Saturday, April 6, 2019
Assiment culture study p-8
Topic:cultural studies scope, Aim, methods
Name: Nasim.R Gaha
Roll No:22
Paper No: 8
Email-ID: gahanasim786@gmail.com
Sem- 2
Submitted to: Smt.s.B Gardi Department of English mharaja krishnakumar sihji bhavnagar university
What is Cultural Studies?
Cultural studies is an academic field of critical theory and literary criticism initially introduced by British academies in 1964 and subsequently adopted by allied academies throughout the world.
Cultural studies combines feminist theory, political theory, history philosophy, literary theory, media theory, film/video studies, communication studies, political economy, translation studies, museum studies and art history criticism to study cultural phenomena in various societies.
Popular Culture:
In Popular culture is entirely about ideas, perspectives, attitudes, image and other phenomena that are come within the culture. Popular culture is connected with our society and our everyday lives. Culture means which is something that make by the elite class people of the society they makes new rules and regulation which are the connected with the our society and it’s create many differences and make use of new thing and idea to the society.
The term “Popular culture” was coined in the 19th century or earlier. This term has denoted the education and general “culturedness” of the lower classes, as opposed to the lower classes, as opposed to the “official culture” and higher or the education emanated by the dominant classes.
Popular culture is which include our everyday life use of the things. There are four main types of popular culture analysis they are:
1. Production analysis
2. Textual analysis
3. Audience analysis
4. Historical analysis
These analyses seek to get beneath the surface meaning and examine more implicit social meanings.
Such forms of arts as comic strips or the detective novel are made by the people for themselves, as Raymond Williams pointed out popular culture is, for cultural studies, the set of beliefs, values and practices that are widely shared.
The Production and Consumption of Culture:
The production and consumption of culture it means that culture is not a natural thing but it produced. Culture is produced by the elite people of the society. Cultural studies is very much interested in the production and consumption of culture, it’s linked to:
Matters of class
Matters of economy
Matters of representation
This production and consumption of culture says about the different classes and economy. Culture can only produced by the powerful class and who has identity. It’s defines one’s identity but it depends on the ability to do so and the way in which these artifacts have been marketed and sold culture is a product that is: made, marketed and consumed.
Birmingham centre for contemporary cultural studies and Stuart Hall:
This centre for contemporary cultural studies was a research centre at the University of Birmingham in England. It was founded in 1964 by Richard Hoggart, its first director; its object of study was the then new field of cultural studies.
Stuart Hall was a cultural theorist and socialist and along with Richard Hoggart and Raymond Williams, was one of the founding figures of the school of thought that is now known as British of cultural studies or the Birmingham school of cultural studies. Hall has joined the BCCS in 1964. Hall is credited with playing a role in expanding the scope of cultural studies to deal with race and gender.
Stuart Hall has written one essay in 1980 ‘Cultural studies: Two Paradigms’ set the tone for the interrogation of the concept of culture. Hall suggested that subjects were not expressions are both determined by structure of social signification. This structure is hegemony the ideological structure that enables the dominant classes to legitimize, naturalize and retain power.
Method, Methodology:
In Cultural studies there are various methods and it adapts method of analysis from various disciplines: media studies, cultural anthropology, discourse analysis, popular culture studies and audience studies.
Method is the technique employed by the researcher to frame questions, collect and organize data. Thus ‘method’ refers to the actual fieldwork, questionnaires, databases, identifying sources.
Methodology refers to the political position and the interpretive strategies used by the researcher. This refers to the epistemological approach, and concerns the philosophical, political approach of the researcher, where soutinizes her/his own location. Methodology is the critical approach used to interpret the data collection.
The Circuit of Culture:
“The Circuit of Culture is a theory or framework used in the area of cultural studies. It was devised in 1997 by a group of theorists when studying the walkman cassette player.”
This theory suggests that in studying a cultural text or artifacts it has five elements:
1. Representation . n
These elements present is a process through which every cultural artifacts, object or event must pass. The elements work in tandem, and are closely linked with each other and this process had been called ‘articulation’.
To understand the ‘Circuit of Culture’ there is an example of television and through this example it can be easily to understand the concept.
Television and Representation
Television and Identity
Television and Production
Television and Consumption
Television and Regulation
The ‘Circuit of Culture’ includes within it several smaller components and modes of analysis; it adopts certain key areas and method to understand the modes of meaning production.
Language, discourse
Identity
Everyday life
Ethnography
Media studies
Reception/audience studies
Cultural intermediaries
Identity:
The identity of any person based on their behavior. Identity is very important thing for every person. In cultural studies its judge the person’s identity.
Identity is constituted through experience, and representation is a significant part of experience. Experience includes the consumption of signs, the making of meaning from signs, the making of meaning from signs and the knowledge of meaning.
Cultural studies believe that experience also masks the connections between different structures in society. Identity is thus socially produced closely related to the theme of identity in cultural studies is the question of agency. Agency the capacity and power to determine one’s actions and life is also socially produced.
Representation is the generation of meaning and constitutes identity. Identity determines the degree of agency one possesses or does not possess. Agency is therefore the consequence of representation too.
Everyday life:
In cultural studies and contemporary cultural studies takes everyday life very seriously. Everyday life, especially in metropolises and unfortunately cultural studies seems to be interested mainly in metropolitan culture.
Cultural studies interest in everyday life proceeds from what Raymond Williams called ‘lived cultures’, where culture is produced through everyday living. Culture is not some distinct realm produced elsewhere to be consumed by the people. It is the consequences of experience and responses it is in the everyday that culture is made. Cultural studies investigate this process of making culture.
Everyday life today is a hybrid of the local and the global no pure local culture exists in metropolises any more even where local ethnic chic is marketed. It is part of a global consumer market. Everyday life is fiercely contested where the meaning of global cultural artifacts are re-invented, re-inscribed by native cultures.
Post colonialism and cultural studies:
Globalization has a sustained engagement with and influence on local cultures some of the critics have argued that we need to address the role of globalization through the post colonial lens.
Contemporary globalization is also a mode of cultural exchange, appropriation and marketing. Contemporary cultural studies therefore examines the role of globalizing finances and markets in the formation of cultures, shared economics in globalization influence cultural modes, and this is what cultural studies is interested in.
Even though globalization produces ‘hybrid’ products and cultural value, the question of economics gain must under write our analysis of even these products. This analysis therefore is firmly rooted in a post colonial perspective.
Cultural Intermediaries:
The term ‘Culture Intermediaries’ was introduced by French cultural theorist Pierre Bourdieu in his work on the sociology of taste and distinction cultural intermediaries are those that mediate between the production of a cultural product and its consumer.
It is also possible that cultural intermediaries have little knowledge of the actual processes of cultural production. A film magazine columnist does not need to know the process of production. The film’s advertising agency does not need to know the financial, social, structural backgrounds to the film.
Cultural studies is interested in the role played and make representation of the product. Media and advertising are one of the profitable businesses today. Now-a-days media is on the top because of the various news and provide it to the people. Media has got fame because it has provided so many things to people and through media culture became popular.
Media Culture and Cultural Studies:
Media culture is means which is something related with the communication, language, discourse and representation. Media is one of the important thing and its increases the cultural value. Many of the films, daily soaps and advertisements which are represent our culture. Through the media any type of reality can be expressed.
Media is one of the large economies because now-a-days money is the everything, everywhere money is the first then the other. In the section on cultural intermediaries we have seen how marketing and advertising generate a desire for cultural objects and are thus central to the production – consumption patterns of culture.
Cultural studies of the media with the assumption that media culture and here we are speaking of media from print to the internet is political and ideological.
Media culture is provocative because it sometimes asks us to rethink what we know, or reinforce what we believe in. some of the films which has some negative or positive effect on the people and they sometimes takes it positive or in a negative way.
A contemporary cultural study of media culture explores what is being called ‘media ecologies’. Media is the intersection of information and communication of information and communications technologies organizational behavior and human interaction.
Audience/Reception studies:
Cultural studies is interested in the way in which audiences receive the message how they respond to it, and the effect the message generates. A major component of cultural studies is therefore audience studies or reception studies.
The audience study means that any of the advertisement, serials or any news it says that how we respond to all this media program and it is effect on our mind or not. ‘Audience includes readers, listeners, viewer’s kinds of image and representations.
Reception is the use of meditated cultural texts by the audience. That is, reception is the way in which we react to, internalize representations. Some of the advertisements, films and other things present some wrong image of society or anything its effect to the people and society and effected in our culture.
One of the audience studies example is what David Morley’s path-breaking work on television audiences in Britain is an one of the example that how people responses to television, serials, films and sports. It is about the audience and reception studies.
So, there are the many way of cultural studies it has many different points to study the culture. Cultural studies is one of the important subject through which we can get know about the media, communication and so many things.
Cultural studies is the study of culture through which people can much aware about their surroundings. It is teach us that how elite class of people governed rule over to the middle class people. It has a many way to study the culture.
Name: Nasim.R Gaha
Roll No:22
Paper No: 8
Email-ID: gahanasim786@gmail.com
Sem- 2
Submitted to: Smt.s.B Gardi Department of English mharaja krishnakumar sihji bhavnagar university
What is Cultural Studies?
Cultural studies is an academic field of critical theory and literary criticism initially introduced by British academies in 1964 and subsequently adopted by allied academies throughout the world.
Cultural studies combines feminist theory, political theory, history philosophy, literary theory, media theory, film/video studies, communication studies, political economy, translation studies, museum studies and art history criticism to study cultural phenomena in various societies.
Popular Culture:
In Popular culture is entirely about ideas, perspectives, attitudes, image and other phenomena that are come within the culture. Popular culture is connected with our society and our everyday lives. Culture means which is something that make by the elite class people of the society they makes new rules and regulation which are the connected with the our society and it’s create many differences and make use of new thing and idea to the society.
The term “Popular culture” was coined in the 19th century or earlier. This term has denoted the education and general “culturedness” of the lower classes, as opposed to the lower classes, as opposed to the “official culture” and higher or the education emanated by the dominant classes.
Popular culture is which include our everyday life use of the things. There are four main types of popular culture analysis they are:
1. Production analysis
2. Textual analysis
3. Audience analysis
4. Historical analysis
These analyses seek to get beneath the surface meaning and examine more implicit social meanings.
Such forms of arts as comic strips or the detective novel are made by the people for themselves, as Raymond Williams pointed out popular culture is, for cultural studies, the set of beliefs, values and practices that are widely shared.
The Production and Consumption of Culture:
The production and consumption of culture it means that culture is not a natural thing but it produced. Culture is produced by the elite people of the society. Cultural studies is very much interested in the production and consumption of culture, it’s linked to:
Matters of class
Matters of economy
Matters of representation
This production and consumption of culture says about the different classes and economy. Culture can only produced by the powerful class and who has identity. It’s defines one’s identity but it depends on the ability to do so and the way in which these artifacts have been marketed and sold culture is a product that is: made, marketed and consumed.
Birmingham centre for contemporary cultural studies and Stuart Hall:
This centre for contemporary cultural studies was a research centre at the University of Birmingham in England. It was founded in 1964 by Richard Hoggart, its first director; its object of study was the then new field of cultural studies.
Stuart Hall was a cultural theorist and socialist and along with Richard Hoggart and Raymond Williams, was one of the founding figures of the school of thought that is now known as British of cultural studies or the Birmingham school of cultural studies. Hall has joined the BCCS in 1964. Hall is credited with playing a role in expanding the scope of cultural studies to deal with race and gender.
Stuart Hall has written one essay in 1980 ‘Cultural studies: Two Paradigms’ set the tone for the interrogation of the concept of culture. Hall suggested that subjects were not expressions are both determined by structure of social signification. This structure is hegemony the ideological structure that enables the dominant classes to legitimize, naturalize and retain power.
Method, Methodology:
In Cultural studies there are various methods and it adapts method of analysis from various disciplines: media studies, cultural anthropology, discourse analysis, popular culture studies and audience studies.
Method is the technique employed by the researcher to frame questions, collect and organize data. Thus ‘method’ refers to the actual fieldwork, questionnaires, databases, identifying sources.
Methodology refers to the political position and the interpretive strategies used by the researcher. This refers to the epistemological approach, and concerns the philosophical, political approach of the researcher, where soutinizes her/his own location. Methodology is the critical approach used to interpret the data collection.
The Circuit of Culture:
“The Circuit of Culture is a theory or framework used in the area of cultural studies. It was devised in 1997 by a group of theorists when studying the walkman cassette player.”
This theory suggests that in studying a cultural text or artifacts it has five elements:
1. Representation . n
These elements present is a process through which every cultural artifacts, object or event must pass. The elements work in tandem, and are closely linked with each other and this process had been called ‘articulation’.
To understand the ‘Circuit of Culture’ there is an example of television and through this example it can be easily to understand the concept.
Television and Representation
Television and Identity
Television and Production
Television and Consumption
Television and Regulation
The ‘Circuit of Culture’ includes within it several smaller components and modes of analysis; it adopts certain key areas and method to understand the modes of meaning production.
Language, discourse
Identity
Everyday life
Ethnography
Media studies
Reception/audience studies
Cultural intermediaries
Identity:
The identity of any person based on their behavior. Identity is very important thing for every person. In cultural studies its judge the person’s identity.
Identity is constituted through experience, and representation is a significant part of experience. Experience includes the consumption of signs, the making of meaning from signs, the making of meaning from signs and the knowledge of meaning.
Cultural studies believe that experience also masks the connections between different structures in society. Identity is thus socially produced closely related to the theme of identity in cultural studies is the question of agency. Agency the capacity and power to determine one’s actions and life is also socially produced.
Representation is the generation of meaning and constitutes identity. Identity determines the degree of agency one possesses or does not possess. Agency is therefore the consequence of representation too.
Everyday life:
In cultural studies and contemporary cultural studies takes everyday life very seriously. Everyday life, especially in metropolises and unfortunately cultural studies seems to be interested mainly in metropolitan culture.
Cultural studies interest in everyday life proceeds from what Raymond Williams called ‘lived cultures’, where culture is produced through everyday living. Culture is not some distinct realm produced elsewhere to be consumed by the people. It is the consequences of experience and responses it is in the everyday that culture is made. Cultural studies investigate this process of making culture.
Everyday life today is a hybrid of the local and the global no pure local culture exists in metropolises any more even where local ethnic chic is marketed. It is part of a global consumer market. Everyday life is fiercely contested where the meaning of global cultural artifacts are re-invented, re-inscribed by native cultures.
Post colonialism and cultural studies:
Globalization has a sustained engagement with and influence on local cultures some of the critics have argued that we need to address the role of globalization through the post colonial lens.
Contemporary globalization is also a mode of cultural exchange, appropriation and marketing. Contemporary cultural studies therefore examines the role of globalizing finances and markets in the formation of cultures, shared economics in globalization influence cultural modes, and this is what cultural studies is interested in.
Even though globalization produces ‘hybrid’ products and cultural value, the question of economics gain must under write our analysis of even these products. This analysis therefore is firmly rooted in a post colonial perspective.
Cultural Intermediaries:
The term ‘Culture Intermediaries’ was introduced by French cultural theorist Pierre Bourdieu in his work on the sociology of taste and distinction cultural intermediaries are those that mediate between the production of a cultural product and its consumer.
It is also possible that cultural intermediaries have little knowledge of the actual processes of cultural production. A film magazine columnist does not need to know the process of production. The film’s advertising agency does not need to know the financial, social, structural backgrounds to the film.
Cultural studies is interested in the role played and make representation of the product. Media and advertising are one of the profitable businesses today. Now-a-days media is on the top because of the various news and provide it to the people. Media has got fame because it has provided so many things to people and through media culture became popular.
Media Culture and Cultural Studies:
Media culture is means which is something related with the communication, language, discourse and representation. Media is one of the important thing and its increases the cultural value. Many of the films, daily soaps and advertisements which are represent our culture. Through the media any type of reality can be expressed.
Media is one of the large economies because now-a-days money is the everything, everywhere money is the first then the other. In the section on cultural intermediaries we have seen how marketing and advertising generate a desire for cultural objects and are thus central to the production – consumption patterns of culture.
Cultural studies of the media with the assumption that media culture and here we are speaking of media from print to the internet is political and ideological.
Media culture is provocative because it sometimes asks us to rethink what we know, or reinforce what we believe in. some of the films which has some negative or positive effect on the people and they sometimes takes it positive or in a negative way.
A contemporary cultural study of media culture explores what is being called ‘media ecologies’. Media is the intersection of information and communication of information and communications technologies organizational behavior and human interaction.
Audience/Reception studies:
Cultural studies is interested in the way in which audiences receive the message how they respond to it, and the effect the message generates. A major component of cultural studies is therefore audience studies or reception studies.
The audience study means that any of the advertisement, serials or any news it says that how we respond to all this media program and it is effect on our mind or not. ‘Audience includes readers, listeners, viewer’s kinds of image and representations.
Reception is the use of meditated cultural texts by the audience. That is, reception is the way in which we react to, internalize representations. Some of the advertisements, films and other things present some wrong image of society or anything its effect to the people and society and effected in our culture.
One of the audience studies example is what David Morley’s path-breaking work on television audiences in Britain is an one of the example that how people responses to television, serials, films and sports. It is about the audience and reception studies.
So, there are the many way of cultural studies it has many different points to study the culture. Cultural studies is one of the important subject through which we can get know about the media, communication and so many things.
Cultural studies is the study of culture through which people can much aware about their surroundings. It is teach us that how elite class of people governed rule over to the middle class people. It has a many way to study the culture.
Assiment. Teory and criticism p-7
Topic: Three part of “Individual talent” by T.S Eliot
Name: Nasim .R .Gaha
Roll No: 22 ( Twenty two)
Year: 2018-2020
Inrollment No: 2069108420190014
M.A : sem-2( two)
Email.id: gahanasim786@gmail.com
Paper No: 7((seven)literary Theory and criticism The 20th western and Indian poetics)
Submitted to:Smt.S.B Gardi Department of English mharaja krishanakumarsihji bhavnagar university
He was born 1888 and died 1965
He was a great critic, poet,playwright and journalist.
Eliot come with new ideas in criticism`s world in 19th century.
Eliot`s criticism became revolutionary at that time.
he was very practical man.
20th century got 'metaphysical' revival because of Eliot.
Because he was the first person who recognized or a accepted the uniqueness of metaphysical of 17th century.
Eliot planned numerous critical concepts that a broad influence on criticism.
Objective co-relative, Dissociation, of sensibility, unification of sensibility, theory of Denationalization etc.
TRADITION INDIVIDUAL TALENT ESSAY:
The essay was first published in The Egoist.
The Egoist was a literary magazine.which is considered today as England's most modernist periodical.This essay was later publish in The sacred wood Which is Eliot`s first book of criticism. Eliot’s idea of tradition as critics and theorists have been doing of late, from a more impartial perspective.we are not in the position of earlier critics, who often worked with Eliot’s premisses and assumption; on the other hand, as Eliot might have written,We cannot know where we are now without knowing how we got here: high modernism, and Eliot’s essential contribution to it leads to where we are today-or,as he did write in ‘Tradition and the individual Talent,
Moreover’ Tradition and the Individual Talent’ is still potentially a remarkably fertile essay: it exhilaratingly courts the dangers of self-contradiction, and at some level it knows it.It is self – conscious as a critical performance and and anticipates any deconstructive reading.These qualities inhere in its elliptical style, Where corners are cut,logic is slippery,and the progression from one sentence to the next can be mercurial.
1) conception of tradition: He says about Englishmen`s attitude towards french literature. Englishmen have a habit to feel proud on themselves. That is the proud for their creativity and more less practicality. In french there is a mass of critical writing. Eliot compares English with french that they have habit of critical method and English have a habit of conclusion. For Eliot, the term "tradition" is imbued with a special and complex character. It represents a "simultaneous order," by which Eliot means a historical timelessness – a fusion of past and present – and, at the same time, a sense of present temporality. A poet must embody "the whole of the literature of Europe from Homer," while, simultaneously, expressing their contemporary environment. Eliot challenges the common perception that a poet's greatness and individuality lie in their departure from their predecessors; he argues that "the most individual parts of his
We only conclude that the french are more critical than we and sometimes even plume ourselves a little with the fact as if the french were less spontaneous.
Eliot say criticism is as inevitable as breathing
He admire those aspects which are different from the poets predecessors
They want uniqueness.The always find isolation of the poet from his immediate processor.
such resemblance is mostly seen in the period of maturity of the poet, not in the period of adolescence.
so,by this he asserts that tradition and individuality go together.
The historical sense is inevitable for any poet. Then Eliot talks about tradition and historical sense He says that if the from of tradition remained only in blind adherence of dead people or ancestors, then it would be lost or such tradition should be destroyed.According to Eliot in every traditions also there is a bit of novelty.Tradition is a matter of much wider significance. It can not be inherited,and if you want it you must obtain it by great lab our.It involves in the first place, the historical sense. The historical sense forces a man to write not only by the own generation, but with the whole age of English litterateur.It harmonizes two different things timeless and temporarily in poet`s work.No poet no artist of any art has his complete meaning alone. His significance,his appreciation is the appreciation of his relation of the dead poets and artists. you can not value him alone,you must set him,for contrast and comparison among the dead.Conformity between the old the new. The whole order of existing moment is readjusted with addition of new work.so,by this unchangeable.The past should be altered by the present as much as the present is directed by the past.A poet can not use past as a sapless mass.The dead writers are remote from ua because we know so much more thane they did.He talks about necessary of knowledge for poets. He rejects that belief that a poet requires a huge amount of learning. He believes that much learning deadens or perverts poetic sensibility. He is not in favour of confining the knowledge for examination, library or publicity.The progress of an artist is a continual self sacrifice,a continual extinction of personality.
2)Theory of impersonal of poetry :Honest criticism and sensitive appreciation is directed not upon the poet but upon the poetry.Eliot compares criticism with science. There are two gases needed : oxygen and sulfur dioxide. and also they must have the presence of filament platinum.He compares this palpation with the poet.In this whole process the filament of platinum plays vital and inevitable role.But yet that role is indirect. In that process platinum remains inert and unchanged.It should give its total contribution in creating poetry, also it should remain unaffected and separate when poetry has come out.According to him The poet`s mind is like a utensil in which numerous feeling,phrases and images can be stored or seized. When a poet wants them he unites them. It does not mean that the poem created by the poet shows his personality or nature.This balance of constructed demotion is in the dramatic situation to which the speech is pertinent,but that situation alone is inadequate it.Every time poet`s own emotion can not be taken place in the poem. A poet has to use ordinary emotions.Poetry is a great deal.When a poet becomes personal while writing poetry,he will be considered as a bad poet.Because, he becomes unconscious, where he should be concision.When a poet escapes from his personality,then the great This fidelity to tradition, however, does not require the great poet to forfeit novelty in an act of surrender to repetition. Rather, Eliot has a much more dynamic and progressive conception of the poetic process: novelty is possible only through tapping into tradition. When a poet engages in the creation of new work, they realise an aesthetic "ideal order," as it has been established by the literary tradition that has come before them. As such, the act of artistic creation does not take place in a vacuum. The introduction of a new work alters the cohesion of this existing order, and causes a readjustment of the old to accommodate the new. The inclusion of the new work alters the way in which the past is seen; elements of the past that are noted and realised. In Eliot’s own words, "What happens when a new work of art is created is something that happens simultaneously to all the works of art that preceded it." Eliot refers to this organic tradition, this developing canon, as the "mind of Europe." The private mind is subsumed by this more massive one. comes.He says; poetry is not a turning loose of emotion,but an escape from emotion,it is not the expression of personality.
3)Conclusion: It is very hard thing to take interest in poetry to keep a poet aside.we usually read poem with the name and fame of the poet. We can not separate from each other.A poem must know that to reach the level of impersonation,he first has to scarifies himself and has to surrender himself totally to that work. The implications here separate Eliot's idea of talent from the conventional definition (just as his idea of Tradition is separate from the conventional definition), one so far from it, perhaps, that he chooses never to directly label it as talent. Whereas the conventional definition of talent, especially in the arts, is a genius that one is born with. Not so for Eliot. Instead, talent is acquired through a careful study of poetry, claiming that Tradition, "cannot be inherited, and if you want it, you must obtain it by great labour." Eliot asserts that it is absolutely necessary for the poet to study, to have an understanding of the poets before them, and to be well versed enough that they can understand and incorporate the "mind of Europe" into their poetry. But the poet's study is unique – it is knowledge that "does not encroach," and that does not "deaden or pervert poetic sensibility." It is, to put it most simply, a poetic knowledge – knowledge observed through a poetic lens. This ideal implies that knowledge gleaned by a poet is not knowledge of facts, but knowledge which leads to a greater
Name: Nasim .R .Gaha
Roll No: 22 ( Twenty two)
Year: 2018-2020
Inrollment No: 2069108420190014
M.A : sem-2( two)
Email.id: gahanasim786@gmail.com
Paper No: 7((seven)literary Theory and criticism The 20th western and Indian poetics)
Submitted to:Smt.S.B Gardi Department of English mharaja krishanakumarsihji bhavnagar university
He was born 1888 and died 1965
He was a great critic, poet,playwright and journalist.
Eliot come with new ideas in criticism`s world in 19th century.
Eliot`s criticism became revolutionary at that time.
he was very practical man.
20th century got 'metaphysical' revival because of Eliot.
Because he was the first person who recognized or a accepted the uniqueness of metaphysical of 17th century.
Eliot planned numerous critical concepts that a broad influence on criticism.
Objective co-relative, Dissociation, of sensibility, unification of sensibility, theory of Denationalization etc.
TRADITION INDIVIDUAL TALENT ESSAY:
The essay was first published in The Egoist.
The Egoist was a literary magazine.which is considered today as England's most modernist periodical.This essay was later publish in The sacred wood Which is Eliot`s first book of criticism. Eliot’s idea of tradition as critics and theorists have been doing of late, from a more impartial perspective.we are not in the position of earlier critics, who often worked with Eliot’s premisses and assumption; on the other hand, as Eliot might have written,We cannot know where we are now without knowing how we got here: high modernism, and Eliot’s essential contribution to it leads to where we are today-or,as he did write in ‘Tradition and the individual Talent,
Moreover’ Tradition and the Individual Talent’ is still potentially a remarkably fertile essay: it exhilaratingly courts the dangers of self-contradiction, and at some level it knows it.It is self – conscious as a critical performance and and anticipates any deconstructive reading.These qualities inhere in its elliptical style, Where corners are cut,logic is slippery,and the progression from one sentence to the next can be mercurial.
1) conception of tradition: He says about Englishmen`s attitude towards french literature. Englishmen have a habit to feel proud on themselves. That is the proud for their creativity and more less practicality. In french there is a mass of critical writing. Eliot compares English with french that they have habit of critical method and English have a habit of conclusion. For Eliot, the term "tradition" is imbued with a special and complex character. It represents a "simultaneous order," by which Eliot means a historical timelessness – a fusion of past and present – and, at the same time, a sense of present temporality. A poet must embody "the whole of the literature of Europe from Homer," while, simultaneously, expressing their contemporary environment. Eliot challenges the common perception that a poet's greatness and individuality lie in their departure from their predecessors; he argues that "the most individual parts of his
We only conclude that the french are more critical than we and sometimes even plume ourselves a little with the fact as if the french were less spontaneous.
Eliot say criticism is as inevitable as breathing
He admire those aspects which are different from the poets predecessors
They want uniqueness.The always find isolation of the poet from his immediate processor.
such resemblance is mostly seen in the period of maturity of the poet, not in the period of adolescence.
so,by this he asserts that tradition and individuality go together.
The historical sense is inevitable for any poet. Then Eliot talks about tradition and historical sense He says that if the from of tradition remained only in blind adherence of dead people or ancestors, then it would be lost or such tradition should be destroyed.According to Eliot in every traditions also there is a bit of novelty.Tradition is a matter of much wider significance. It can not be inherited,and if you want it you must obtain it by great lab our.It involves in the first place, the historical sense. The historical sense forces a man to write not only by the own generation, but with the whole age of English litterateur.It harmonizes two different things timeless and temporarily in poet`s work.No poet no artist of any art has his complete meaning alone. His significance,his appreciation is the appreciation of his relation of the dead poets and artists. you can not value him alone,you must set him,for contrast and comparison among the dead.Conformity between the old the new. The whole order of existing moment is readjusted with addition of new work.so,by this unchangeable.The past should be altered by the present as much as the present is directed by the past.A poet can not use past as a sapless mass.The dead writers are remote from ua because we know so much more thane they did.He talks about necessary of knowledge for poets. He rejects that belief that a poet requires a huge amount of learning. He believes that much learning deadens or perverts poetic sensibility. He is not in favour of confining the knowledge for examination, library or publicity.The progress of an artist is a continual self sacrifice,a continual extinction of personality.
2)Theory of impersonal of poetry :Honest criticism and sensitive appreciation is directed not upon the poet but upon the poetry.Eliot compares criticism with science. There are two gases needed : oxygen and sulfur dioxide. and also they must have the presence of filament platinum.He compares this palpation with the poet.In this whole process the filament of platinum plays vital and inevitable role.But yet that role is indirect. In that process platinum remains inert and unchanged.It should give its total contribution in creating poetry, also it should remain unaffected and separate when poetry has come out.According to him The poet`s mind is like a utensil in which numerous feeling,phrases and images can be stored or seized. When a poet wants them he unites them. It does not mean that the poem created by the poet shows his personality or nature.This balance of constructed demotion is in the dramatic situation to which the speech is pertinent,but that situation alone is inadequate it.Every time poet`s own emotion can not be taken place in the poem. A poet has to use ordinary emotions.Poetry is a great deal.When a poet becomes personal while writing poetry,he will be considered as a bad poet.Because, he becomes unconscious, where he should be concision.When a poet escapes from his personality,then the great This fidelity to tradition, however, does not require the great poet to forfeit novelty in an act of surrender to repetition. Rather, Eliot has a much more dynamic and progressive conception of the poetic process: novelty is possible only through tapping into tradition. When a poet engages in the creation of new work, they realise an aesthetic "ideal order," as it has been established by the literary tradition that has come before them. As such, the act of artistic creation does not take place in a vacuum. The introduction of a new work alters the cohesion of this existing order, and causes a readjustment of the old to accommodate the new. The inclusion of the new work alters the way in which the past is seen; elements of the past that are noted and realised. In Eliot’s own words, "What happens when a new work of art is created is something that happens simultaneously to all the works of art that preceded it." Eliot refers to this organic tradition, this developing canon, as the "mind of Europe." The private mind is subsumed by this more massive one. comes.He says; poetry is not a turning loose of emotion,but an escape from emotion,it is not the expression of personality.
3)Conclusion: It is very hard thing to take interest in poetry to keep a poet aside.we usually read poem with the name and fame of the poet. We can not separate from each other.A poem must know that to reach the level of impersonation,he first has to scarifies himself and has to surrender himself totally to that work. The implications here separate Eliot's idea of talent from the conventional definition (just as his idea of Tradition is separate from the conventional definition), one so far from it, perhaps, that he chooses never to directly label it as talent. Whereas the conventional definition of talent, especially in the arts, is a genius that one is born with. Not so for Eliot. Instead, talent is acquired through a careful study of poetry, claiming that Tradition, "cannot be inherited, and if you want it, you must obtain it by great labour." Eliot asserts that it is absolutely necessary for the poet to study, to have an understanding of the poets before them, and to be well versed enough that they can understand and incorporate the "mind of Europe" into their poetry. But the poet's study is unique – it is knowledge that "does not encroach," and that does not "deaden or pervert poetic sensibility." It is, to put it most simply, a poetic knowledge – knowledge observed through a poetic lens. This ideal implies that knowledge gleaned by a poet is not knowledge of facts, but knowledge which leads to a greater
Assiment p-6 victorian age
Topic: Write an essay on the ‘Novelists’ of the Victorian age
Name: Nasim.R Gaha
Roll no: 22(Twenty two)
Year: 2018-2020
Enrolment No: 2069108420190014
M.A : Sem-2(Two)
Email-ID : gahanasin786@gmail.com
Paper No : 6(The victorian literature)
Submitted to: SMT.S.B Gardi Department of English maharaja krishnakumarsihji Bhavnagar university.
Introduction
Every nation has their own history, as some England has their own history. We found there are so many period like ‘ The Elizabethan age’ ‘The age of Milton’ ‘The Romantic age’ The victorian age’ and at last ‘The modern age’ etc. Here I would like to introduce The age of Queen Victoria in detail. The victorian age started in 1832 to 1887 during the reign of Queen Victoria.
The victorian age is one of the most remarkable periods in the history of England. Victorian writer put weight only on prose and novel. We can see that many writer write novels and other but we rarely found a person write drama or play.
The Novelist
Charles Dickens
William Makepeace Thackeray
George Eliot
Minor novelists of The victorian
Charles Reade
Anthony Trollope
Charlotte Bronte
Bulwer Lytton
Kingsley
Mrs. Gaskell
Richard doddidge Blackmore
Thomas Hardy
Robert Louis Stevenson
Charles dickens
He was born in 7 February 1812 and died 9 June 1870 was an English writer and social critic. He created some of the world's best-known fictional characters and is regarded by many as the greatest novelist of the Victorian era.[1] His works enjoyed unprecedented popularity during his lifetime, and by the 20th century critics and scholars had recognised him as a literary genius. His novels and short stories are still widely read today.[2][3]
Charles Dickens merupakan seorang penulis sekaligus novelis kelahiran Portsmouth, Inggris. Nama Dickens begitu populer di era Victoria Abad ke-19. Ia termasuk orang yang sangat berpengaruh kala itu.
Lewat karyanya, selain berbagi cerita kisah kehidupannya, ia juga menyalurkan aspirasinya sebagai kritikus sosial.
Meski ia tidak mendapatkan pendidikan formal yang cukup, Dickens decanal genius oleh beberapa kritikus dan ilmuwan di Abad ke-20By 1815, the Dickens family moved to London and later on to Chatham. At Chatham, Charles received education at William Gilles School. Special attention was given to Charles by William Giles, the schoolmaster. In 1824, Charles father John was imprisoned in the debtor’s prison in Southwark, London. At this time, Charles was twelve years old who, along with his sister Fanny were permitted to spend a day in Marshalsea where their father had been imprisoned. Charles lived in a boarding but due to the family’s condition, he began working at Warrens Blacking Warehouse, Hungerford Market, London.
He would work there for around ten hours every day and his earning was six-shilling a week. The working conditions had made a deep impact on Charles who later on used this9 experience to essay his characters. However, when Charles father was in the debtor’s prison, Johns grandmother died leaving some money for him, some of which was used to pay his debt. Charles Dickens’ Schooling
From 1824-1827 Charles studied at Wellington House Academy, London and his mother did not remove him from the blacking factory immediately. It is said that her failure to remove him from the factory attributed to his demanding and dissatisfied approach towards women. was at Mr. Dawsons school in 1827 and from 1827 to 1828 he worked at a law office as a clerk. After working in the law office he was a shorthand reporter at Doctors Commons. In 1833 he began his career as a fiction writer and A Dinner at Poplar Walk was his first published sketch in the Monthly Magazine.
His experience at the law office and being a reporter was used by Charles to write his works like Nicholas Nickleby, Dombey and Son and in particular Bleak House. Charles Dickens’ Wife
In 1830, Charles met Maria Beadnell and fell in love with her. However, her parents were against this relationship and so they sent Maria to a school in Paris. In 1836, his first novel The Pickwick Papers was serialized. In 1836 he became the editor of Bentleys Miscellany and remained at that post for three years.
In the same year on 2nd April Charles married Catherine Thomson Hogarth and together they had ten children. Charles was fond of Cathrine’s sister Mary who lived with the Dickens family. He essayed her death in The Old Curiosity Shop as the death of Nell.
Charles and his wife visited America in 1842. There, Charles gave lectures in support of copyright laws. In November 1851, Charles moved into Tavistock House and it was here that he wrote Bleak House, Hard Times and Little Dorrit. Charles’ second visit to America was in 1867.
After separating from his wife, Charles in 1858 undertook his first series of public readings in London. Charles major works like A Tale of Two Cities and Great Expectations were published in 1859 and 1861 respectively. Around the same time, he was the publisher and editor of journals such as Household Words and All the Year Round.
Charles was involved in giving farewell readings in England, Scotland and Ireland between 1868-1869. on 22nd April while giving one of his readings, Charles suddenly fell down at Preston, Lancashire. His fall was an indication of a mild stroke and after this incidence, all his remaining readings were cancelled.
It was then that he started working on his last novel, The Mystery of Edwin Drood. Charles however, arranged for the partial, if not complete, reading of the series once his health improved. Charles last public appearance was at the Royal Academy Banquet. Charles Dickens’ Death
On 8th June 1870, Charles suffered another stroke. He died the next day, on 9th June at Gads Hill Place.
Charles had expressed that he should be buried at Rochester Cathedral in an inexpensive, unostentatious, and strictly private manner but, was instead buried at Poets Corner of Westminster Abbey.
William Makepeace Thackeray
Today is the bicentenary of Henry Mayhew (25 November 1812 – 25 July 1887).
“I think you will agree to be one of the most beautiful records of the nobility of the poor; of those whom our jaunty legislators know nothing. I am very proud to say that these papers of Labour and the Poor were projected by Henry Mayhew, who married my girl. For comprehensiveness of purpose and minuteness of detail they have never been approached. He will cut his name deep.”
This was written in 1850 by Douglas Jerrold, Mayhew’s friend, collaborator and father-in-law at a time when Henry Mayhew would have been collating the first edition of London Labour and the London Poor (1851). Jerrold was mainly wrong, because today Mayhew is all but forgotten. This is a great pity, because the writer was hugely influential in his own time, not least among his near-exact contemporaries, Charles Dickens (b 1812) and William Makepeace Thackeray (b1811). Mayhew, a journalist (he and Dickens both worked as reporters for the radical Morning Chronicle), novelist, playwright and comic writer, was responsible for telling historians a great deal – probably most – of what we know about the lives of the poor and destitute in London in the mid-19th Century. He not only provided heart-rending (albeit far from relentlessly unamusing) pen-portraits of the poorest men, women and children eking out an existence in the streets: he provided his own estimates and data as to their numbers, earnings etc. – the curtain-raiser if you will to Charles Booth’s work a generation later.
That’s his value to the historian. But Mayhew’s greatest achievement, one might argue, was to co-found Punch magazine in 1841, with Mark Lemon and Stirling Coyne. Although he only remained actively involved with the publication for a handful of years, it thrived and survived right down to our own times.
Works
Catherine
A shabby Genteel story
Mrs. Perkins’s
The Book of snobs
Vanity fair
Pendennis
Vanity fair
The Rose and the ring
The virginians
George Eliot
Although female authors were published under their own names during her lifetime, she wanted to escape the stereotype of women's writing being limited to light hearted romances. She also wanted to have her fiction judged separately from her already extensive and widely known work as an editor and critic. Another factor in her use of a pen name may have been a desire to shield her private life from public scrutiny, thus avoiding the scandal that would have arisen because of her relationship with the married Mary Ann Evans was born in Nuneaton, Warwickshire, England. She was the third child of Robert Evans (1773–1849) and Christiana Evans (née Pearson, 1788–1836), the daughter of a local mill-owner. Mary Ann's name was sometimes shortened to Marian.[4]Her full siblings were Christiana, known as Chrissey (1814–59), Isaac (1816–1890), and twin brothers who died a few days after birth in March 1821. She also had a half-brother, Robert (1802–64), and half-sister, Fanny (1805–82), from her father's previous Women writers were common at the time, but Evans's role as the female editor of a literary magazine was quite unusual. During this period, she formed a number of unreciprocated emotional attachments, including one with Chapman (who was married, but lived with both his wife and his mistress), and another with
Works
Adam bade
The mill on the floss
Silas manner
Romany
Name: Nasim.R Gaha
Roll no: 22(Twenty two)
Year: 2018-2020
Enrolment No: 2069108420190014
M.A : Sem-2(Two)
Email-ID : gahanasin786@gmail.com
Paper No : 6(The victorian literature)
Submitted to: SMT.S.B Gardi Department of English maharaja krishnakumarsihji Bhavnagar university.
Introduction
Every nation has their own history, as some England has their own history. We found there are so many period like ‘ The Elizabethan age’ ‘The age of Milton’ ‘The Romantic age’ The victorian age’ and at last ‘The modern age’ etc. Here I would like to introduce The age of Queen Victoria in detail. The victorian age started in 1832 to 1887 during the reign of Queen Victoria.
The victorian age is one of the most remarkable periods in the history of England. Victorian writer put weight only on prose and novel. We can see that many writer write novels and other but we rarely found a person write drama or play.
The Novelist
Charles Dickens
William Makepeace Thackeray
George Eliot
Minor novelists of The victorian
Charles Reade
Anthony Trollope
Charlotte Bronte
Bulwer Lytton
Kingsley
Mrs. Gaskell
Richard doddidge Blackmore
Thomas Hardy
Robert Louis Stevenson
Charles dickens
He was born in 7 February 1812 and died 9 June 1870 was an English writer and social critic. He created some of the world's best-known fictional characters and is regarded by many as the greatest novelist of the Victorian era.[1] His works enjoyed unprecedented popularity during his lifetime, and by the 20th century critics and scholars had recognised him as a literary genius. His novels and short stories are still widely read today.[2][3]
Charles Dickens merupakan seorang penulis sekaligus novelis kelahiran Portsmouth, Inggris. Nama Dickens begitu populer di era Victoria Abad ke-19. Ia termasuk orang yang sangat berpengaruh kala itu.
Lewat karyanya, selain berbagi cerita kisah kehidupannya, ia juga menyalurkan aspirasinya sebagai kritikus sosial.
Meski ia tidak mendapatkan pendidikan formal yang cukup, Dickens decanal genius oleh beberapa kritikus dan ilmuwan di Abad ke-20By 1815, the Dickens family moved to London and later on to Chatham. At Chatham, Charles received education at William Gilles School. Special attention was given to Charles by William Giles, the schoolmaster. In 1824, Charles father John was imprisoned in the debtor’s prison in Southwark, London. At this time, Charles was twelve years old who, along with his sister Fanny were permitted to spend a day in Marshalsea where their father had been imprisoned. Charles lived in a boarding but due to the family’s condition, he began working at Warrens Blacking Warehouse, Hungerford Market, London.
He would work there for around ten hours every day and his earning was six-shilling a week. The working conditions had made a deep impact on Charles who later on used this9 experience to essay his characters. However, when Charles father was in the debtor’s prison, Johns grandmother died leaving some money for him, some of which was used to pay his debt. Charles Dickens’ Schooling
From 1824-1827 Charles studied at Wellington House Academy, London and his mother did not remove him from the blacking factory immediately. It is said that her failure to remove him from the factory attributed to his demanding and dissatisfied approach towards women. was at Mr. Dawsons school in 1827 and from 1827 to 1828 he worked at a law office as a clerk. After working in the law office he was a shorthand reporter at Doctors Commons. In 1833 he began his career as a fiction writer and A Dinner at Poplar Walk was his first published sketch in the Monthly Magazine.
His experience at the law office and being a reporter was used by Charles to write his works like Nicholas Nickleby, Dombey and Son and in particular Bleak House. Charles Dickens’ Wife
In 1830, Charles met Maria Beadnell and fell in love with her. However, her parents were against this relationship and so they sent Maria to a school in Paris. In 1836, his first novel The Pickwick Papers was serialized. In 1836 he became the editor of Bentleys Miscellany and remained at that post for three years.
In the same year on 2nd April Charles married Catherine Thomson Hogarth and together they had ten children. Charles was fond of Cathrine’s sister Mary who lived with the Dickens family. He essayed her death in The Old Curiosity Shop as the death of Nell.
Charles and his wife visited America in 1842. There, Charles gave lectures in support of copyright laws. In November 1851, Charles moved into Tavistock House and it was here that he wrote Bleak House, Hard Times and Little Dorrit. Charles’ second visit to America was in 1867.
After separating from his wife, Charles in 1858 undertook his first series of public readings in London. Charles major works like A Tale of Two Cities and Great Expectations were published in 1859 and 1861 respectively. Around the same time, he was the publisher and editor of journals such as Household Words and All the Year Round.
Charles was involved in giving farewell readings in England, Scotland and Ireland between 1868-1869. on 22nd April while giving one of his readings, Charles suddenly fell down at Preston, Lancashire. His fall was an indication of a mild stroke and after this incidence, all his remaining readings were cancelled.
It was then that he started working on his last novel, The Mystery of Edwin Drood. Charles however, arranged for the partial, if not complete, reading of the series once his health improved. Charles last public appearance was at the Royal Academy Banquet. Charles Dickens’ Death
On 8th June 1870, Charles suffered another stroke. He died the next day, on 9th June at Gads Hill Place.
Charles had expressed that he should be buried at Rochester Cathedral in an inexpensive, unostentatious, and strictly private manner but, was instead buried at Poets Corner of Westminster Abbey.
William Makepeace Thackeray
Today is the bicentenary of Henry Mayhew (25 November 1812 – 25 July 1887).
“I think you will agree to be one of the most beautiful records of the nobility of the poor; of those whom our jaunty legislators know nothing. I am very proud to say that these papers of Labour and the Poor were projected by Henry Mayhew, who married my girl. For comprehensiveness of purpose and minuteness of detail they have never been approached. He will cut his name deep.”
This was written in 1850 by Douglas Jerrold, Mayhew’s friend, collaborator and father-in-law at a time when Henry Mayhew would have been collating the first edition of London Labour and the London Poor (1851). Jerrold was mainly wrong, because today Mayhew is all but forgotten. This is a great pity, because the writer was hugely influential in his own time, not least among his near-exact contemporaries, Charles Dickens (b 1812) and William Makepeace Thackeray (b1811). Mayhew, a journalist (he and Dickens both worked as reporters for the radical Morning Chronicle), novelist, playwright and comic writer, was responsible for telling historians a great deal – probably most – of what we know about the lives of the poor and destitute in London in the mid-19th Century. He not only provided heart-rending (albeit far from relentlessly unamusing) pen-portraits of the poorest men, women and children eking out an existence in the streets: he provided his own estimates and data as to their numbers, earnings etc. – the curtain-raiser if you will to Charles Booth’s work a generation later.
That’s his value to the historian. But Mayhew’s greatest achievement, one might argue, was to co-found Punch magazine in 1841, with Mark Lemon and Stirling Coyne. Although he only remained actively involved with the publication for a handful of years, it thrived and survived right down to our own times.
Works
Catherine
A shabby Genteel story
Mrs. Perkins’s
The Book of snobs
Vanity fair
Pendennis
Vanity fair
The Rose and the ring
The virginians
George Eliot
Although female authors were published under their own names during her lifetime, she wanted to escape the stereotype of women's writing being limited to light hearted romances. She also wanted to have her fiction judged separately from her already extensive and widely known work as an editor and critic. Another factor in her use of a pen name may have been a desire to shield her private life from public scrutiny, thus avoiding the scandal that would have arisen because of her relationship with the married Mary Ann Evans was born in Nuneaton, Warwickshire, England. She was the third child of Robert Evans (1773–1849) and Christiana Evans (née Pearson, 1788–1836), the daughter of a local mill-owner. Mary Ann's name was sometimes shortened to Marian.[4]Her full siblings were Christiana, known as Chrissey (1814–59), Isaac (1816–1890), and twin brothers who died a few days after birth in March 1821. She also had a half-brother, Robert (1802–64), and half-sister, Fanny (1805–82), from her father's previous Women writers were common at the time, but Evans's role as the female editor of a literary magazine was quite unusual. During this period, she formed a number of unreciprocated emotional attachments, including one with Chapman (who was married, but lived with both his wife and his mistress), and another with
Works
Adam bade
The mill on the floss
Silas manner
Romany
Assaiment p-5 Romantic litrature
Topic: write about the salient features of the romantic age
Name: Nasim.R Gaha
Roll no: 22
Email ID: gahanasim786@gmail.com
Enrollment: 2069108420190014
Submitted to: smt.S.B Gardi department of English maharaja krishanakumar sihji bhavnagar university
Romantic age
Romantic period has started with the publication of Lyrical Ballads by William Wordsworth and Samuel Taylor Coleridge, both were the prominent poets of the age and they have proved that it was
“The second creative period of English literature”
Majority of writers were not ready to accept their identity as a romantic writer but after the lectures of August Schlegel about romanticism he has depicted classicism as ‘plastic’ and materialistic and romantic age as ‘organic’, and because of this point of view Romanticism has started in its flaw.
The important movement has been started from Berlin, in Berlin there were a lot of space for writers and all artists. They encouraged writers, painters and singers to establish their works.
In this age there were several movements were going on, it was a time when two books about England have been published,
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Top of Form
Bottom of Form
Romanticism was a literary and intellectual movement that lasted from the late eighteenth century through the mid-nineteenth century. Classic examples of Romantic novels are Nathaniel Hawthorne's The Scarlet Letter and Mary Shelley's Frankenstein. Though academics consider Romanticism difficult to define—the movement developed differently in European countries than it did in the US—there are a few key features we can talk about.
The first is important: Romanticism was reactionary. The movement was, at least in part, a response to the Industrial Revolution and the Age of Enlightenment. Rather than focusing on science, logic, or reason, as was the zeitgeist on both sides of the Atlantic, Romantic writers were nostalgic, looking to a simpler past for inspiration. Much as we, as contemporary readers, may look back to the pre-internet era with some sentimentality (remember when we looked things up in an actual encyclopedia instead of Googling everything?), Romantic writers fondly remembered a pre-industrial era.
Which brings us to our second point. Romantic writers expressed emotion and imagination, engaging with aesthetics and the beauty of the natural world. In the poetry and novels of the era, emotion was more important than reason or science. It stands to reason that Romantic writers also rejected some of the structure or rules that had previously governed both novel
Romanticism is a movement in art and literature in the eighteenth and nineteenth century in revolt against the neo-classicism of the previous centuries. It is the direct outcome of French Revolution. The French Revolution directly inspired by Rousseauism, had its influence on the Romantic Poets, both in its revolutionary ideals and in its excess of terror. This imaginative literature of the early nineteenth century found its creative impulse in the sociological ideal.
Romanticism is a contrary to the neo-classicism. Neo-classicism can be characterized by emotional resistant, order and logic while romanticism gives emphasis over imagination. The romantics write what they get from their imagination. The romantics tried to see life with new sensibilities and fresh visions. They are deeply aware of their social obligations, but the burden of an exception vision of life drives them into being almost fugitives from their fellow-men. The romantic poets lead the readers to the strange areas of human experience, but seldom welcome him in the language of ordinary conversations, or even with currency of normality.
Romanticism started its journey in English Literature wit the publication of Lyrical Ballads, a joint work of Wordsworth and Coleridge in 1798. Its communion with nature, interest in simple human life, profound impulsiveness, imaginative propensity and lyrical subjectivity etc. are its salient features.
Romantic age is essentially an age of verse. The spirit of romanticism is found primarily struck in poetry in the liberation of poetic inspiration and impulses. This dominant of poetry is found echoed in words worth’s famous saying, “Poetry is the breath and finer spirit of all knowledge.
Romantic poets had a strong power of imagination. All the poets of this period possess this imaginative power which made their works different from their predecessors. We see the use of this imagination in “Kubla Khan” and “The Ancient Mariner” of Coleridge.
The imaginative power of the romantic poets leads them to mysticism. The poets of romantic age found interested in the mysticism. The poets of romantic age found interested in the mysterious unknown world that lives on the other side of life. Wordsworth viewed nature from a mystic angle, Coleridge’s mysticism found in his fascinating treatment of the supernatural world in his poems, Keats, Shelly and other poets also deal with mysticism.
Love for beauty and nature is another feature of romanticism. All the romantic poets had a deep interest in nature not as a center of beautiful science but as an informing and spiritual influence on life. The common elements of nature i.e. the rising sun, the blooming flower and deep blue sky are like living soul-mighty and gigantic to the romantic poets. The romantic poets also found everything lovely and beautiful in nature and man. “Beauty is truth and truth beauty” is the poetic philosophy of the age of romanticism.
The romantic poets are found to deal with human life in its essential traits, in liberty, simplicity and purity, childhood and primitive simplicity are idealized by Wordsworth whereas Byron and Shelly remain the assertive poets of humanity. Other poets and prose writers also deal with humanity.
Hellenism is finely incorporated and echoed in the poetry of romantic age, mainly in the poems of Shelley and Keats. The romantic poets looked upon Greek Literature. They did not borrow the elements but the content of Greek Literature and shaped it with their own genius as like as Shelley did in “Prometheus Unbound”
The romantic poets gave emphasis upon content rather than form and structure. The content of a literary work is the measure by which the romantics measured a literary work. The romantic poets deny the notion that poetry has its own exceptional word stock. They used simple diction rather than elevated diction. They used the word of rustic and daily life in their poetry. Wordsworth, in the later editions of Lyrical Ballads said that the Language of poetry ought to be the same as the language of a simple farm-worker.
Every literary period is sharply inspired by the social and political condition of its own time. But romanticism is free from this kind of inspiration. It criticizes the growth of industry and town though it took birth in the golden period of industrious revolution. The romantic poets turning to nature for protection also criticize the traditional religious belief of the time.
The romantic literature was marked, and is always marked, by a strange reaction and protest against the bondage of rule and custom in science and theology, as well as literature, generally tent to fetter the free human spirit. Romantic poets are essentially subjective self-revelation a creed with them. In their poetry may be found much of their mind and spirit. They seem to take their readers into confidence and pour into their ears all their passions and pains, all their dreams and desires. It’s a cardinal element in all romantic poets. As in the prelude’s words worth made an epic of personal experience based on his own life.
In general, these are the features of romanticism. Of course, romantic poetry is no sudden phenomenon in the literature of England. It is rather an inevitable reaction of the artificial and critical poetry of the eighteenth century with all the features There are as many definitions of poetry as there are poets. Wordsworth defined poetry as “the spontaneous overflow of powerful feelings;” Emily Dickinson said, “If I read a book and it makes my body so cold no fire ever can warm me, I know that is poetry;” and Dylan Thomas defined poetry this way: “Poetry is what makes me laugh or cry or yawn,
There are as many definitions of poetry as there are poets. Wordsworth defined poetry as “the spontaneous overflow of powerful feelings;” Emily Dickinson said, “If I read a book and it makes my body so cold no fire ever can warm me, I know that is poetry;” and Dylan Thomas defined poetry this way: “Poetry is what makes me laugh or cry or yawn, what makes my toenails twinkle, what makes me want to do this or that or nothing.”
Homer’s epic,The Odyssey, described the wanderings of the adventurer, Odysseus, and has been called the greatest story ever told. During the English Renaissance, dramatic poets like John Milton, Christopher Marlowe, and of course Shakespeare gave us enough to fill textbooks, lecture halls, and universities. Poems from the romantic period include Goethe’s Faust (1808), Coleridge’s “Kubla Khan” and John Keats’ “Ode on a Grecian Urn.”
Shall I go on? Because in order to do so, I would have to continue through 19th century Japanese poetry, early Americans that include Emily Dickinson and T.S. Eliot, postmodernism, experimentalists, slam…
So what is poetry?
Perhaps the characteristic most central to the definition of poetry is its unwillingness to be defined, labeled, or nailed down. But let’s not let that stop us, shall we? It’s about time someone wrestled poetry to the ground and slapped a sign on its back reading, “I’m poetry. Kick me here.”
Poetry is the chiseled marble of language; it’s a paint-spattered canvas – but the poet uses words instead of paint, and the canvas is you. Poetic definitions of poetry kind of spiral in on themselves, however, like a dog eating itself from the tail up. Let’s get nitty. Let’s, in fact, get gritty. I believe we can render an accessible definition of poetry by simply looking at its form and its purpose:
One of the most definable characteristics of the poetic form is economy of language. Poets are miserly and unrelentingly critical in the way they dole out words to a page. Carefully selecting words for conciseness and clarity is standard, even for writers of prose, but poets go well beyond this, considering a word’s emotive qualities, its musical value, its spacing, and yes, even its spacial relationship to the page. The poet, through innovation in both word choice and form, seemingly rends significance from thin air.
How am I doing so far? On to purpose:
One may use prose to narrate, describe, argue, or define. There are equally numerous reasons for writing poetry. But poetry, unlike prose, often has an underlying and over-arching purpose that goes beyond the literal. Poetry is evocative. It typically evokes in the reader an intense emotion: joy, sorrow, anger, catharsis, love… Alternatively, poetry has the ability to surprise the reader with an Ah Ha! Experience — revelation, insight, further understanding of elemental truth and beauty. Like Keats said:
“Beauty is truth. Truth, beauty. That is all ye know on Earth and all ye need to know.”
How’s that? Do we have a definition yet?
Poetry is artistically rendering words in such a way as to evoke intense emotion or an Ah Ha! experience from the reader.
Pretty unsatisfying, huh? Kind of leaves you feeling cheap, dirty, all hollow and empty inside like Chinese food.
Don’t do this. Don’t shackle poetry with your definitions. Poetry is not a frail and cerebral old woman, you know. Poetry is stronger than you think. Poetry is imagination and will break those chains faster than you can say “Harlem Renaissance.”
To borrow a phrase, poetry is a riddle wrapped in an enigma swathed in a cardigan sweater… or something like that. It doesn’t like your definitions and will shirk them at every turn. If you really want to know what poetry is, read it. Read it carefully. Pay attention. Read it out loud. Now read it again.
There’s your definition of poetry. Because defining poetry is like grasping at the wind – once you catch it, it’s no longer wind.
Name: Nasim.R Gaha
Roll no: 22
Email ID: gahanasim786@gmail.com
Enrollment: 2069108420190014
Submitted to: smt.S.B Gardi department of English maharaja krishanakumar sihji bhavnagar university
Romantic age
Romantic period has started with the publication of Lyrical Ballads by William Wordsworth and Samuel Taylor Coleridge, both were the prominent poets of the age and they have proved that it was
“The second creative period of English literature”
Majority of writers were not ready to accept their identity as a romantic writer but after the lectures of August Schlegel about romanticism he has depicted classicism as ‘plastic’ and materialistic and romantic age as ‘organic’, and because of this point of view Romanticism has started in its flaw.
The important movement has been started from Berlin, in Berlin there were a lot of space for writers and all artists. They encouraged writers, painters and singers to establish their works.
In this age there were several movements were going on, it was a time when two books about England have been published,
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Romanticism was a literary and intellectual movement that lasted from the late eighteenth century through the mid-nineteenth century. Classic examples of Romantic novels are Nathaniel Hawthorne's The Scarlet Letter and Mary Shelley's Frankenstein. Though academics consider Romanticism difficult to define—the movement developed differently in European countries than it did in the US—there are a few key features we can talk about.
The first is important: Romanticism was reactionary. The movement was, at least in part, a response to the Industrial Revolution and the Age of Enlightenment. Rather than focusing on science, logic, or reason, as was the zeitgeist on both sides of the Atlantic, Romantic writers were nostalgic, looking to a simpler past for inspiration. Much as we, as contemporary readers, may look back to the pre-internet era with some sentimentality (remember when we looked things up in an actual encyclopedia instead of Googling everything?), Romantic writers fondly remembered a pre-industrial era.
Which brings us to our second point. Romantic writers expressed emotion and imagination, engaging with aesthetics and the beauty of the natural world. In the poetry and novels of the era, emotion was more important than reason or science. It stands to reason that Romantic writers also rejected some of the structure or rules that had previously governed both novel
Romanticism is a movement in art and literature in the eighteenth and nineteenth century in revolt against the neo-classicism of the previous centuries. It is the direct outcome of French Revolution. The French Revolution directly inspired by Rousseauism, had its influence on the Romantic Poets, both in its revolutionary ideals and in its excess of terror. This imaginative literature of the early nineteenth century found its creative impulse in the sociological ideal.
Romanticism is a contrary to the neo-classicism. Neo-classicism can be characterized by emotional resistant, order and logic while romanticism gives emphasis over imagination. The romantics write what they get from their imagination. The romantics tried to see life with new sensibilities and fresh visions. They are deeply aware of their social obligations, but the burden of an exception vision of life drives them into being almost fugitives from their fellow-men. The romantic poets lead the readers to the strange areas of human experience, but seldom welcome him in the language of ordinary conversations, or even with currency of normality.
Romanticism started its journey in English Literature wit the publication of Lyrical Ballads, a joint work of Wordsworth and Coleridge in 1798. Its communion with nature, interest in simple human life, profound impulsiveness, imaginative propensity and lyrical subjectivity etc. are its salient features.
Romantic age is essentially an age of verse. The spirit of romanticism is found primarily struck in poetry in the liberation of poetic inspiration and impulses. This dominant of poetry is found echoed in words worth’s famous saying, “Poetry is the breath and finer spirit of all knowledge.
Romantic poets had a strong power of imagination. All the poets of this period possess this imaginative power which made their works different from their predecessors. We see the use of this imagination in “Kubla Khan” and “The Ancient Mariner” of Coleridge.
The imaginative power of the romantic poets leads them to mysticism. The poets of romantic age found interested in the mysticism. The poets of romantic age found interested in the mysterious unknown world that lives on the other side of life. Wordsworth viewed nature from a mystic angle, Coleridge’s mysticism found in his fascinating treatment of the supernatural world in his poems, Keats, Shelly and other poets also deal with mysticism.
Love for beauty and nature is another feature of romanticism. All the romantic poets had a deep interest in nature not as a center of beautiful science but as an informing and spiritual influence on life. The common elements of nature i.e. the rising sun, the blooming flower and deep blue sky are like living soul-mighty and gigantic to the romantic poets. The romantic poets also found everything lovely and beautiful in nature and man. “Beauty is truth and truth beauty” is the poetic philosophy of the age of romanticism.
The romantic poets are found to deal with human life in its essential traits, in liberty, simplicity and purity, childhood and primitive simplicity are idealized by Wordsworth whereas Byron and Shelly remain the assertive poets of humanity. Other poets and prose writers also deal with humanity.
Hellenism is finely incorporated and echoed in the poetry of romantic age, mainly in the poems of Shelley and Keats. The romantic poets looked upon Greek Literature. They did not borrow the elements but the content of Greek Literature and shaped it with their own genius as like as Shelley did in “Prometheus Unbound”
The romantic poets gave emphasis upon content rather than form and structure. The content of a literary work is the measure by which the romantics measured a literary work. The romantic poets deny the notion that poetry has its own exceptional word stock. They used simple diction rather than elevated diction. They used the word of rustic and daily life in their poetry. Wordsworth, in the later editions of Lyrical Ballads said that the Language of poetry ought to be the same as the language of a simple farm-worker.
Every literary period is sharply inspired by the social and political condition of its own time. But romanticism is free from this kind of inspiration. It criticizes the growth of industry and town though it took birth in the golden period of industrious revolution. The romantic poets turning to nature for protection also criticize the traditional religious belief of the time.
The romantic literature was marked, and is always marked, by a strange reaction and protest against the bondage of rule and custom in science and theology, as well as literature, generally tent to fetter the free human spirit. Romantic poets are essentially subjective self-revelation a creed with them. In their poetry may be found much of their mind and spirit. They seem to take their readers into confidence and pour into their ears all their passions and pains, all their dreams and desires. It’s a cardinal element in all romantic poets. As in the prelude’s words worth made an epic of personal experience based on his own life.
In general, these are the features of romanticism. Of course, romantic poetry is no sudden phenomenon in the literature of England. It is rather an inevitable reaction of the artificial and critical poetry of the eighteenth century with all the features There are as many definitions of poetry as there are poets. Wordsworth defined poetry as “the spontaneous overflow of powerful feelings;” Emily Dickinson said, “If I read a book and it makes my body so cold no fire ever can warm me, I know that is poetry;” and Dylan Thomas defined poetry this way: “Poetry is what makes me laugh or cry or yawn,
There are as many definitions of poetry as there are poets. Wordsworth defined poetry as “the spontaneous overflow of powerful feelings;” Emily Dickinson said, “If I read a book and it makes my body so cold no fire ever can warm me, I know that is poetry;” and Dylan Thomas defined poetry this way: “Poetry is what makes me laugh or cry or yawn, what makes my toenails twinkle, what makes me want to do this or that or nothing.”
Homer’s epic,The Odyssey, described the wanderings of the adventurer, Odysseus, and has been called the greatest story ever told. During the English Renaissance, dramatic poets like John Milton, Christopher Marlowe, and of course Shakespeare gave us enough to fill textbooks, lecture halls, and universities. Poems from the romantic period include Goethe’s Faust (1808), Coleridge’s “Kubla Khan” and John Keats’ “Ode on a Grecian Urn.”
Shall I go on? Because in order to do so, I would have to continue through 19th century Japanese poetry, early Americans that include Emily Dickinson and T.S. Eliot, postmodernism, experimentalists, slam…
So what is poetry?
Perhaps the characteristic most central to the definition of poetry is its unwillingness to be defined, labeled, or nailed down. But let’s not let that stop us, shall we? It’s about time someone wrestled poetry to the ground and slapped a sign on its back reading, “I’m poetry. Kick me here.”
Poetry is the chiseled marble of language; it’s a paint-spattered canvas – but the poet uses words instead of paint, and the canvas is you. Poetic definitions of poetry kind of spiral in on themselves, however, like a dog eating itself from the tail up. Let’s get nitty. Let’s, in fact, get gritty. I believe we can render an accessible definition of poetry by simply looking at its form and its purpose:
One of the most definable characteristics of the poetic form is economy of language. Poets are miserly and unrelentingly critical in the way they dole out words to a page. Carefully selecting words for conciseness and clarity is standard, even for writers of prose, but poets go well beyond this, considering a word’s emotive qualities, its musical value, its spacing, and yes, even its spacial relationship to the page. The poet, through innovation in both word choice and form, seemingly rends significance from thin air.
How am I doing so far? On to purpose:
One may use prose to narrate, describe, argue, or define. There are equally numerous reasons for writing poetry. But poetry, unlike prose, often has an underlying and over-arching purpose that goes beyond the literal. Poetry is evocative. It typically evokes in the reader an intense emotion: joy, sorrow, anger, catharsis, love… Alternatively, poetry has the ability to surprise the reader with an Ah Ha! Experience — revelation, insight, further understanding of elemental truth and beauty. Like Keats said:
“Beauty is truth. Truth, beauty. That is all ye know on Earth and all ye need to know.”
How’s that? Do we have a definition yet?
Poetry is artistically rendering words in such a way as to evoke intense emotion or an Ah Ha! experience from the reader.
Pretty unsatisfying, huh? Kind of leaves you feeling cheap, dirty, all hollow and empty inside like Chinese food.
Don’t do this. Don’t shackle poetry with your definitions. Poetry is not a frail and cerebral old woman, you know. Poetry is stronger than you think. Poetry is imagination and will break those chains faster than you can say “Harlem Renaissance.”
To borrow a phrase, poetry is a riddle wrapped in an enigma swathed in a cardigan sweater… or something like that. It doesn’t like your definitions and will shirk them at every turn. If you really want to know what poetry is, read it. Read it carefully. Pay attention. Read it out loud. Now read it again.
There’s your definition of poetry. Because defining poetry is like grasping at the wind – once you catch it, it’s no longer wind.