Monday, 18 October 2021

ThAct : Digital humanities

 This activity is a part of my academic writing...


What is Digital Humanities ?

Digital humanities (DH) is an area of scholarly activity at the intersection of computing or digital technologies and the disciplines of the humanities. It includes the systematic use of digital resources in the humanities, as well as the analysis of their application. DH can be defined as new ways of doing scholarship that involve collaborative, transdisciplinary, and computationally engaged research, teaching, and publishing. It brings digital tools and methods to the study of the humanities with the recognition that the printed word is no longer the main medium for knowledge production and distribution.


Learning outcomes of edx Mooc on introduction of Digital Humanities.


Edx Mooc Overview

Introduction to Digital Methods for the Humanities will orient and train you in a wide variety of software tools and techniques that allow humanists and social scientists to ask new research and teaching questions and make new claims using data.

The edx will:

  • Provide an orientation to digital humanities and what that means in different disciplines.
  • Introduce a variety of digital humanities projects and tools.
  • Teach skills related to command line functions and text analysis.

With  this digital humanities include scholars, librarians and archivists, museum curators, and other professionals who want to showcase a body of work for academic or public purposes using digital tools of analysis.


Activity 

We have to go to this site


Here we need to type Austen into the corpora box and select each of Austen’s novels.Then Choose the subset “Quotes”. You need to Search for one more cluster 
is it used in context.This will give you a list of keywords for Austen in comparison with Dickensdown the left hand side, ordered by their degree of difference from the Dickens corpus. Compare the two keyword lists and try to find words that seem relevant to setting and atmosphere and there is the final result of it.


Thank you...



Thinking activity: wide sargasso sea

This activity is a part of my academic writing...


 ⏹What is feminism?

feminism, the belief in social, economic, and political equality of the sexes. Although largely originating in the West, feminism is manifested worldwide and is represented by various institutions committed to activity on behalf of women’s rights and interests.Throughout most of Western history, women were confined to the domestic sphere, while public life was reserved for men. In medieval Europe, women were denied the right to own property, to study, or to participate in public life. 


⏹What is postcolonialism in wide sargasso sea?

As a work of postcolonial fiction, Wide Sargasso Sea captures the pathos of a society undergoing deep and bitter change. Jean Rhys chooses to relate the essence of this conflict through the relationship of the white Creole heiress Antoinette Cosway, and her English suitor Edward Rochester.


⏹Comparision between Jane Eyre and Wide Sargasso Sea.

Wide Sargasso Sea is both a response and a prequel to Charlotte Brontë’s Jane Eyre, set in the West Indies and imagining the lives of Bertha Mason and her family. Bidisha describes how Jean Rhys’s novel portrays the racial and sexual exploitation at the heart of western civilisation and literature.Jane Eyre is told in the first person. Wide Sargasso Sea is told by different narrators; Antoinette, Grace Poole and Rochester in the main, although it also manipulates additional devices for making audible the voices of others.


⏹Comparision between character of Antoinette and Jane.

While both characters have many different characteristics and act in two completely different ways, there are similarities. Both of the characters have a longing for freedom. Antoinette longs to be rid of a husband that she never wanted, while Jane longs to be away from her past.



Thank you...


Postcolonialism is the critical academic study of the cultural legacy of colonialism and imperialism, focusing on the human consequences of the control and exploitation of colonized people and their lands. More specifically, it is a critical theory analysis of the history, culture, literature, and discourse of usually European imperial power.

similarities between Jane Eyre and Wide Sargasso Sea?

Wide Sargasso Sea is both a response and a prequel to Charlotte Brontë’s Jane Eyre, set in the West Indies and imagining the lives of Bertha Mason and her family. Bidisha describes how Jean Rhys’s novel portrays the racial and sexual exploitation at the heart of western civilisation and literature.

Foe- J.M Coetzee

 This activity is a part of my academic writing...


1. Who is Protagonist? (Foe – Susan – Friday – Unnamed narrator)


In this novel the main character Susan is the protagonist of the story. She is a British woman who went searching for her lost daughter. After searching for two years, she gives up and tries to return to England, only to be caught in the middle of a mutiny and marooned by the crew of the ship she riding home.The novel begins with her account of becoming a castaway and arriving on Cruso's island. Throughout the novel, Susan is obsessed with the idea of telling her story and the power of words. Although she lacks the talent to write, she is convinced that her story will find her fame. Despite her aging and impoverishment throughout the novel, she relentlessly pushes Foe to write an account of her time on the island. The nature of her character is ambiguous as although she appears good in some parts. e.g., her well-meaning attempt to send Friday back to "Africa" is an example of this, other aspects of her character .e.g., her anger that Friday won't do as she says, or her possible attempt of harm on the girl claiming to be "Susan," her daughter, suggest a less well-natured character. She can be seen throughout the novel attempting to control the narrative, in particular in the third section when she becomes Foe's lover or as she sees it, his "Muse" in an attempt to inspire him to write the story in the way she wishes. In the last few sections, she appears to lose her mind as her speeches become longer and more erratic and she convinces herself that Foe and the others in the room are not real.


2. Is Susan reflecting the white mentality of Crusoe (Robinson Crusoe)?


The story plays a double sense of role in Coetzee`s version, ''Robinson Crusoe'' becomes the story of ''a castaway and a dumb slave and now a madwoman.'' The ''madwoman'' is Susan Barton.J.M. Coetzee presents Barton as a submissive supporting actress to the extremely dominant character of Robinson Crusoe.Barton’s role as a submissive supporting character to Cruso displays Coetzee’s formulation of Susan as a man’s woman.Susan is a sensual woman, and as the only female character in both Defoe’s novel as well as Coetzee’s novel, she is represented through her sexuality. Susan’s sexuality is first displayed in the beginning of the novel, when she is on the island and Cruso is alive. As she falls asleep one night, Cruso begins to make advances toward her. She describes the event by saying, “I pushed his hand away and made to rise, but he held me. No doubt I might have freed myself, for I was stronger than he” The presence of a female main character, Susan Barton, in Coetzee’s Foe critiques Defoe’s original imagination of Robinson Crusoe by showing the marginalized role of women in the seventeenth century. Susan is very much a man’s woman, a sensual woman represented through her sexuality. In his portrayal of Susan, Defoe is critiquing the traditional male attitude towards women.


3.Friday’s characteristics and persona in Foe and in Robinson Crusoe.

The characteristics in the play describes that Defoe used Friday to explore themes of religion, slavery and subjugation, all of which were supposed to a natural state of being at that time in history, and Coetzee uses him to explore more strongly themes of slavery, black identity, and the voice of the oppressed. In neither book is Friday left simply to be a character, he is instead always used as a device through which the reader can explore other topics.The fact that this question is never answered, and that all attempts to force Friday to communicate fail drastically leave the reader wondering whether the slavers that captured Friday removed his tongue, or whether that was done by the colonialist Cruso, who felt there was ‘no need of a great stock of words’, .In a little time I began to speak to him; and teach him to speak to mean likewise taught him to say Master; and then let him know that was to be my name: I likewise taught him to say Yes and No and to know the meaning of them’.Coetzee was asserting that it was not his right to give voice to an oppressed black character, and let Friday stand for the victims of apartheid and slavery, where Defoe due to the beliefs of society at his time believed that it was right and natural for Crusoe to claim the position of Master to Friday, and to speak for him.Friday in Foe’s work, in standing for the victims of apartheid and slavery, is a black African character ‘he was black, negro, with a head of fuzzy wool’ whereas Crusoe’s Friday, not standing for those causes, is portrayed as being an anglicised version of a Caribbean man, who ‘had all the sweetness and softness of a European in his countenance’.The representation of Friday in these two texts is vastly different, and one could hardly believe that the two were in fact the same character. With different histories, and different personalities, in fact all both have in common is playing the role of the non-white slave in the text, to serve a literary purpose, in both reflecting the views of wider society towards non-white people, and in showing the development of other characters .




Thank you...

Saturday, 2 October 2021

Assignment of Paper No.5

 Assignment of Paper No. 5

Department of English,M. K. Bhavnagar University     

Name :-  Chudasama Nanditaba kishorsinh

Roll No :- 13

Department :-M. A.English department

Submitted to :-  Dr. Prof. Dilip Barad

Semester :-  3

Paper No :-  5.  Cultural Studies 

UNIT - 4 . Limitations of Cultural Studies  

ASSIGNMENT TOPIC -  The Limitations of Cultural Studies 


Limitations of Cultural Studies

Cultural studies is a field of theoretically, politically, and empirically engaged cultural analysis that concentrates upon the political dynamics of contemporary culture, its historical foundations, defining traits, conflicts, and contingencies. Cultural studies researchers generally investigate how cultural practices relate to wider systems of powerassociated with or operating through social phenomena, such as ideology, class structures, national formations, ethnicity, sexual orientation, gender, and generation. Cultural studies views cultures not as fixed, bounded, stable, and discrete entities, but rather as constantly interacting and changing sets of practices and processes. The field of cultural studies encompasses a range of theoretical and methodological perspectives and practices. Although distinct from the discipline of cultural anthropology and the interdisciplinary field of ethnic studies, cultural studies draws upon and has contributed to each of these fields.



Cultural studies was initially developed by British Marxist academics in the late 1950s, 1960s, and 1970s, and has been subsequently taken up and transformed by scholars from many different disciplines around the world. Cultural studies is avowedly and even radically interdisciplinary and can sometimes be seen as antidisciplinary. A key concern for cultural studies practitioners is the examination of the forces within and through which socially organized people conduct and participate in the construction of their everyday lives.

Cultural studies combines a variety of politically engaged critical approaches drawn including semiotics, Marxism, feminist theory, ethnography, post-structuralism, postcolonialism, social theory, political theory, history, philosophy, literary theory, media theory, film/video studies, communication studies, political economy, translation studies, museum studiesand art history criticism to study cultural phenomena in various societies and historical periods. Cultural studies seeks to understand how meaning is generated, disseminated, contested, bound up with systems of power and control, and produced from the social, political and economic spheres within a particular social formation or conjuncture. Important theories of cultural hegemony and agency have both influenced and been developed by the cultural studies movement, as have many recent major communication theories and agendas, such as those that attempt to explain and analyze the cultural forces related and processes of globalization.

During the rise of neo-liberalism in Britain and the US, cultural studies both became a global movement, and attracted the attention of many conservative opponents both within and beyond universities for a variety of reasons. Some left-wing critics associated particularly with Marxist forms of political economy also attacked cultural studies for allegedly overstating the importance of cultural phenomena. While cultural studies continues to have its detractors, the field has become a kind of a worldwide movement of students and practitioners with a raft of scholarly associations and programs, annual international conferences and publications. Distinct approaches to cultural studies have emerged in different national and regional contexts.


 Introducing Cultural Studies, the following five main characteristics of cultural studies:

  • The objective of cultural studies is to understand culture in all its complex forms, and analyzing the social and political context in which culture manifests itself.

  • Cultural study is a site of both study analysis and political criticism. For example, not only would a cultural studies scholar study an object, but they may also connect this study to a larger political project.

  • Cultural studies attempts to expose and reconcile constructed divisions of knowledge that purport to be grounded in nature.

  • Cultural studies has a commitment to an ethical evaluation of modern society.

  • One aim of cultural studies could be to examine cultural practices and their relation to power, following critical theory. For example, a study of a subculture such as white working-class youth in London would consider their social practices against those of the dominant culture in this example, the middle and upper classes in London who control the political and financial sectors that create policies affecting the well-being of white working-class youth in London.

  • The contributors to The Limits of Culturefind that, contrary to the currently popular view, culture is rarely more important than other factors in shaping the foreign policies of countries in the Caspian region. They find that ruling regimes do not necessarily act according to their own rhetoric. Iran, for example, can conduct policies that contradict the official state ideology without suffering domestic retribution. Also, countries frequently align with one another when they do not share religious beliefs or cultural heritage. For example, Christian Armenia cooperates on trade and security with non-Christian Iran. Cultural identities, the contributors find, are flexible enough to enable states to pursue a wide range of policies that are consistent with their material interests. As the essays in The Limits of Culturemake clear, the emerging foreign policies of the Caspian states present a significant challenge to the culturalist argument.


Arising from the social turmoil of the 1960-s, Cultural Studies is an academic discipline which combines political economy, communication, sociology, social theory, literary theory, media theory, film studies, cultural anthropology, philosophy, art history criticism etc. to study cultural phenomena in various societies. Cultural Studies researches often focus on how a particular phenomenon relates matters of ideology, nationality, ethnicity, social class and gender.



Discussion on Cultural Studies have gained currency with the publication of Richard Hoggart’s Use of Literacy (1957) and Raymond Williams’Culture and Society(1958), and with the establishment of Birmingham Centre for is Contemporary Cultural Studies in England in 1968.

Since culture is now considered as the source of art and literature, cultural criticism has gained ground, and therefore, Raymond Williams’ term “cultural  materialism”, Stephen Greenblatt’s “cultural poetics” and Bakhtin’s term “cultural prosaic”, have become significant in the field of Cultural Studies and cultural criticism.

The works of Stuart Hall and Richard Hoggart with the Birmingham Centre, later expanded through the writings of David Morley, Tony Bennett and others. Cultural Studies is interested in the process by which power relations organize cultural artefacts food habits, music, cinema, sport events etc. It looks at popular culture and everyday life, which had hitherto been dismissed as “inferior” and unworthy of academic study. Cultural Studies’ approaches :


1) transcend the confines of a particular discipline such as literary criticism or history 

2) are politically engaged 

3) reject the distinction between “high” and “low” art or “elite” and “popular” culture 

4) analyse not only the cultural works but also the means of production.


In order to understand the changing political circumstances  of class, politics and culture in the UK, scholars at the  turned to the work of Antonio Gramsci who modified classical Marxism in seeing culture as a key instrument of political and social control. In his view, capitalists are not only brute force (police, prison, military) to maintain control, but also penetrate the everyday culture of working people. Thus the key rubric for Gramsci and for cultural studies is that of cultural hegemony. Edgar and Sedgwick point out that the theory of hegemony was pivotal to the development of British Cultural Studies. It facilitated analysis of the ways in which subaltern groups actively resist and respond to political and economic domination.

The approach of Raymond Williams was clearly marxIst and poststructuralist, and held subject identities and relationships as textual, constructed out of discourse. Cultural Studies believes that we cannot “read” cultural artefacts only within the aesthetic realm, rather they must be studied within the social and material perspectives; i.e., a novel must be read not only within the generic conventions and history of the novel, but also in terms of the publishing industry and its profit, its reviewers, its academic field of criticism, the politics of awards and the hype of publicity machinery that sells the book. Cultural Studies regards the cultural artefact like the tricolour or Gandhi Jayanti as a political sign, that is part of the “discourse” of India, as reinforcing certain ideological values, and concealing oppressive conditions of patriarchal ideas of the nation, nationalism and national identity.

In Cultural Studies, representation is a key concept and denotes a language in which all objects and relationships get defined, a language related to issues of class, power and ideology, and situated within the context of “discourse”. The cultural practice of giving dolls to girls can be read within the patriarchal discourse of femininity that girls are weaker and delicate and need to be given soft things, and that grooming, care etc. are feminine duties which dolls will help them learn. This discourse of femininity is itself related to the discourse of masculinity and the larger context of power relations in culture. Identity, for Culture Studies, is constituted through experience, which involves representation the consumption of signs, the making of meaning from signs and the knowledge of meaning.

Cultural Studies views everyday life as fragmented, multiple, where meanings are hybridized and contested; i.e., identities that were more or less homogeneous in terms of ethnicities and patterns of consumption, are now completely hybrid, especially in the metropolis. With the globalization of urban spaces, local cultures are linked to global economies, markets and needs, and hence any study of contemporary culture has to examine the role of a non-local market money which requires a postcolonial awareness of the exploitative relationship between the First World and the Third World even today.

Cultural Studies is interested in lifestyle because lifestyle 

1) is about everyday life 

2) defines identity 

3) influences social relations 

4) bestows meaning and value to artefacts in a culture.

 In India, after economic liberalization, consumption has been seen as a marker of identity. Commodities are signs of identity and lifestyle and consumption begins before the actual act of shopping; it begins with the consumption of the signs of the commodity.

Thank you...

Assignment of Paper No.4

  Assignment of Paper No. 4

Department of English,M. K. Bhavnagar University     

Name :-  Chudasama Nanditaba kishorsinh

Roll No :- 13

Department :-M. A.English department

Submitted to :-  Dr. Prof. Dilip Barad

Semester :-  3

Paper No :-  4.  Contemporary western Theories and Film Studies 

UNIT - 2 . Ecocriticism  

ASSIGNMENT TOPIC -  The Usual practice of Ecocriticism with Nature 


The Usual Practice of Ecocriticism with Nature

Ecocriticism is the study of literature and the environment from an interdisciplinary point of view, where literature scholars analyze texts that illustrate environmental concerns and examine the various ways literature treats the subject of nature.Ecocriticism asks us to examine ourselves and the world around us,critiquing the way that we represent, interact with, and construct the environment, both “natural” and manmade. At the heart of ecocriticism, many maintain, is 

“a commitment to environmentality from whatever critical vantage point”.

The development of eco-criticism has been attributed to the increased diversification in the field of literature and cultural studies. Various artists have presented issues affecting the environment, as well as providing reflections of the real life. Eco-criticism has been developed in explaining the relation of human being with the nature. In addition, it provides an illustration of the role of language, art play and language in explaining the relation between the human being and the nature. Eco-criticism is based on explaining the relationship between human beings and the nature, and it attempts to explain how modernization and globalization have transformed and changed it . These have been some of the basic issues that have made eco-criticism among the most rapidly growing in the field of literary studies.




Eco-criticism has been inspired by various ranges of ecological movements, which explore the means through which we establish, imagine and portray the existing relationships between self aware human beings and the environment of their inhabitation. For example, some of the animations presented by Thoreau, Disney and various BBC documentaries and various other animations that have been developed, in explaining the relationship between human being and nature. For example, animations have been developed creating volumes of development traces establishing the movements and explaining various concepts and aspects, which have continued to occupy eco-critics. These issues and concepts presented by eco-critics include pollution, wilderness, apocalypse, dwelling, animals and earth among others.

Eco-criticism has developed over three decades emerging as a literary that explains and studies how human beings relate to non-human nature and the environment. In all periods, eco-criticism literature has been not only placed emphasis on eco-centric and environmental literature. However, it has been it has been associated with all literal works setting the environment, which has taken a deeper meaning. There have been various questions that have risen with the development of eco-criticism. For example, questions have been raised on the effect of a shift to ecological perception on how the human beings relate with the earth. In addition, there have been questions on the question on the effect of authors and artists imputing values and creating assumptions in presenting the non-human, as well as the environment . 
Questions have also been raised on how one can avoid binary oppositions in explaining the human nature and their relationship with the non-human nature and the environment.

With the increased development of eco-criticism, there has been an increasing change in the theoretical approach, which has grown to create a perception that it has grown out of the traditional approach of literature. According to eco-critics, there has not been developed a universal model and approach in reading, studying and presenting eco-criticism. However, it has been presented that eco-critics are engaged in various activities, which include reading and studying literature from an eco-centric point of view. In addition, they present and apply ecological views in explaining and presenting the natural world Johnson. Their focus is on nonfiction and environmental writing and arts that feature nature and illustrates appreciation for ethical positions and behaviors towards nonhuman nature.

The issues being raised in eco-criticism are rapidly growing in the field of literary studies. Initially in the 1980’s, there were various scattered publications and projects explaining the relationship between literature and environment. These publications led to the formation of (ASLE), the Association of the Study of Literature and Environment in a western literature convention in 1992. This led to proliferation numerous works, arts and publications on eco-criticism, marking the growth of the literary studies. The intensified growth of eco-criticism can be attributed to the increasing urgency of environmental problems and the high interconnections between societies across the globe . This has led to the explosion of writings, articles, books and increased academic interest in the field of eco-criticism.

The development of literary theory from the 1960 to the early 1990’s under the influence French philosophies of language and literary critics has contributed enormously to the development of eco-criticism. During the period of developing the literary theory, there was a renewed approach in addressing literary questions, presentation of textuality, historical discourse, identity, narrative and subjectivity. This was a shift from the fundamental skeptical perspective, to a new approach, which emphasized on multiple disjunctures between various forms of representation and realities purported to be referred and presented.

 There was an increased tendency to represent nature in the sociocultural context, which served to explain various ideological claims of specific social groups.
Evolution of eco-criticism was not gradual as an academic wing of any particular political movement. Rather its emergence is attributed to the period when environmentalism had turned to a vast field of various converging and conflicting projects, which gave led to the development of other humanistic disciplines, which include, environmental philosophy and history. In addition, eco-criticism has resonated from various different names, which has been associated with the study. For example, critics have used various names such as environmental criticism, literary environmental studies, literary ecology, environmentalism and green cultural studies in reference to eco-criticism. The convergence of thought was attributed to the perceived relevance of biology, which opened up the conceptual space for eco-criticism. This led to the entry of sociobiological approaches, which had been duped in the 1970’s .

 This was used in answering various controversial questions due to high criticism of scholars and scientist on inclusion of sociobiological factors in the study of eco-criticism.
Eco-criticism has a high allegiance as the scientific study of nature, providing an illustration of the relationship between political wars and establishment of better ways of inhabiting the world. However, there have been various underlying issues of realism and representation, which have led to the increased science wars, and have continued to pose a challenge to the eco-critical theory. The increased diversity of cross-disciplinary and political influences, which led to the development of eco-criticism have posed a challenge in summarizing . Even with the increased divergence of views, eco-critics also long for a sense of shared community ideals. However, the increased recent critiques and ripostes are indications of a vibrant and rapidly increasing field.
The engagement of globalization and modernization with eco-criticism has partly been shaped by the ambivalence of environmentalists towards scientific inquiry. There have been views that science has been among the root causes of environmental degradation. This has been from the view that it has provided the means through which nature can be exploited more rapidly than it was previously in the pre-modern times .However, there have been views also that social legitimating of environmental politics and their own aspects and insights into the state of nature are highly dependent on science. This ambivalence and diverging views in eco-criticism have led to diverging views and perceptions on how sciences should inform cultural inquiry.
There has been an increased tension between constructivists and realists approaches and more specifically on issues concerning how individual perception on the environment is shaped by the cultural factors and the mediation between language and literature. 



A modernist eco-criticism strand privileged philosophies and modes of writing, which tend to transcend division between nature and culture subject, body and environment and subject an object. Therefore, there has been a divergence of views on the approaches used in the modern and pre-modern times in expression of eco-criticism.
The development of eco-criticism in the 1990’s has been attributed to the questioning by most English departments on the reason behind poor representation of nature writing. Henry David Thoreau has been among the most exception writer and artist; his writings include the More Day to Dawn: Thoreau’s walden for the Twenty-first Century. This was followed by a series of writing from various other writers leading to the development eco-criticism.
Some eco-critics argue that isolating the environment as a separate phenomenon revitalizes not only the sovereignty over nature but additionally revitalizes inequities entailed in sovereignty. Eco-criticism has facilitated documentation of various issues and problems in alienation, identity and ecological landscapes delivering an eco-critical study of both the present and past cultures. Therefore, eco-criticism has developed with age, where in the past it had been disregarded. 

However, with the development of literary theory from 1960’s to the early 1990’s eco-criticism was boosted tremendously. In addition, there have been views in various English departments that nature studies had been poorly represented, which led to a renewed focus on ecological, environmental and nature studies, which later led to the proliferation of various writings on eco-criticism.

Thank you...






Assignment of Paper No.3

Assignment  of Paper No. 3

Department of English,M. K. Bhavnagar University     

Name :-  Chudasama Nanditaba kishorsinh

Roll No :- 13

Department :-M. A.English department

Submitted to :-  Dr. Prof. Dilip Barad

Semester :-  3

Paper No :-  3. The Postcolonial Studies 

UNIT - 1  The Wretched of the Earth by Franz Fanon

ASSIGNMENT TOPIC -  Examining the Dynamics of Decolonisation in Fanon's The Wretched of the Earth 


Examining the Dynamics of Decolonisation in Fanon’s The Wretched of the Earth



“How they’re as good as they are now is a mystery to me, after a hundred years of systematic denial that they’re human.”


 Frantz Fanon, a psychiatrist who played an active role in the Algerian war of independence from French colonial rule, remains a key thinker on decolonisation and Third World independence struggles. The Wretched of the Earthdeeply influenced African and African American social movements and has been widely praised, but it is most certainly not a work free of controversy. Fanon’s view of the necessity of violence as part of the anticolonial struggle has been a particular topic of contention for critics, commonly leading to accusations of ‘barbarism and terrorism’. The aim of this essay is to engage in careful examination of The Wretched of the Earth, in order to analyse and clarify Fanon’s key theses on decolonisation. This analysis will focus on Fanon’s conceptions of the internal contradictions and Manichean character of colonial society, the role of rural peasants, the urban working class and political leadership in the anticolonial struggle, and, importantly, the role of violence as a necessary part of decolonisation and the construction of a postcolonial national culture and identity. 

This  will ultimately argue that despite the centrality of violence to Fanon’s theses on decolonisation, he does not advocate arbitrary violence, but rather recognises the dangers, physical and psychological, of violence without a cause. Fanon’s theses on decolonisation, while not entirely free of limitations and ambiguities, continue to provide valuable insights into the psychological and political effects of oppression and dehumanisation, still relevant to considerations of Western involvement around the world today.

According to Fanon, the colonial world can be understood as the encounter between two forces, those of the colonial settler and the native population, defined and sustained by violence . Colonial rule is imposed by European states in order to exploit the resources of the colonised area, and indeed, for Fanon, ‘Europe is literally the creation of the Third World’ . Unlike in developed capitalist societies, where the economic exploitation of the masses is veiled by a hegemonic superstructure upheld by institutions such as organised religion and the education system, exploitation in the colonies is naked and thus necessarily upheld by violent means of oppression, constructing a Manichean world based on an immediately clear distinction between coloniser and colonised.

 A central aspect of the oppression of the native people is their dehumanisation and the attempt to destroy their national culture . This is achieved by the use of language that degrades the natives to the status of animals, the application of racist ‘scientific’ theories of the inferiority of the native population, and concentrated attacks on indigenous cultural practice . The colonisers are thus ‘committed to destroying the people’s originality’ by presenting cultural practices, which are ‘in fact the assertion of a distinct identity, concern with keeping intact a few shreds of national existence’, as ‘religious, magical, fanatical behaviour’. The dehumanisation of the native serves a dual purpose.  First, it allows the colonisers to escape the apparent contradictions between Western values of democracy and equality on the one hand, and the undemocratic and extremely violent oppression of the native population on the other . Second, the internalisation of dehumanising and violent colonial relations destroys the natives’ ‘sense of selfhood’  allowing for continued colonial exploitation due to ‘a belief in fatality [which] removes all blame from the oppressor’ . 

However, despite the myriad tools used to dehumanise the natives, they are never fully convinced of their inferiority, ‘and it is precisely at the moment . In other words, the necessarily violent imposition and sustenance of colonial rule simultaneously sow the seeds of its own destruction.

Paradoxically, it is the constant excessive use of force by the colonisers that proves they are not entirely in control, and subsequently prevents the complete dehumanisation of the natives . In fact, the oppressive colonial machinery, while on the one hand constraining the native population and enforcing colonial rule, is exactly what gives rise to the aggression and resistance of the natives on the other. As Fanon dramatically puts it, ‘the symbols of social order are at one and the same time inhibitory and stimulating: for they do not convey the message 

“Don’t dare to budge”; rather, they cry out “Get ready to attack”’.

However, due to the internalisation of the dehumanising relations of colonialism, the aggression of the natives is not immediately directed at the colonisers. Instead, early outlets for pent-up aggression include native cultural practices and especially internal conflicts between native individuals and tribes, which are exacerbated by the colonisers seeking to strengthen their rule by exploiting those divides . It becomes clear, then, that while Fanon’s theses on decolonisation seem to be materially deterministic to the extent that the internal contradictions of colonialism inevitably give rise to potentially anticolonial resistance and aggression, he departs from this determinism in according a role to human agency in successfully focusing that aggression back at the colonisers .


These core aspects of Fanon’s analysis, namely his arguments concerning the internal contradictions of colonial rule and the role of human agency in its overthrow, reveal his intellectual debt to Marx . However, he often departs from traditional Marxist analysis, preventing most commentators from labelling him a clear-cut Marxist. In his analysis, Fanon does utilise Marxist class categorisation, based on the relationship to the means of production, but recognises that such categorisation cannot be separated from considerations of race and racism, which are integral aspects of colonial society . Furthermore, although Fanon uses Marxist criteria to define social class, he analyses their political behaviour, and thus determines their role in the anticolonial struggle, by analysing their economic prosperity, size and extent of assimilation into the colonial system. This causes Fanon to break away from Marx by asserting that it is the rural peasantry, not the urban proletariat, who form the revolutionary class . In the colonial system, the urban working class is the part of the native society most ‘necessary and irreplaceable if the colonial machine is to run smoothly’, leading to a ‘privileged position’ in the colonial system. It follows that, as opposed to the rural peasantry who have nothing to lose in the case of a violent anticolonial revolution, the urban proletariat has an interest in negotiation and compromise with the settlers, which will never lead to complete independence or the successful construction of a national identity. In fact, failing to integrate the rural population into the anticolonial struggle will simply lead to one form of exploitation being supplanted by another, as a new national bourgeoisie will simply emulate the role of the colonial bourgeoisie . 


This in turn reinforces national inferiority and economic dependency to the former colonial power . Nevertheless, despite the aggression, resistance and thus revolutionary character of the rural peasantry, Fanon acknowledges the need for carefully organising the anticolonial struggle, and doubts the ability of the peasantry to organise themselves. Hence, Fanon called for the revolutionary political leaders from the towns, disillusioned with the unwillingness of the urban populations to take part in violent resistance, to realise the revolutionary potential of the peasantry. This is done by joining them in the countryside in order to lead the anticolonial struggle by unifying and politically educating the rural population . An important factor in organising the anticolonial resistance, in order to overcome internal conflicts between the natives, is the unification of the people under a revolutionary national identity. A central aspect in constructing that identity, in turn, is the use of violence.

As we will recall, it is the violence of the colonial system itself that fosters the aggression and resistance of the native people. In a dialectical fashion, the extreme violence of the settler, upon which the entire colonial world is built, proves to the natives that violence is the only language understood by the settler, and is thus of utmost importance in the anticolonial struggle .Similarly, the target and extent of non-violent colonial oppression, as in the case of the French settlers’ attempts to suppress and destroy an important aspect of Algerian culture, the use of the veil by native women, will direct the focus of non-violent native resistance into those same areas.

 In the early stages of resistance, then, the unifying national identity of the native population becomes defined in complete contradistinction to the colonial settlers, and the use of anticolonial violence leads to the immediate identification of its perpetrator as part of the national struggle: ‘the process of identification is automatic’. A further implication of this dialectic of violence, which serves as a tool in the construction of the national identity, is that escalating colonial violence in reaction to native uprisings only serves to strengthen, not disrupt, the unity of the native people . It becomes clear that, according to Fanon, whereas colonial violence is oppressive and self-perpetuating in that it seeks to maintain the oppressive structures of colonialism, anticolonial violence is constructive and valuable as it seeks to remove those oppressive structures, aiming for the emancipation of the people as well as the construction of a new national identity. Nevertheless, some natives subscribe to Engels’ view that ‘violence depends upon the production of armaments’and adopt a fatalistic stance in the face of the massive military power of the colonisers. However, Fanon argues that the escalation of colonial violence is constrained by the economic considerations of the colonisers, who can afford to neither slaughter the entire native population nor uphold the extremely oppressive colonial system in the face of constantly increasing native resistance.

In conclusion, it becomes clear that Fanon’s key theses on decolonisation, while not entirely unproblematic, included various insights that retain their value today. Far from an ‘apologia for violence’ , Fanon describes violence within a colonial setting in a dialectical fashion, certainly not advocating wanton violence. Rather, he acknowledges the use of anticolonial violence as a necessary evil and important component in the native population’s quest towards self-realisation and the construction of a national identity truly free from colonial influence. It is Fanon’s insights into this dialectic of violence, and his warnings of the dangers of replacing one system of exploitation by another, that we should keep in mind when evaluating contemporary Western involvement around the world and the extent to which formerly colonial countries are truly independent even after formal decolonisation.

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Assignment of paper No.1

Assignment of Paper No. 1

Department of English,M. K. Bhavnagar University     

Name :-  Chudasama Nanditaba kishorsinh

Roll No :- 13

Department :-M. A.English department

Submitted to :-  Dr. Prof. Dilip Barad

Semester :-  3

Paper No :-  1. Indian English Literature - Pre Independence

UNIT - 1  The Home and The World by Rabindranath Tagore

ASSIGNMENT TOPIC -  Nationalism In The Home and The World


Nationalism In The Home and the World

Nationalism In The Home and the World The hungry self of the Nation shall burst in a violence of fury from its shameless feeding. For it has made the world its food. And licking it, crunching it and swallowing it in big morsels, it swells and swells. Till in the midst of its unholy feast descends the sudden shaft of heaven piercing its heart of grossness. - Rabindranath Tagore , The Sunset Of The Century In Tagore’s novel, The Home And The World, there is a strong criticism of nationalism by taking the view point of the three main characters: Nikhil, Bimala and Sandip.  




The Home and the World  (in the original Bengali,  Ghare Baire) was one of the last (1984) in a long line of extraordinary films by the Bengali director Satyajit Ray, who died in April 1992. The film recapitulates many of the central themes in Ray's cinematic worldview as well as in that of the work of Rabindranath Tagore, Ray's frequent source of stories and inspiration.  The Home and the World contains many echoes from Ray's earlier Charulata;  both films are based on stories by Tagore.  The Home and the World  by Rabindranath Tagore. In this novel, Tagore brings about the nationalist topic related to the swadeshi  movement which was popular in that era. Rabindranath Tagore, like Jawaharlal Nehru, the first Prime Minister of India, rejected Gandhi’s vision on modernity. Gandhi saw modernity as a threat for the nation and culture, yet Tagore saw it as a provider of the ideological basis for the critique of foreign domination.

The novel  The Home and the World focuses on the narrative of three different characters: Nikhil, a wealthy landlord, Bimala, Nikhil’s wife, and Sandip, a radical nationalist leader. At the beginning of the novel, the story is told from Bimala’s point of view. In the novel, we can see that the narration is given alternately by those three main characters. This novel tells about how Bimala and Nikhil have so many different views of gender, relationship between husband and wife, education, freedom, and national identities. The conflict between this couple emerges after the arrival of Sandip. Bimala is impressed by his charisma and support his view on nationalism and the swadeshi  movement. This novel ends tragically, in which Nikhil is shot in the head.
Rabindranath Tagore’s  The Home and the World  (1915) is usually read in terms of an allegory, either on the historical event of partition of Bengal in 1905 or on the nationalist worship of Mother India around the turn of the twentieth century. Such allegorical readings are possible for obvious reasons: the novel is set at the time of the  Swadeshi movement, which emerged as the radically nationalist response to the Act of Partition, engineered by the British colonial administration, at a time when “Bande Mataram” (a song composed by Tagore’s senior contemporary in Bengali literature, Bankim Chandra Chattopadhyay) had become a much used rallying cry among the nationalists.  The Home and the World challenges the notion of India as an exclusive Hindu nation. It questions the validity of a nationalism that focuses on emotion rather than on economic self-sufficiency and social justice. It takes exception to the aggressive masculinity of the nationalist project.


As an intense literary text,
 The Home and the World  could be read in yet other ways, in terms of other allegories. This paper offers an alternative reading, inspired by comparing the novel with early twentieth century Vietnamese novels.  The Home and the World  is a novel that reads like an allegory on the failure of the Indian nationalist projects, circling around the issues of “Home” versus “World,” tradition versus modernity, created by the active involvement of the colonisers in the cultural, economic and administrative life of the colonised. It could be read as an allegory on the failure of Indian nationalism to accept tradition and modernity, home and the world, together. In addition, the novel offers an alternative nationalist project that could free India from its obsession with the colonising powers: true freedom of the nationalist imagination will be gained by going beyond every form of ideological prejudice and separation and by synthesising every conceivable value that could be useful for the development and maintenance of the nation. And as a concrete implementation of his alternative nationalist project, Tagore founded Visva Bharati University in Santiniketan in 1921.
The Home and the World  was published ten years after the vexing partition of Bengal and the beginning of the magic incantation of “Bande Mataram,” first in Bengali (1915), and then in English (1919). The  Swadeshi movement, which emerged in the wake of the Partition, did not only mobilise Bengal but also spread throughout India as the “beginning of a truly national movement and a struggle between the men and methods that were to lead it” (Rege 39). “Bande Mataram” became the “war cry” of the opposition against the Partition; just like the  Swadeshi          movement, it spread “over the entire subcontinent” (Iyengar 366). Conflicts within the Indian Congress about the role and function of  Swadeshi led to divisions within the movement: the extremists adopted the  Swadeshi , claiming the superiority of the Indian economy, politics and arts while the moderates wanted to dedicate themselves to social reform. After a decade of challenging and fighting each other, the conflicting nationalist projects seemed to be neutralised when the so-called 1917 Declaration made India a more directly ruled colony in terms of administration and economy. However, once Mahatma Gandhi gained control over the Indian National Congress in the early 1920s, the movement of non-cooperation gained strong footholds all over India again; the ideas of  Swadeshi  were revived; the economic system was reorganised; and government schools and colleges were boycotted. By January 1921 when virtually all the colleges in Calcutta, the administrative and intellectual centre of Bengal, were closed, Tagore, unhappy with Gandhi’s “narrowness of aims,” complained in a letter to Charles Freer Andrews, a professor at Santiniketan, that the non-cooperation movement was opposed to his own notions of the nation which, in his opinion, should be based on cooperation:
What irony of fate is this, which I should be preaching cooperation of cultures between East and West on this side of the sea just at the moment when the doctrine of Non-Cooperation is preached on the other side?
Tagore argued that the radicalism of nationalist self-reliance, based on the principle of boycott, the central idea of the          Swadeshi  movement,
“uprooted students” and “tempted them away from their career before any real provision was made”; his  The Home and the World  should be read as an alternative to the spirit of non-cooperation which was “electrical,” “the spirit of sacrifice was in the very air we breathed”.

The Home and the World  has not received especially kind treatment from the critics; perhaps most damning is George Lukacs's characterization of the novel as "a petit bourgeois yarn of the shoddiest kind." It is true the novel has its shortcomings: it gets dangerously close at times to political allegory, and its characters, especially the radical leader Sandip, are exaggerated and one-dimensional. At the same time, the novel has a staunch defender in Anita Desai, who, while admitting that it is too often weighed down with ponderous rhetoric, praises its "flashes of light and colour" and its "touches of tenderness and childishness."
Despite the literary shortcomings of 77K Home and the World, it is an important work for understanding Tagore's views on the dangers of political extremism. The novel focuses on the swadesM  movement in Bengal, which demanded an exclusive reliance on Indian-made goods, and a rejection of all foreign-made products. Tagore's representation of swadeshi  typifies his attitude towards any sort of organized political activity as something over which one has little, if any, control. Swadeshi  is described in  The Home and the World as "a flood, breaking down the dykes and sweeping all our prudence and fear before it."
The novel focuses on three characters, each of whom speaks in the first-person in recounting how they interact with one another. Nikhil is Bimala's husband; Sandip is Bimala's would-be lover. Nikhil epitomizes the unselfish, progressive husband who wishes to free his wife from the oppressiveness of a traditional Indian marriage. In contrast, Sandip is a man who thinks only of himself, and who reduces man-woman relationships to brazen sexuality; he is interested in "blunt things, bluntly put, without any finicking niceness" (85). Bimala is represented as an innocent who, at least initially, is completely subservient to her husband. But Bimala is also much more than this. She is referred to as  Durga, the female goddess of creation and destruction, and as Shakli,  the ultimate female principle underpinning reality. In being so described, she represents the beauty, vitality, and glory of Bengal.
The Home and the World  is pivotal in Tagore's rejection of mass action as a force destructive to freedom and individuality. As well, the novel clearly anticipates his eventual rejection of nationalism as a frightening expression of this mass action. Finally, the book is important in laying the groundwork for Tagore's call for a new international order, which allows for the mutual interaction of all people. The message of  The Home and the World  is clear: to deny distinctiveness and individuality is to deny diversity, and to ignore the fundamental nature of the world. Political boundaries presume to limit and define a world that is fundamentally limitless and beyond definition. Political boundaries confirm exclusivity, and they hinder sharing and oneness in the face of difference.

Tagore is firmly rooted in the Indian philosophical tradition; he is concerned with darsana,  with "seeing" truth. He views the human desire to define the world as a dogmatic assertion of ignorance. Virtually everything we do is an expression of this dogmatism, a manifestation of the ego-centeredness that drives it. So it is that in  The Home and the World,  Tagore issues a call to return to sanity. He recognizes that the pride that comes with nationhood can only lead to arrogance and to the repression of others. His message was true for his time, and it is still true today.

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Assignment of paper-4

Assignment  of Paper No. 4 Department of English,M. K. Bhavnagar University      Name :-  Chudasama Nanditaba kishorsinh Roll No :- 14 Depar...