Friday, 30 November 2018
Thursday, 29 November 2018
Assignment - 12 English Language Teaching -1
ESP is different from English as a Second Language (ESL) :
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Assignment 12
Name : Vipul C Dabhi
Semester : 3
Roll no : 35
Enrollment no : 2069108420180009
Email ID : dabhivc04@gmail.com
Paper : 12 ELT
Topic : ESP is different from English as a Second Language (ESL)
Batch : 2017-2019
Submitted to : Department of English, MKBU.
Introduction :
ESP mainly deals with the communication skills. Like in your business field you need proper knowledge of that language. Where's in learning ESL your motives is different.
Before seeing the difference between ESP and ESL let's see what is ESP ?
What is ESP ?
English for Special Purposes includes students who are learning English in context of a certain field, profession, or topic. For example, when I was teaching legal English in China, I was teaching English in context of law. These students were learning English in preparation for studying law through an American university where the professors were all native English speakers.
English for Specific Purposes (ESP) courses focus on developing English communication skills in a specific discipline, such as finance, marketing, management, human resources, engineering and strategic thinking. Emphasis is given to the language and communication requirements in a particular professional field. This field specific language communication training enables participants to master relevant communication and professional skills and, in so doing, meet the needs of industry locally and internationally.
Knowledge and technical know-how are clearly important, but these must be presented with an excellent standard of communication skills. After all, success is not only based on what you know but also on how you can communicate it. Indeed, communication skills are considered one of the best career enhancers. In fact, evidence suggests that employers in all occupational fields place greater value on employees’ communication skills than they do on their technical skills and rate it as a top priority for both securing and retaining employment.
How it is Different from ESL :
The most important difference lies in the learners and their purposes for learning English. ESP students are usually adults who already have some acquaintance with English and are learning the language in order to communicate a set of professional skills and to perform particular job-related functions. An ESP program is therefore built on an assessment of purposes and needs and the functions for which English is required .
ESP concentrates more on language in context than on teaching grammar and language structures. It covers subjects varying from accounting or computer science to tourism and business management. The ESP focal point is that English is not taught as a subject separated from the students' real world (or wishes); instead, it is integrated into a subject matter area important to the learners.
As a matter of fact, ESP combines subject matter and English language teaching. Such a combination is highly motivating because students are able to apply what they learn in their English classes to their main field of study, whether it be accounting, business management, economics, computer science or tourism. Being able to use the vocabulary and structures that they learn in a meaningful context reinforces what is taught and increases their motivation.
The term "specific" in ESP refers to the specific purpose for learning English. Students approach the study of English through a field that is already known and relevant to them. This means that they are able to use what they learn in the ESP classroom right away in their work and studies. The ESP approach enhances the relevance of what the students are learning and enables them to use the English they know to learn even more English, since their interest in their field will motivate them to interact with speakers and texts.
What is the role of teacher in teaching ESP :
: Organizing Courses
: Setting Goals and Objectives
: Creating a Learning Environment
: Evaluating Students
What is the role of students in learning ESP :
: Interest for Learning
: Subject-Content Knowledge
: Learning Strategies
Benefits of ESP :
access the specific vocabularies of your company, industry and functional area and understand how to employ such vocabulary in specific business situations
Use appropriate style and tone for your professional discipline
Convert technical knowledge into compelling presentations and reports
Enhance your productivity, job performance and self-confidence
Advance your career
What is ESL :
ESL stands for English as a Second Language and is used to describe non-native English language speakers. If you are learning English in the United States, Australia, Canada or other English-speaking countries, the term could apply to you. If you are learning English in a country where English is not common, then the phrase English as a Foreign Language (EFL) would apply.
Or we can give another definition too. English as a Second Language is learning English in a country where English is dominantly spoken or where English is the official language. For example, students from non-native English-speaking countries who come to the U.S. and Canada for an extended period of time learn English as a Second Language. They acquire English as a means to communicate in the dominant language spoken in the community where they reside.
How it is different from ESP :
ESL students will also have a different reason for learning English. If they are living in an English speaking country, they will definitely have a communicative need for learning English very quickly so that they can go about their everyday lives with ease. An EFL student is far more likely to be learning the language for academic purposes and the emphasis of teaching will be different.
Students are usually more receptive to learning reading and writing and less concerned with speaking and listening, unless they work in an industry where they will communicate with other English speakers. Therefore, the teacher will be required change his or her teaching strategy depending on the needs of the students.
Teaching of ESL :
Essentials: these students have a practical need to learn English and will experience a much higher level of exposure. Teaching simple things such as how to fill out forms and ask for directions are imperative and should be made a priority to help with the students’ welfare and independence. However, lessons on tenses, grammar etc. are still important and should still be implemented in lessons after students have mastered the basics.
Culture: teaching students about the culture of the people living in the country is essential to help with their integration and language development. Lessons on festivals, key historical events and the country’s etiquette are important to help the student understand the people they are living with and reach a greater level of fluency.
The Challenges and Opportunities that Await New ESL Teachers :
Many teachers may lack confidence in teaching ESL students. However, the publication pointed out that effective language teaching for both ESL and other students focuses on “meaning-making,” rather than on recall of vocabulary words and that a positive classroom environment is one that supports true interaction and collaboration between teacher, student, and parent.
It is therefore up to ESL teachers to ensure that favorable conditions surround the acquisition of a second language. ESL teachers, aware of student needs, can circumvent negative student experiences and allow all students to benefit from rich language experiences. It can therefore be said that some of the most important goals of ESL teachers involve:
Providing environments that are orchestrated to provide opportunities for making meaning, rather than simply recalling new vocabulary or other facts
Providing a supportive environment where appropriate cognitive challenges exist and conditions that produce threat and anxiety are reduced
Providing comprehensive input, which includes conveying a message in language that is pitched just beyond what the ELL students can produce themselves.
Role of ESL teacher :
: Expect and respect a silent period in beginning ELL students
: Allow students time to process questions and answers
: Develop non-verbal ways for students to demonstrate their knowledge (charades, role playing, interactive games, drawings, etc.)
: Try to take time to address new students on a one-on-one basis each day
: Utilize assigned peers (buddies) for new ESL students
: Encourage students to discuss academic topics at home in their native language
: Find ways to value ELL’s home culture and language
: Use instructional methodologies that are active and focus on learning by doing and higher-level thinking processes
: Focus on the transmission of meaning and the development of concepts, rather than correct grammatical form
: Implement consistent and valued teaching and learning strategies
The Role of Students in learning ESL :
The role of the students is also evolving in the second language classroom. Students are becoming more active in their role as learners and are playing a major part in many aspects of the Core French class.
One significant development is the amount of student input and decision-making that naturally occurs in the development of the unit. In the initial phase of a unit, students are asked for their input and the knowledge that they possess on a particular subject. It is this input phase that begins to motivate the students. Students are encouraged to make a number of decisions. They need to decide what vocabulary and structures are important for their activities and projects. The decisions that are made regarding the projects reflect the interests and strengths of the students. Although there are specific objectives and guidelines that need to be met in the second language classroom, students who are allowed some freedom to move within the parameters are more likely to remain motivated and on task.
Conclusion :
ESP students are usually adult who already have professional skills and job related functions. ESP more focuses on the language in context. ESP is a subject matter area important to the learner.
ESL and ESP differ not only in nature of learner but also in the aim of instruction. In fact ESL all four language skills; L S R W are stressed equally. ESP program, emphasize the development of reading skill in student like a work in business administration and developing his speaking skill so student help to tourist guides. ESP combines subject matter and English language teaching.
https://www.readinghorizons.com/blog-roll/what-s-the-difference-between-esl-efl-esol-ell-and-esp
http://www.witslanguageschool.com/NewsRoom/ArticleView/tabid/180/ArticleId/341/What-are-English-for-Specific-Purposes-courses.aspx
- http://www.englishstudybreaks.com/what-is-the-difference-between-esl-and-efl/
Assignment - 11 The Postcolonial Literature
Main themes of A Tempest and The Tempest :
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Assignment 11
Name : Vipul C Dabhi
Semester - 3
Roll no : 35
Enrollment no : 2069108420180009
Email ID : dabhivc04@gmail.com
Paper - 11 The Postcolonial Literature
Topic : Main themes of A Tempest and The Tempest
Batch : 2017- 2019
Submitted to : Department of English, MKBU.
Introduction :
As we all knows that Shakespeare was a genius person. And his talent seems in his works. Here we will mainly discuss about his play " The Tempest". When we read at first time it seems a story of a king and who has magical powers. But after reading the criticism of it then we finds how he shows the dominance of power over small identity, or we can say over voiceless. Mainly Caliban remains voiceless. Caliban has not given voice against Power. Thus, in this play we finds colonialism. We can study this play from various angle like Postcolonial, feminism and etc. So first let us see the main theme of the play.
Where's " A Tempest " by Aime Cesaire mostly deals with the Postcolonial elements. Somehow he becomes successful in showing the elements by making the change from The Tempest. Here Caliban remains in the center. Who has given voice. He raises his voice against Power. So here we can see the importance of re- writing in literature. Here we will discuss the main theme of the play.
The Tempest : Shakespeare
Quest for Knowledge :
As The Tempest is a Renaissance drama, the quest for knowledge as a theme pertains in the play. Prospero is the king of Milan, he has a lot of responsibility towards the people and the kingdom but he fails to accomplish his duty. He remains quite busy in studying book of magic. He is concerned in his hunger of knowledge that he wants perfection in his learning and forgets everything about the kingdom. Antonio, his brother, gets right chance to dethrone him with the assistance of the king of Naples and his brother, Alonso and Sebastian respectively. Prospero loses the right to be the king of Milan, only because of his unquenchable thirst for the knowledge. In a sense, he is ready to lose everything for the sake of learning. He is the right example of Renaissance man. Whereas on the other hand, there is Caliban, a deformed being on the island who does not have any interest in learning, to be knowledgeable. Prospero teaches him the language to make him civilized and learned one, but he never learns it well. He learns few words, with which he curses Prospero for his ruthless treatment.
Power :
The pursuit of power and the exercise of power is one of the leading themes of William Shakespeare's last play, The Tempest. The theme is all-pervasive in this well-knit play. Before the play starts, Antonio, Prospero's brother who was put in charge of administration by Prospero, usurped power and conspired to banish Prospero from Milan. Here, he incites Alonso's brother, Sebastian, to kill the sleeping king and become the ruler of Naples. In the same manner, Prospero wants to be powerful with the help of magic and he seizes all the power of the island from the witch, Sycorax. The main political theme of the play is gaining power and control over others.
The difficulty of distinguishing Man from Monster :
The identity of Caliban remains ambiguous in this play. Sometime he is addressed as monster and in some places he is called man. In the play when Miranda first sees Ferdinand she says that he is the third man she has ever seen. On that basis, we can say that the two other men must be her father and Caliban. Here she regards Caliban as a man. Prospero refers to him as a born devil, a thing most brutish, a vile race, which significantly rejects him being a man and takes him as a monster. The views of Miranda and Prospero contradict in terms of Caliban’s identity. They think that if they provide him with the western education along with the language, he can be uplifted and his status can be improved. But at the same time, they seem to see him inherently devil and monster to whom no education can reform. Caliban himself says he was generous to Prospero but when he starts dehumanizing him and oppressing him, he starts disliking him. It is vague to generalize that Caliban is born brutish or he is made brutish by the oppression of Prospero.
The Charm of Colonialism :
The Tempest is interpreted as a play about colonialism primarily because Prospero comes to Sycorax’s island, subdues her, rules the land and imposes his own culture on the people of the land. Pushing the native to the side, he places himself at the helm of affairs. He displaces Caliban’s mother and treats her as a beast. He has full control over everything on the island. He makes Caliban work as his servant and calls him a thing of darkness. Caliban is being dehumanized or treated as subhuman. This shows the colonizer’s attitude of looking down on the colonized people. Caliban is seen as a despicable entity. The whites looked down on the people of other color. Some are born to dominate while others are born to be dominated. Caliban is treated as inferior. The colonizer used words like light, knowledge and wisdom to refer himself while he used terms like darkness, ignorance and elemental to describe the colonized. This binary opposition shows how Prospero as a colonizer creates essences about the colonized people. Prospero sees himself as a ruler carrying out the project of civilization mission. The way light dispels darkness and knowledge dispels ignorance Prospero as a colonizer educates and civilizes Caliban but without much success. The civilizing mission is always accompanied by the politics of domination over the colonized. These elements confirms the theme of colonialism in The Tempest.
A Tempest : Aime Cesaire
Here we will find the theme of Postcolonialism, Cultural Conflict, Master Slave relationship, Rebellious qualities in Caliban and etc.
Aime Cesaire Cesaire transforms the characters and transposes the scenes to reveal Shakespeare’s Prospero as the exploitative European power and Caliban and Ariel as the exploited natives. Cesaire’s A Tempest is an effective response to Shakespeare’s The Tempest because he interprets it from the perspective of the colonized and raises a conflict with Shakespeare as an icon of the literary canon. Besides that in In The Tempest by William Shakespeare one might argue that colonialism is a reoccurring theme throughout the play because of the slave-master relationship between Ariel and Caliban and Prospero.
A Tempest as a proclamation of resistance to European cultural dominance a project to “de-mythify” Shakespeare’s canonical text. In A Tempest, Caliban attempts to authorize his own freedom by speaking it, positioning speech as a tool to empower the colonized. By placing Caliban, the speaking slave, in the pages of a new play with a specific historical trajectory, Cesaire’s message of colonial empowerment forces a second critique of Shakespeare while also inhabiting a space of its own. To connect speech with power, Cesaire’s text focuses on the role of dialogue within the colonial system, emphasizing its unique ability to move between the disparate subjective spaces of the colonizer and the colonized.
The canonical text and its postcolonial revision. Although older criticisms of Cesaire’s A Tempest often simply compare his revision to Shakespeare’s original text in an effort to understand its value as either a commentary upon or update of it, Timothy Scheie represents a new mode of critique that resists a simple analysis of the referential relationship between Shakespeare and Cesaire to understand the meaning of Cesaire’s text on its own. In this way, Scheie moves beyond questioning the legitimacy of Cesaire’s project, instead focusing on the ability of Cesaire’s text to represent colonial systems. Scheie argues that despite Cesaire’s project to critique racist colonial power structures.
Prospero has been exiled and lives on a secluded island, and he drums up a violent storm to drive his daughter’s ship ashore. The island, however, is somewhere in the Caribbean, Ariel is a mulatto slave rather than a sprite, and Caliban is a black slave. A Tempest focuses on the plight of Ariel and Caliban the never-ending quest to gain freedom from Prospero and his rule over the island. Ariel, dutiful to Prospero, follows all orders given to him and sincerely believes that Prospero will honor his promise of emancipation. Caliban, on the other hand, slights Prospero at every opportunity: upon entering the first act, Caliban greets Prospero by saying “Uhuru!”, the Swahili word for “freedom.” Prospero complains that Caliban often speaks in his native language which Prospero has forbidden. This prompts Caliban to attempt to claim birthrights to the island, angering Prospero who threatens to whip Caliban.
During their argument, Caliban tells Prospero that he no longer wants to be called Caliban, “Call me X. That would be best. Like a man without a name. Or, to be more precise, a man whose name has been stolen.” The allusion to Malcolm X cements the aura of cultural reclamation that serves as the foundational element of A Tempest. Cesaire has also included the character Eshu who in the play is cast as a black devil-god. Calling on the Yoruba mythological traditions of West Africa, Eshu assumes the archetypal role of the trickster and thwarts Prospero’s power and authority during assemblies. Near the end of the play, Prospero sends all the lieutenants off the island to procure a place in Naples for his daughter Miranda and her husband Ferdinand. When the fleet begs him to leave, Prospero refuses and claims that the island cannot stand without him; in the end, only he and Caliban remain. As Prospero continues to assert his hold on the island, Caliban’s freedom song can be heard in the background. Thus, Cesaire leaves his audience to consider the lasting effects of colonialism.
Conclusion :
Thus we can say that somehow this play gives an tremendous amount of value of Postcolonialism. However, this play is substance of discussion. And Aime Cesaire give impact on the play and as flourishing the play he explaining with expanding his idea or realism too. After all by looking all the perspective and give nutshell views my attempt of this paper is justifies.
Work cited :
https://www.bachelorandmaster.com/globaldrama/themes-in-the-tempest.html#.W96BNRnhU0M
http://desaikaushal1315.blogspot.com/2014/10/analysis-of-tempest-by-aime-cesaire.html?m=1
Assignment - 10 The American Literature
Different standards of morality for a male and for a female in society with special reference to The Scarlet Letter.
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Assignment - 10
Name : Vipul C Dabhi
Semester : 3
Roll no : 35
Enrollment no : 2069108420180009
Email ID : dabhivc04@gmail.com
Paper : 10 The American Literature
Topic : Different standards of morality for a male and for a female in society with the reference to "The Scarlet Letter".
Batch : 2017-2019
Submitted to : Department of English, MKBU.
Introduction
So many time we hear about morality. Time and again most of the people puts stress on moral living. But question might be arise in our mind that if we live the life with morality then, do we get happiness or not...? Because in today's society there are so many peoples who has nothing to do with moral values yet they gets more success in their lives.
But here the question is different because morality differs according to the person. Like for someone honesty remains in the center where's for somebody else it is not so. Though the way this concept is seen by society it self remains in problem. Because it is society who creates the morality according to the power. And crucial question is that for male and for female morality remains different. It seems that patriarchy still rules in today's time and as a result of it women has to suffer a lot.
What is Morality :
First let us see the dictionary meaning of the word morality. It is the distinction between good and bad. A particular behavior which makes human being ethically well.
So, in definition we can't find any particular difference between men and women. So we can say that it is the power who has created this kinds of rules for their self motives.
Morality for Men :
Yes, there is different standard prevail in the society for men. And ultimately it is more centered with the patriarchal ideas. men are more likely to adhere to rigid principles. Should we sacrifice an innocent person for the greater good? A principled answer might be, "Yes; the best action maximizes outcome," or "No; it's never acceptable to sacrifice the innocent." When men watch wrongdoers getting punished, there is activation in reward centers of their brains.
Although patriarchy exists within the scientific atmosphere, "the periods over which women would have been at a physiological disadvantage in participation in hunting through being at a late stage of pregnancy or early stage of child-rearing would have been short", during the time of the nomads, patriarchy still grew with power. Lewontin and others argue that such biological determinism unjustly limits women. In his study, he states women behave a certain way not because they are biologically inclined to, but rather because they are judged by "how well they conform to the stereotypical local image of femininity".
Ultimately we can say that men can do anything whatsoever he wants. Society will not say anything to him.
Morality for Women :
They can't think on their own. They have to depend on the male. They can't behave in such manner. There are so many fields where they can't go. So we can say that whole process of women are in the hands of patriarchal power.
The state: women are unlikely to have formal power and representation
The household: women are more likely to do the housework and raise the children
Violence: women are more prone to being abused
Paid work: women are likely to be paid less
Sexuality: women's sexuality is more likely to be treated negatively
Culture: representation of women in media, and popular culture is "within a patriarchal gaze".
In the Scarlet Letter :
Before we consider the moral value of the work, it is worthwhile to look at the literary worth of this masterpiece of beauty and power. The largeness of its theme, the imaginative genius of the author, the symmetrical design, the ordering of plot, the allegorical significance and richness of symbolism, all contribute to the effectiveness of the work. The novel is rich in the use of symbols, some of which appear in the first chapter and abound throughout the entire work. While some are obvious and easy to identify others are more impressive and involved as Hawthorne makes them take on various meanings as the work progresses. One such symbol is the letter A that is literal symbol adultery, and takes on a number of forms, but becomes a positive symbol before the novel ends.
In The Scarlet Letter, as in some of his other stories, Hawthorne seems obsessed with the effect of sin on the sinners themselves. His earliest ancestor was William Hawthorne who arrived in Massachusetts in 1630. Hawthorne speaks of him as a soldier, legislator, judge and church leader who possessed all the Puritanical traits, both good and evil. He bitterly persecuted the Quakers and whipped them openly in the streets. One of his sons, John, great-great-grandfather of Nathaniel was one of the judges at the Salem with trials at which it is said, one of the victims pronounced a curse on Judge Hawthorne and his posterity.
Whether or not Hawthorne believed in curses, he did believe in the reality of sin and guilt, and shared with his Puritan ancestors the belief in man's partial depravity and inherited guilt.
Sin and Guilt :
Different types of sin are represented in The Scarlet Letter. Arlin Turner notes that there are "sins of the flesh, sins of weakness, sins of will and the intellect. The transgression of Hester and Dimmesdale stands condemned by the laws of society" .
Hester stands on the scaffold wearing a drab gray dress with a large scarlet "A" on her bosom. She shows to the world the result of her sin in the form of little Pearl. While Hester's sin is visible to all, Dimmesdale's is hidden. The minister conceals his wrong, --the fact that he has broken the moral law – and the only suggestion that something is wrong in his life is the habit he has of constantly putting his hand over his heart. Henry James describes him as "the tormented young Puritan minister, who carries the secret of his own lapse from pastoral purity locked beneath an exterior that commends itself to the reverence of his flock, while he sees the softer partner of his guilt standing in the full glare of exposure and humbling herself to the misery of atonement" .
Rodger Chillingworth, Hester's husband, an older man, described as small, thin and slightly deformed, is guilty of two sins. The first is against Nature. Selfishness had led him to marry Hester, a young, passionate girl. He knew that Hester did not love him and he was not the kind of man to make her a good husband. He admits in Chapter 4, "Mine was the first wrong, when I betrayed thy budding youth into a false and unnatural relation with my decay." And Hester knows it too. "It seemed a fouler offence committed by Rodger Chillingworth, than any which had since been done him, that, in the time when her heart knew no matter, he had persuaded her to fancy herself happy by his side".. The second sin, which seems more serious than the first, begins to take control of Chillingworth when he first appears at the scaffold in Chapter 3. "Briefly defined, this sin is the subordination of the heart to intellect. It occurs when one is willing to sacrifice his fellow man to gratify his own selfish interests. As displayed by Chillingworth, it involves a violation of two biblical injunctions: 'Judge not, that ye be not judged' and 'Vengeance is mine, saith the Lord'". In Dimmesdale's words, "He has violated in cold blood, the sanctity of a human heart". Hawthorne regards this sin as a grave one and many critics support the idea. Henry James speaks of Chillingworth as devising the "infernally ingenious plan of conjoining himself with his wronger, living with him, living upon him; and while he pretends to minister to his hidden ailment and to sympathize with his pain, revels in his unsuspected knowledge of these things, and stimulates them by malignant arts". The second sin which seems more serious than the first, begins to take control of Chillingworth when he first appears at the scaffold in Chapter 3. "Briefly defined, this sin is the subordination of the heart to intellect. It occurs when one is willing to sacrifice his fellow man to gratify his own selfish interests. As displayed by Chillingworth, it involves a violation of two biblical injunctions:'Judge not, that ye be not judged' and 'Vengeance is mine, saith the Lord'".. In Dimmesdale's words, "He has violated in cold blood, the sanctity of a human heart". Hawthorne regards this sin as a grave one and many critics support the idea. Henry James speaks of Chillingworth as devising the "infernally ingenious plan of conjoining himself with his wronger, living with him, living upon him; and while he pretends to minister to his hidden ailment and to sympathize with his pain, revels in his unsuspected knowledge of these things, and stimulates them by malignant arts" .
Hawthorne shows the woman suffering public shame and scorn, the sensitive and neurotic minister who conceals his participation in the sin withering inside, and the jealous old man, Chillingworth, consumed by the madness of revenge. Turner states that the author's "basic assumption is that reward and punishment are inevitable here and now--retribution for sin is certain.. But while Hawthorne sees punishments for the wrong doers as being meted out now, Ecclesiastes 12:14 states that "God shall bring every work into judgment, with every secret thing, whether it be good, or whether it be evil." The biblical view is that reward is certain even if it is not immediate.
Conclusion :
Thus, we can conclude that in the novel male characters doesn't suffer much compared to the female characters. If woman has done the wrong than she has to leave the town or society will not see her as normal being. Where's for male even nobody notices that kinds of things. But at the end we can say that writer has tried to give freedom to the women characters in the novel.
Work cited :
https://www.bartleby.com/essay/Guilt-and-Shame-in-Hawthornes-The-Scarlet-F3UDC6SWGDA5
http://christintheclassroom.org/vol_24/24cc_117-135.htm
Assignment - 9 The Modernist Literature
An understanding of Stream of Consciousness Technique with reference of To The Lighthouse.
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Assignment - 9
Name : Vipul C Dabhi
Semester : 3
Roll no : 35
Enrollment no : 2069108420180009
Email ID : dabhivc04@gmail.com
Paper : 9 The Modernist Literature
Topic : An understanding of stream of consciousness technique with the reference of To The Lighthouse.
Batch : 2017-2019
Submitted to : Department of English, MKBU.
Introduction :
Whenever we hear about the term Stream of consciousness that time so many thoughts starts running in our mind. The first question arises in our mind is that, What is the Stream of consciousness technique ?
What is Stream of Consciousness Technique :
Initially this phrase was used by William James in his Principles of Psychology (1890). Where he describes the unbroken flow of perceptions, memories, thoughts and feelings of person's running mind. After that it has been used as a narrative methodology in modern fiction. Through this technique reader comes to know about an ongoing thought of character's mind, But other characters remains unaware about that thoughts. James Joyce was a pioneer in using this technique in his novels of which the best known are Ulysses and The Portrait of the Artist as a Young Man. And this technique was also used by Virginia Woolf.
The another interesting thing we found about this technique is long passages of introspection, where narrator records the ongoing flow of character's mind. There are so many modernist writer who uses this term in their works. For more details we can see the work of James. Like Portrait of a lady is entirely given over to the narrator's description of the sustained process of Isabel's memories, thoughts, and varying feelings. For more examples we can take example of a short novel The Laurels Have Been Cut , Which represents the scenes and events of story solely as they run into the consciousness of the character. Another definition also we can give to this technique is the name applied specifically to a mode of narration that undertakes to reproduce the full spectrum and continuous flow of a character's mental process.
When we understand further that time we can see the similarities between interior monologue and stream of consciousness technique. An important thing we found in interior monologue is that, author does not mediate. An interior monologue sometimes described as the exact presentation of the process of consciousness. But some aspects of thought itself are non verbal, so we can say that author can present these elements only by converting them into some sort of verbal equivalent.
James Joyce developed a variety of devices for stream of consciousness narrative in Ulysses. Here is a passage of interior monologue from the " Lestrygonians " episode, in which Leopold Bloom saunters through Dublin, observing and musing :
Pineapple rock, lemon Platt, butter scotch. A sugar - sticky girl shoveling scoopfuls of creams for a Christian brother. Some school treat. Bad for their tummies. Lozenge and comfit manufacturer to His Majesty the king. God. Save. Our. Sitting on his throne, sucking red jujubes white. There are other examples too where we finds mode of narrative focused on the mind and perception of her heroine, throughout the novel Pilgrimage.
Stream of Consciousness technique in To The Lighthouse :
What Virginia Woolf said about the technique is the Conventional novel did not express life adequately. She was of the opinion that life was a shower of ever-failing atoms of experience, and not a narrative line. Life, she said, was a luminous halo, a semitransparent envelope surrounding us from the beginning of Consciousness to end.
She also expressed the view that, if we want an adequate portrayal of life, we should turn to James Joyce’s novel, Ulysses. She tried to experiment with the same technique in her novel, ’To the Lighthouse’. In which the character reveal them very much in the same way. However, her method differs from that of Joyce in certain important respects Virginia Woolf does not put us directly into the minds of her people all the time. She does depict character through the inner Consciousness of the Person’s whom we meet in this novel. But she herself remains the controlling intelligence, speaking in the third person. While she very seldom slips in Comments of her own, she remains the narrator, telling us what is going on in the various minds.
Virginia Woolf shows us a particular person in this novel not only through the Consciousness of that person himself or herself, but also through the Consciousness of the other persons. We are given the interior monologues of the various characters in this novel, and it is largely through the twin devices of stream of Consciousness and the interior monologue that we come to know the various characters. Thus we see Mrs. Ramsay not only through her own Consciousness but through the Consciousness of Mr. Ramsey, the child James, Lily Briscoe, Mr. Tansley, and Mr. Bankes. Similarly we come to know Mr. Ramsay not only through his own Consciousness but also through the Consciousness of Mrs.Ramsay, the young James, Lily Briscoe, and Mr. Bankes. In fact, every character in the novel is presented to us through his own Consciousness and also through the Consciousness of the other characters. At the same time, the characters are occasionally presented to us directly by the all-knowing author of the novel, and also sometimes bits of conversation or dialogue between the characters.
To survive in the Modern Time :
Mrs. Woolf’s Concern in writing novels was not merely to narrate a story as the older novelists did, but to discover and record life as the people feel who live it. Hence it is she rejected the conventional technique of narration and adopted a new technique more suited to her purposes. It is for this reason that in ‘To The Lighthouse’ she not told a story, in the sense of a Series of events, and has Concentrated on a small number of Characters, whose nature and feelings are represented to us largely through their interior monologues. In order to capture the inner reality, the truth about life, she has tried to represent the moving current of life and the individual’s Consciousness of the fleeting movement, and secondly, also to select from this current and organize it so that the novel may penetrate beneath the surface reality and may give to the reader a sense of understanding and completeness. The interior monologues of the different characters are, no doubt, given, but the novelist, the central intelligence, is also constantly busy, organizing the material and illuminating it by frequent Comments.
Expectancy and Novelty :
To The Lighthouse begins by taking us into the middle of scene; Mrs.Ramsay’s opening remark is the answer to unstated question, which we have to supply by picking up clues from what follows. The reader’s natural curiosity thus becomes involved. We wonder who these people are, what they are talking about and so on. As we read on, prompted by this desire to know, we begin to recognize a pattern in the narrative at same time as we assimilate names, facts, ideas.
Some of the Illustrations :
Chapter XVII of The Window begins with Mrs. Ramsay wondering what she has done with her life, as she directs guests to their seats and ladles out soup. She sees her husband at the far end of the table, frowning. “What at? She did not know. She did not mind. She could not understand how she had ever felt any emotion or affection for him” (83). As she thinks about her displeasure and disconnectedness with Mr. Ramsay, Mrs. Ramsay notes that she would not speak out loud her inner feelings. There is a strict difference between her actions and her thoughts:
Raising her eyebrows at the discrepancy—that was what she was thinking, this was what she was doing—ladling out soup—she felt, more and more strongly, outside that eddy.
The point of view shifts abruptly to Lily Briscoe, who is watching Mrs. Ramsay intently and imagining her thoughts. Lily is able to read Mrs. Ramsay pretty clearly: “How old she looks, how worn she looks, and how remote”. She wonders why Mrs. Ramsay pities William Bankes, and she realizes that “the life in her, her resolve to live again, had been stirred by pity”. Lily does not find Bankes pitiable, but she recognizes that Mrs. Ramsay is fulfilling some need of her own. Lily thinks about how Bankes has his work, then her thoughts switch to her own work, and she starts imagining her painting and the adjustments she will make. As if to remind the readers of the setting, Woolf has Lily take up “the salt cellar and put it down again on a flower in pattern in the table-cloth, so as to remind herself to move the tree” . After all of Lily Briscoe’s thoughts, Mr. Bankes finally responds to Mrs. Ramsay’s inquiry as to whether he has found his letters.
By shifting the point of view from character to character, Woolf shares each character’s thoughts and feelings, opinions and reactions to one another. The dynamics between the characters are expressed more fully by their thoughts than by their words. The light dialogue serves to break up the transitions in perspective. By blending people’s inward feelings and keeping dialogue to a minimum, Woolf develops her many-dimensioned characters in a unique way.
Conclusion :
Thus we can see that how Virginia Woolf became more successful than others by breaking the traditional methodology of writing. In a way it gives an awesome experience to the reader too.
For a writer or person like Virginia Woolf one can use this kind of things in their works. Like how she had to suffer for the rights and freedom. And for that or we can say to describe the her own experience she uses this technique. And that thing we finds in daughters of Ramsay Family.
Ultimately the outcome might not be good but for the experiencing the new things in the works and in this process how it creates an amazing effects that is shows her talents.
Work cited :
https://owlcation.com/humanities/Stream-of-Consciousness-in-Virginia-Woolfs-To-the-Lighthouse
http://dharabhatt061011.blogspot.com/2011/11/stream-of-consciousness-novel-to.html?m=1
Saturday, 10 November 2018
Mourning Becomes Electra : Movie Review
In understanding the concept of the subject it is already proven that audio - visuals helps more than mere reading. But it doesn't mean one should stop reading. So, on 24 September we had film screening of the movie Mourning becomes Electra.
Mourning Becomes Electra is a 1947 American drama film by Dudley Nicholsadapted from the 1931 Eugene O'Neill play Mourning Becomes Electra. The film stars Rosalind Russell, Michael Redgrave, Raymond Massey, Katina Paxinou, Leo Genn and Kirk Douglas.( Wikipedia)
Most of the setting remains authentic to the original play. But that mythical context we doesn't find in the movie. Another things is that it is an old movie which becomes the reason of boredom between the screening.
As there are three parts in the text same way in movie also it represents the all three parts. Like Homecoming, Hunted and Haunted.
The main theme of the work represents the matrix of the relationship.
Household things : From the starting of the movie we can find that common things which remains present in all the families. Same way in movie also mannons behaves the same.
Web of deceit : During whole movie we finds that all characters behaves differently. Most of the time they all cheats each other. That thing Adam represents very well, because he acts as he loves Christine. But actually he wants to take revenge.
Incest : The theme of incest represents sexual relationship between family members. Here in movie Adam relationship with Christine, Orin's relationship with Christine, Lavinia's relationship with her father. In a way all has nothing to do with the relation.
Electra complex : This complex we finds in Lavinia. Who never likes her mother meets to her father. At one stage she says that : I wants to wife of my father.
Oedipus complex : For Orin his mother should be with him forever. He wants to go away with his mother.
Death : Yes, as most of the characters dies in the movie so we can say that the theme of the death remains in the center. At the end of the movie only Seth -Gardner and Lavinia - locks herself from the outer world, remains alive.
Thus, we can say that this screening of the film helps a lot in developing the understanding.
Thank you...
Youth Festival 2018 : Aishvaryam
During 26-28 October,2018, we had Youth Festival in MKBU. Which was hosted by the Takshashila College. Time and again these kinds of academic functions must should be organized. Because it is the stage which helps in displaying the hidden talents. And most of the students take these opportunities as a career changing. In a way these all things influenced a lot in future.
In these three days our task was to observed all the things from various approaches.
In these three days I have attended total three main events, like Mono Acting, One act play and On the spot Painting.
• Mono Acting : In mono acting I have watched three performance. Which was mainly based on the theme of women struggle in male dominant society. The second performance was quite good because it was reminded me the theory of Feminism. And Third one was excellent too, in which she performed the role of lady hawker. How to be self dependent and how to live the life on our own that was the theme of that performance. She acted very well by using the appropriate language and jesture.
• One Act play : Now a days we sees in cinemas that acting is taking the place of action. So it means acting is becoming difficult for the actors. But in Youth Festival they all performed their role very well. I have watched total three plays. First was "Bhrigu Samhita." Mainly all plays were representing the theme of tragedy. In that I find the theme element of catharsis and hamartia. Second one was " Sikkani triji baju " Which was performed by my Department. ( Dept.of English ) Which was based on Third gender issues. It was a satire on society. How society becomes the reason of sorrow. The third one was " Papan Vachche Dariyo." That was based on a domestic violence.
• On the spot Painting : I was also the participants of this event. The subjects of painting were " Indian Festivals" , " Market"
and " Lokmelo." Most of the painting were based on current issues. Some of the rangolis were very good.
On the last day I have also attended the closing ceremony. It was a winning hat trick by the SSCCM. So overall it was great experience to be there.
In the last I would like to say that however " Australia was good but their dominance also came to it's end. We can hope that New Countries will change the era as India has changed the era. "
Thank you ..
Thinking Activity : Waiting for Godot by Samuel Beckett
Most of the time thinking becomes difficult and as a result of it one can not go deeper into the foundation. So to cultivate the habit of imagination/ thinking we got this task. This task is based on Waiting for Godot. For further details click here....
• What connection do you see in the setting("A country road. A tree. Evening.) of the play and these paintings.
This is the painting from which Beckett got the idea of arranging the setting of the play. This painting is drawn by Caspar David Friedrich. Here longing is connected with waiting and two persons keeps on seeing the sunrise and sunset same as in the play.
• The tree is the only important 'thing' in the setting. What is the importance of tree in both acts? Why does Beckett grow a few leaves in Act 2 on the barren tree- The tree has four or five leaves?
If we read the tree as a symbol then we can say that it stands for both hope and despair. Here we can interpret that after the WW -2 whole scene looks barren but change must take place and as a result of it we can find that leaves. Same way in life nobody will come to rescue us, for the survival we must should be adaptive.
• In both acts, evening falls into night and moon rises. How would you like to interpret this 'Coming for night and moon' when actually they are Waiting For Godot?
As moon never stop rising, same way people shouldn't be frustrated by their daily life.
• The director feels the setting with some debris. Can you read any meaning in the contours of debris in the setting of the play?
Here we can interpret debris as a materialistic things, which not going to be permanent. We can connect this things with human lives too, by saying that humanities are dying like things.
• The play begins with the dialogue "Nothing to be done". how does the theme of 'nothingness' recurs in the play?
Ultimately nothing happens in the play. These both tramps wait for somebody whom they don't know. And in that process they do nothing. But according to me nothing to be done means lots of things to be done if person wants to do.
• Do you agree: "The play (Waiting for Godot), we agreed, was a positive play, not negative, not pessimistic. As I saw it, with my blood and skin and eyes, the philosophy is: 'No matter what- atom bombs, hydrogen bombs, anything- life goes on. You can kill yourself, but you can't kill life."(E.G. Marshal who played Vladimir in original Broadway production 1950s)?
Yes I am totally agree with the Marshal's view. Mostly we keep on thinking about the destination but if you work hard in the process then automatically the destination will be better. Another interpretation comes in our mind is that nobody's gonna be come to rescue us. One shouldn't be feel frustrated because it is the life.
• How are the props like hat and boots used in the play? What is the symbolical significance of these props?
Beckett has presented all the symbols very well. In the symbol of hat we can connect intellectuality. And boots as a dumbness of person. Or we can say carefree spirit with valid reason as Estragon represents in the play.
• Do you think that the obedience of Lucky is extremely irritating and Nauseatic? Even when the master Pozzo is blind, he obediently hands the whip in his hand. Do you think that such a capacity of slavishness is unbelievable?
Yes, it seems dumbness of lucky. He remains free after Pozzo gets blind. But yet he remains in the position of slave. This thing we can connect with the people like so many time people are habituated to live dependent life. They can't do anything without the string. In general person never find chain around him while there are so many chains which drives person.
• Who according to you is Godot? God? An object of desire? Death? Goal? Success? or...
In the play we can say that God is Godot. But according to me the deep desire to be something, to achieve more and more in life. In between so many obstacles will keeps coming but we don't have to stop. That's the thing which makes this play positive.
• "The subject of the play is not Godot but 'waiting' (Esslin, A search for the self). Do you agree? How can you justify your answer?
Yes, the subject of the play is not Godot but waiting. I am agree with the Esslin's view. During whole play nothing happens. Which shows the absurdity of life. In life also we keeps on waiting for something till our death.
• Do you think plays like this can better be 'read' than 'viewed' as it requires a lot of thinking on the part of readers, while viewing, the torrent of dialogues does not give ample time and space to 'think'? Or is it that the audio- visuals help in better understanding of the play?
If we talk in terms of thinking then obviously reading will be more helpful. But for an understanding, how nothingness seems in movie, for that watching of movie also helps a lot.
• Which of the following sequence you liked the most:
o Vladimir – Estragon killing time in questions and conversations whilewaiting
 |
| Vladimir and Estragon: The Had and the Boot |
o Pozzo – Lucky episode in both acts
o Converstion of Vladimir with the boy
I liked the conversation between Vladimir and Estragon :
Because during their talk we find that how Vladimir seems fool by representing the hat, where's Estragon who seems dumb but his arguments are more valid and rational compare to Vladimir. Altogether another interpretation comes in our mind is that both the character represents the human lives. Like those who think too much they suffers more compared to those who remains more passive.
• Did you feel the effect of existential crisis or meaninglessness of human existence in the irrational and indifference Universe during screening of the movie? Where and when exactly that feeling was felt, if ever it was?
Yes, we can feel the effect of existential crisis or meaninglessness of human existence in irrational and indifference Universe during screening of the movie. The first sentence it self suggests the meaninglessness of the life. These both traps thinks of suicide, allusions by boy, hidden chains in life as lucky can't escape from the slavery.
• Vladimir and Estragon talks about ‘hanging’ themselves and commit suicide, but they do not do so. How do you read this idea of suicide in Existentialism?
We can connect this things with escapism. An escapism from the struggle. But they doesn't suicides means they have capability to survive. Same way in life so many time we questions on our existence, most of the time whenever we stucks in trap that time we feels of doing suicide. So it is like escapism. Thus, as in Christianity suicide is considered as a sin same way these both tramps avoids the suicide and starts waiting as a doing the karma in difficulty.
• Can we do any political reading of the play if we see European nations represented by the 'names' of the characters (Vladimir - Russia; Estragon - France; Pozzo - Italy and Lucky - England)? What interpretation can be inferred from the play written just after World War II? Which country stands for 'Godot'?
So far as Pozzo and Lucky [master and slave] are concerned, we have to remember that Beckett was a disciple of Joyce and that Joyce hated England. Beckett meant Pozzo to be England, and Lucky to be Ireland." (Bert Lahr who played Estragon in Broadway production). Does this reading make any sense? Why? How? What?
Yes, going with the names of characters we can do political reading of the play. Here Vladimir stand for Russia, Pozzo stand for Italy, Lucky stand for England and Estragon stand for France. For the Godot's character we can say Germany through the Hitler who has barren the land in WW. In the case of Pozzo and Lucky, we can connect them as master - slave , Here Pozzo represents England and Lucky represents Ireland.
• The more the things change, the more it remains similar. There seems to have no change in Act I and Act II of the play. Even the conversation between Vladimir and the Boy sounds almost similar. But there is one major change. In Act I, in reply to Boy;s question, Vladimir says:
"BOY: What am I to tell Mr. Godot, Sir?
VLADIMIR:
Tell him . . . (he hesitates) . . . tell him you saw us. (Pause.) You did see us, didn't you?
How does this conversation go in Act II? Is there any change in seeming similar situation and conversation? If so, what is it? What does it signify?
In most of the acts we doesn't find any difference. But yes in above mentioned context we can see the difference. Here Vladimir becomes more self centered. As in life most of the time people stays with us but when they thinks that their motives are not are near that time they leaves us.
Thank you...
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