranging to that society anymore.
- "Anyone who believes that 'literature' can be defined by such special uses of language has to face the fact that there is more metaphor in Manchester than there is in Marvell. There is no 'literary' device - metonymy, synecdoche, litotes and so on- which are not quite intensively used in daily discourse"
- Another reason why considering 'estrangement' as the definition is problematic is that any piece of writing or sentence can be read as estranging.
- Example: a sign that reads -'Dogs must be carried on the escalator.' as unambiguous as it seems at first a close look at it reveals its ambiguity. Does it mean that you must carry a dog on the escalator, and in failing to do so you will be banned from the escalator?
- Also a drunk person may see hidden meanings in various hoardings or even road signs giving it cosmic significance.
- When we read a poem referring to a woman as lovely as a rose, the poet is telling about women and love in general. Therefore we look at literature as non-pragmatic/practical as against a physics textbook.
- The problem with this way of defining is that non-practicality of a text cannot be defined objectively. Which means that it depends on how a reader prefers to read the text.
- A reader can prefer to read Gibbon's account of Roman empire for information or prose style and so on.
- "A piece of writing may start off like life as history or philosophy and then come to be ranked as literature; or it may start off as literature and them come to be valued for its archaeological significance."
- "What matters may not be where you came from but how people treat you."
- Therefore, Eagleton says, there is no essence of literature because any writing can be read non-pragmatically.
- Consider literature as being a highly valued kind of writing. If this were true, then any writing can be considered as literature. For me a letter written by my mother to be will hold a value higher than any piece of writing by Shakespeare. Therefore a value given to any writing must be subjective.
- Values on the other hand are variable and change from time to time.
- "The so-called 'literary canon', the unquestioned 'great tradition' of the 'national literature', has to be recognised as a construct, fashioned by particular people for particular time. There is no such thing as a literary work or tradition which is valuable in itself, regardless of what anyone might have said or come to say about it."
- By which Eagleton suggests that the value that any writing enjoys is the value given to it by certain literary canon, or authority and is subject to change.
- Yet here he also says that value- judgements are unstable does not mean that they are subjective.
- Value-judgements depends on the value system and social ideologies that one belongs to.
I think that this a very clear case of what Derrida calls Deconstruction, where Terry Eagleton has picked 'literature' and by taking all the existing definitions he has proved that there is nothing called literature.
Creative Writers and Daydreaming by Sigmund Freud
In 'Creative Writers and Daydreaming', Freud's basic question is where does the creative writer draw his material from? And, how do they evoke emotions in us through their writing? To understand this, he tries to find an activity that comes close to that of creative writing. He finds this in child's play as even a child creates a world of his own. The child links his imagination to tangible objects in the world.
When we grow up, this 'play' has to stop and so we have to give up pleasure. This, according to Freud is very hard to do once we have experienced pleasure. Therefore, as a substitute to playing, we indulge in fantasizing or daydreaming. Unlike the child however, the adult is ashamed of his fantasies and hides them from everyone.
To explain this further, Freud puts down few important characteristics of fantasizing. The source of fantasies is unsatisfied wishes, which are fulfilled by means of these fantasies. There are two kinds of fantasies, (1) ambiguous wishes that "elevate the subject's personality", and (2) erotic fantasies. For men, ambitious wishes are predominant while for women, it is erotic ones. He goes on to say that daydreams, just like dreams at night, function as wish fulfilment. The difference is that the repressed wishes expressed in night dreams are desires that we are ashamed of and so, conceal them from even ourselves.
Freud now connects this act to daydreaming with the creative process. He calls the creative writer, "dreamer in broad daylight". He focuses his discussion on authors of popular novels and romances rather than classics. He says that one common feature of all these works in the central character or hero. The hero's journey becomes the journey of the ego of the writers as well as readers. From here, he goes on to suggest, that a piece of creative writing (like daydreams), is a substitute for child's play.
Next, Freud talks of those writers who get their material from folk tales and myths. In such cases, too, the author expresses himself in the choice of material and in the subtle changes he introduces. Even if he does not change the myth, these myths themselves might reflection of the collective fantasies of entire nations.
Finally, he attempts to answer the second question, which is how the creative writers evoke emotions in us. He says that a daydreamer conceals his fantasies from others because he is ashamed of them. Even if he did, others would be repelled by them. So, he wonders why is it that we experience so much pleasure from the creative writer's presentation of his fantasies. He says that we can only make a guess about how this actually happens. He proposes two techniques. Firstly, he softens and disguises the character, and secondly, he couches the text with literary and aesthetic qualities.
Psychoanalysis can be applied to study literature in three ways:
1. Studying the author to understand the text
2. Studying the text to understand the readers and time period
3. Studying the author through the text (a reflection of his childhood)
Literary Theory: Psychoanalytic Approach
In his work 'Civilizations and Discontents', he argues that there are two principles, namely 'pleasure principle' and 'reality principal' that are at work. The pleasure principle focuses in immediate gratification of needs, irrespective of social norms or any other regulations. The reality principle is the one that controls the pleasure by adhering to the societal rules. This process of subordination of pleasure, and channelling that energy into something more productive is known as sublimation. As we know, for Freud, all pleasure is of sexual nature. So, he argues that when we sublimate our sexual desires and channel that energy into a productive activity, civilization is born.
Now, the repressed pleasure does not just disappear into oblivion. It occupies a place in the mind and these repressed thoughts form the unconscious. Children up to the age of 2 or 3 years do not have an unconscious because they have no reality principle that can sublimate the pleasure principle. Young children are believed to focus only on immediate gratification. It is only as we grow up learning about the rules and norms that reality principle develops.
The conscious mind does not have direct access to the unconscious. However, there are three indirect ways through which we can access the content of the unconscious, namely, (1) dreams, (2) parapaxes and (3) jokes.
Dreams are a path to the unconscious. They mask the unconscious desires in two ways. First is through condensation, where a metaphor or single image is used to represent some unconscious wish. Second process is that of displacement, where one idea is replaced by something associated with it. In language, it related to metonymy, such as when 'fine hand' refers to good handwriting. Parapaxes, better known as slips of tongue are another way that the unconscious tries to assert itself. They reveal the repressed wishes in the unconscious. The third path to unconscious is through jokes, be they of any kind, because we derive pleasure out from it.
Pleasure seeking behaviour is thought to be innate in human beings. It begins since a child is born. He says that the child is polymorphously perverse, i.e. the child's libidinal drives are directed towards any object that might provide pleasure. The child experiences pleasure when any of the erotogenic zones are stimulated. (The first pleasure of the child is of an incestuous nature since it is derived from contact with the mother's body.) It is only when the child enters the latency period that these polymorphously perverse drives are put on hold. At the onset of puberty, these desires acquire a new aim, which is directed to an object outside. Psychoanalysis explains how a child moves from polymorphous perversity to forming a gendered and sexual self. A very important of this process is the resolution of the Oedipus complex. This process turns us away from incestuous sexual desire to exogamous sexual desire.
Monday, August 09, 2010
International Conference on Asian Culture Industries: A Comparative Study of India, Japan and South Korea (Call for Papers )
For further details click here