Sunday, 18 March 2018

What Is The Function of Literature?

Why people reading literature? What is the function of literature? Is there any meaning full purpose for spending time on a book? I am trying to find a clear answer to these questions. Generally we call literature a novel, poem, short story, essay, biography, any other form of writing which is deviated from this general category. I am not considering the effect of popular fiction and cinema which is more often consider as a market commodity. A work of art is primarily concerned with the creation of beauty. In that sense the above mentioned commodities are not purely literature and long lasting. Tolstoy’s writing is considered as the greatest work of literature which has all the fine qualities of a model art work.
Literature is consumed for its own purpose and does not have to serve for any purpose. It is for pleasure, spiritual edification, broadening of knowledge, or may be just to pass time, without anyone forcing us to read them. I feel sympathetic to children who are forced to read literature in there part of curriculum. It is impossible to read serious novels, poetry, essays, and biographies, if we are not convinced that they largely enlarge our minds and refine our sprits, make us more sensitive and understanding towards our fellow human being.
Literature creates to help language, create a sense of identity and community. Every indigenous community has its own language and literature. India has its own classical writing which is giving an identity for Indians in this world. India’s regional language has produced vast amount of literature which is contributing immensely to growing regional language. Indian English has produced some good writers. But in world literature the place of Indian English literature is very little. Our regional writers are not translated and accepted in the global stage.
Literature transcends human limitation. It enriches life and gives readers a kind of perspective that they otherwise wouldn’t have. When we read literature we travel in space, we travel in time; we travel through all kinds of historical periods, and imaginary worlds. I think this give reader a kind of sensibility about the real world. I think if you are a book lover who is digging through some unknown authors writing, you are someone special in this world. I think literature evolve every time and give reader some unpredictable stuff but the basic purpose remains the same.

PSYCHOANALYTIC CRITICISM

Psychoanalytic criticism builds on Freudian theories of psychology. While we don't have the room here to discuss all of Freud's work, a general overview is necessary to explain psychoanalytic literary criticism.
Freud began his psychoanalytic work in the 1880s while attempting to treat behavioral disorders in his Viennese patients. He dubbed the disorders 'hysteria' and began treating them by listening to his patients talk through their problems. Based on this work, Freud asserted that people's behavior is affected by their unconscious: "...the notion that human beings are motivated, even driven, by desires, fears, needs, and conflicts of which they are unaware..." (Tyson 14-15).
Freud believed that our unconscious was influenced by childhood events. Freud organized these events into developmental stages involving relationships with parents and drives of desire and pleasure where children focus "...on different parts of the body...starting with the mouth...shifting to the oral, anal, and phallic phases..." (Richter 1015). These stages reflect base levels of desire, but they also involve fear of loss (loss of genitals, loss of affection from parents, loss of life) and repression: "...the expunging from consciousness of these unhappy psychological events" (Tyson 15).
Tyson reminds us, however, that "...repression doesn't eliminate our painful experiences and emotions...we unconsciously behave in ways that will allow us to 'play out'...our conflicted feelings about the painful experiences and emotions we repress" (15). To keep all of this conflict buried in our unconscious, Freud argued that we develop defenses: selective perception, selective memory, denial, displacement, projection, regression, fear of intimacy, and fear of death, among others.
Freud maintained that our desires and our unconscious conflicts give rise to three areas of the mind that wrestle for dominance as we grow from infancy, to childhood, to adulthood:
id - "...the location of the drives" or libido
ego - "...one of the major defenses against the power of the drives..." and home of the defenses listed above
superego - the area of the unconscious that houses Judgment (of self and others) and "...which begins to form during childhood as a result of the Oedipus complex" (Richter 1015-1016)
Freud believed that the Oedipus complex was "...one of the most powerfully determinative elements in the growth of the child" (Richter 1016). Essentially, the Oedipus complex involves children's need for their parents and the conflict that arises as children mature and realize they are not the absolute focus of their mother's attention: "the Oedipus complex begins in a late phase of infantile sexuality, between the child's third and sixth year, and it takes a different form in males than it does in females" (Richter 1016).
Freud argued that both boys and girls wish to possess their mothers, but as they grow older "...they begin to sense that their claim to exclusive attention is thwarted by the mother's attention to the father..." (1016). Children, Freud maintained, connect this conflict of attention to the intimate relations between mother and father, relations from which the children are excluded. Freud believed that "the result is a murderous rage against the father...and a desire to possess the mother" (1016).
Freud pointed out, however, that "...the Oedipus complex differs in boys and girls...the functioning of the related castration complex" (1016). In short, Freud thought that "...during the Oedipal rivalry [between boys and their fathers], boys fantasized that punishment for their rage will take the form of..." castration (1016). When boys effectively work through this anxiety, Freud argued, "...the boy learns to identify with the father in the hope of someday possessing a woman like his mother. In girls, the castration complex does not take the form of anxiety...the result is a frustrated rage in which the girl shifts her sexual desire from the mother to the father" (1016).
Freud believed that eventually, the girl's spurned advanced toward the father give way to a desire to possess a man like her father later in life. Freud believed that the impact of the unconscious, id, ego, superego, the defenses, and the Oedipus complexes was inescapable and that these elements of the mind influence all our behavior (and even our dreams) as adults - of course this behavior involves what we write.
So what does all of this psychological business have to do with literature and the study of literature? Put simply, some critics believe that we can "...read psychoanalytically...to see which concepts are operating in the text in such a way as to enrich our understanding of the work and, if we plan to write a paper about it, to yield a meaningful, coherent psychoanalytic interpretation" (Tyson 29). Tyson provides some insightful and applicable questions to help guide our understanding of psychoanalytic criticism.
Jungian criticism attempts to explore the connection between literature and what Carl Jung (a student of Freud) called the “collective unconscious” of the human race: "...racial memory, through which the spirit of the whole human species manifests itself" (Richter 504). Jungian criticism, closely related to Freudian theory because of its connection to psychoanalysis, assumes that all stories and symbols are based on mythic models from mankind’s past.
Based on these commonalities, Jung developed archetypal myths, the Syzygy: "...a quaternion composing a whole, the unified self of which people are in search" (Richter 505). These archetypes are the Shadow, the Anima, the Animus, and the Spirit: "...beneath...[the Shadow] is the Anima, the feminine side of the male Self, and the Animus, the corresponding masculine side of the female Self" (Richter 505).
In literary analysis, a Jungian critic would look for archetypes (also see the discussion of Northrop Frye in the Structuralism section) in creative works: "Jungian criticism is generally involved with a search for the embodiment of these symbols within particular works of art." (Richter 505). When dealing with this sort of criticism, it is often useful to keep a handbook of mythology and a dictionary of symbols on hand.

LITERARY FORMS AND MOVEMENTS

What is a round character?
A round character is a complex and dynamic. In this character improvement and change occurs during the course of work .
What is a soliloquy?
Soliloquy is a device use in drama in which a character speaks to himself or herself (thinking loud) by showing his feelings or thoughts to audience.
What is Neo-classicism?
Neo-classicism is a eighteenth century western movement of art, literature and architecture. They got inspiration from ancient Greece and ancient Rome.
What is a mock-epic?
Mock-epic is a poem in which satire, exaggeration, irony and sarcasm is used to mock the subject or used the epic style for the trivial subject etc.
What is a complex plot?
A complex plot according to Aristotle is that have ‘peripeteia’ (reversal) and ‘anagnorisis’ (denouement) without these is a simple plot.
What is interior monologue?
Interior monologue is the expression of internal thought, feelings and emotions of a character in dramatic or narrative form.
What is blank verse?
Blank verse is a form of poetry that written in iambic pentameter but un-rhymed.
What is Art for Arts’ sake?
“Art for Arts’ sake” is nineteenth century literary movement which gives importance to aesthetic pleasure instead of moral, didactic or utilitarian function of literature.
What is Epistolary novel?
Epistolary novel is a narrated work. In this type of novel the story is narrated through letters sent by the observer or by those who participating in the events. Example: 18th century’s novel ‘Richardson’s Pamela and Clarissa etc.
Differentiate between novel and novella.
Difference between novel and novella is length of the narrative work. Novella is shorter than novel and longer than short story but novel is long narrated work.
What is the difference between “Open form poetry” and “Closed form poetry”?
Close form poetry used the fix pattern of stanza, rhyme and meter etc. For example: sonnet, limerick, haiku and sestina etc. Open form poetry does not use these fix patterns.
What is the structure of Spenserian stanza?
Spenserian stanza consist of nine lines, eight lines are in iambic pentameter and followed by single line in iambic hexameter. The last line is called Alexandrine.
Differentiate between ‘Blank verse’ and ‘Free verse’.
‘Blank verse’ follows the fix meter like iambic pentameter and un-rhymed but ‘Free verse’ is also un-rhymed and does not follow the fix meter.
How can you define “Pastoral elegy”?
Pastoral elegy is a poem about death. In this poem poet expresses his grief for the dead in rural setting or about the shepherds.
What is ‘Point of View’?
‘Point of view’ is an opinion, judgment or attitude on a matter. It may be against are in favor.
Define plot. What are its various elements?
Plot is a logical arrangement of events in a story or play. The exposition, rising action, climax, falling action and resolution are the elements of plot.
What is conflict?
Conflict is a problem or struggle in a story or play. It occurs in rising action, climax and falling action. It creates suspense and excitement in the story or play.
Define black comedy.
Black comedy is a humorous work in which human suffering regards as absurd and funny..
What do you mean by Theater of the absurd?
Theater of the absurd is one kind of drama in which absurdity emphasized and lack realistic and logical structure. For example: “Waiting for Godot” by Samuel Beckett.
How can you differentiate between flat and round characters?
A round character is a complex and dynamic. In this character improvement and change occurs during the course of work but flat character are uncomplicated and remains unchanged through the course of work.
What was the Oxford movement?
Oxford movement starts in 1833 and for the revival of Catholic doctrine in Anglican Church. It is against the conventional understanding of the religion.
Define Puritanism?
Puritanism is the religious movement starts in sixteen century and the goal of the movement is to purify the church of England from its Catholic practices.
What is Imagism?
Imagism is a movement of Anglo-American poets started in early nineteenth century in which they emphasize the use of clear images and simple and sharp language.
What is meant by Stream of Consciousness?
Stream of Consciousness is a technique of narration in which the series of thoughts in the mind of the character are presented. “To the Lighthouse” by Virginia Woolf is one example.
What is meant by Gothic Novel?
Gothic Novel is one type of novel. In this type the cruel passions and supernatural terror is presented. Example: Monastery or Haunted Castle etc.
What is Metaphysical Poetry?
Metaphysical poetry is a highly intellectualized poetry with the use of wit, imagery, conceits and paradox etc. It is obscure and rigid. For example: “John Donne’s poetry.

BLANK VERSE vs FREE VERSE


Blank Verse and Free Verse are two important features in poetry. Blank verse refers to poetry written in regular metrical but unrhymed lines.
Free verse refers to an open form of poetry that has no rhyme or rhythm. The main difference between blank verse and free verse is that free verse is not written in consistent meter patterns, rhyme, or any other musical pattern whereas blank verse is written in regular metrical patterns.
Blank verse is poetry written in regular metrical but unrhymed lines. Blank verse is mostly written in iambic pentameter. Blank verse is also known as unrhymed iambic pentameter. This type of verse contains a consistent meter with 10 syllables in each line. The unstressed syllables are followed by stressed ones; therefore, it contains five stressed syllables.
Blank verse is said to be one of the most common and influential forms in English poetry. Many of the English poems have been written in this style. Henry Howard, Earl of Surrey, is considered as the first poet to use blank verse in English literature. This form was used by many prominent writers such as John Milton, William Shakespeare, Christopher Marlowe, John Donne and John Keats. Given below are some examples of blank verse.
“…bid me leap, rather than marry Paris,
From off the battlements of yonder tower;
Or walk in thievish ways; or bid me lurk
Where serpents are; chain me with roaring bears;
Or shut me nightly in a charnel-house,
O’er covered quite with dead men’s rattling bones,
With reeky shanks and yellow chapless skulls;
Or bid me go into a new-made grave,
And hide me with a dead man and his shroud;”
– Romeo and Juliet by William Shakespeare
“You stars that reign’d at my nativity,
Whose influence hath allotted death and hell,
Now draw up Faustus like a foggy mist
Into entrails of yon labouring clouds,……
So that my soul may but ascend to Heaven…”
– Dr.Faustus by Christopher Marlowe
Free verse is a form of poetry that does not use a consistent meter, rhyme or any other pattern. Although it is devoid of regular rhyme, rhythm or meter, it still provides artistic expressions. It tends to follow the rhythm of natural speech. Since it does not follow set rules, the poet can give any shape to a poem. Free verse also gives a greater freedom for poets to choose words without bothering about the rhyme and rhythm. It is commonly used in contemporary poetry.
Free verse can be observed in poets like Emily Dickinson, Walt Whitman, Erza Pound, and John Ashbury.
“All truths wait in all things,
They neither hasten their own delivery nor resist it,
They do not need the obstetric forceps of the surgeon.”
– Walt Whitman’s Leaves of Grass
Come slowly, Eden
Lips unused to thee.
Bashful, sip thy jasmines,
As the fainting bee,
Reaching late his flower,
Round her chamber hums,
Counts his nectars—alights,
And is lost in balms!
– Emily Dickinson’s Come Slowly, Eden
Difference Between Blank Verse and Free Verse
Definition
Blank Verse is written in regular metrical but unrhymed lines.
Free Verse does not use a consistent meter, rhyme or any other pattern.
Metrical Pattern
Blank Verse is written in the regular metrical pattern.
Free Verse is not written in a regular metrical pattern.
Iambic Pentameter
Blank Verse mostly follows iambic pentameter.
Free Verse does not follow iambic pentameter.
Usage
Blank Verse began to be commonly used after the 16th century.
Free Verse is mostly used by contemporary poems.

MACAULAY A GIANT OF THE BRITISH EMPIRE

MACAULAY A GIANT OF THE BRITISH EMPIRE
Macaulay drafted the Indian Penal Code, which was exported to British colonies throughout the empire and remains largely in force in many former colonies, including India, Nigeria, and Zimbabwe, today
Thomas Babington Macaulay was a giant of the British Empire who was in many ways the father of English as the global language of business it is today. He was also responsible for the legal system which still holds sway in many Commonwealth countries.
He was born in 1800, the son of Zachary Macaulay, a Scottish anti-slavery reformer who had served as governor of Sierra Leone.
At Cambridge he developed a reputation as a poet and essayist and at 30 was offered a seat in parliament where he made his name as a Whig reformer.
Despite being the beneficiary of a 'pocket borough', he played a key role in the passing of the Great Reform Act of 1832 which greatly reduced their number.
He travelled to India two years later when he was appointed to its Supreme Council and in 1838 convinced the Governor-General to introduce English to replace Persian and Sanskrit as the medium of education in schools from grade six onwards. The aim was to create an Anglicised English-speaking elite to act as a link between India's British rulers and the Indian masses.
He returned to Britain in 1838 and later served as War Secretary and Paymaster-General before being made a peer, Baron Macaulay of Rothley, in 1857.
His work as a historian was no less controversial than his record in office. Macaulay's History of England was published in four volumes but criticised by contemporary thinkers, including Karl Marx who denounced him as "a systematic falsifier of history".
His legacy is the survival of the English legal system throughout the former Empire and the rise of English as a global language. In India, his introduction of English in schools is honoured among Dalits for the education and rise to prominence of Dr B. R Ambedkar, the 'untouchable' author of the Indian constitution.

IT WAS THE BEST OF TIMES , IT WAS THE WORST OF TIMES

This phrase has been taken from the famous opening paragraph of Charles Dickens’ novel, A Tale of Two Cities. The novel opens with, “It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, …” (Para. 1, Line, 1). This passage suggests an age of radical opposites taking place across the English Channel, in France and the United Kingdom respectively. It tells a story of contrasts and comparisons between London and Paris during the French revolution.
#Meaning
This phrase points out a major conflict between family and love, hatred and oppression, good and evil, light and darkness, and wisdom and folly. Dickens begins this tale with a vision that human prosperity cannot be matched with human despair. He, in fact, tells about a class war between the rich and the poor. He also tells of a time of despair and suffering on one hand, and joy and hope on the other.

This is an apt phrase to be used in the context of today’s world when, on the one hand, the rich are enjoying luxurious lives; while on the other hand, the poor are struggling under the yoke of economic decline. However, its best context is only in literary writings where one country or situation is compared with another, in order to predict some revolution or sudden transformation. That is why in the context of the transformation in times, wealth, inequality, and accumulation of wealth have become modern themes which the author dilates upon in the opening of his novel. A political leader might use it in a speech, or a retiring school teacher might use it to remind his students the golden old times.
#Literary_Source
This phrase appears in the opening paragraph of Charles Dickens’ novel A Tale of Two Cities, which opens with:
“It was the best of times, it was the worst of times, it was the age of wisdom, it was the age of foolishness, it was the epoch of belief, it was the epoch of incredulity, it was the season of Light, it was the season of Darkness, it was the spring of hope, it was the winter of despair …, we had nothing before us, we were all going direct to Heaven, we were all going direct the other way …”
(A Tale of Two Cities, Para.1, Line, 1)
It tells about a time of chaos, conflicts, and despair, as well as happiness. It in fact tells us about the time of extreme opposites without any in a betweens.
#Literary_Analysis
This line describes a time of controversies and contradictions. Dickens refers to two cities, Paris and London, during the tumultuous environment of the French Revolution. This proclamation of revolution for oppressed civilians really turned out to be a “spring of hope.” However, for an ancient regime and outgoing political systems, this revolution was like a “winter of despair,” which led to death and destruction. This phrase has a great literary value in comparison and contrast of two situations and environments.

ARISTOTLE'S THEORY OF IMITATION

Aristotle did not invent the term “imitation”. Plato was the first to use the word in relation with poetry, but Aristotle breathed into it a new definite meaning. So poetic imitation is no longer considered mimicry, but is regarded as an act of imaginative creation by which the poet, drawing his material from the phenomenal world, makes something new out of it.
In Aristotle's view, principle of imitation unites poetry with other fine arts and is the common basis of all the fine arts. It thus differentiates the fine arts from the other category of arts. While Plato equated poetry with painting, Aristotle equates it with music. It is no longer a servile depiction of the appearance of things, but it becomes a representation of the passions and emotions of men which are also imitated by music. Thus Aristotle by his theory enlarged the scope of imitation. The poet imitates not the surface of things but the reality embedded within. In the very first chapter of the Poetic, Aristotle says:
“Epic poetry and Tragedy, Comedy also and Dithyrambic poetry, as also the music of the flute and the lyre in most of their forms, are in their general conception modes of imitation. They differ however, from one another in three respects – their medium, the objects and the manner or mode of imitation, being in each case distinct.”
The medium of the poet and the painter are different. One imitates through form and colour, and the other through language, rhythm and harmony. The musician imitates through rhythm and harmony. Thus, poetry is more akin to music. Further, the manner of a poet may be purely narrative, as in the Epic, or depiction through action, as in drama. Even dramatic poetry is differentiated into tragedy and comedy accordingly as it imitates man as better or worse.
Aristotle says that the objects of poetic imitation are “men in action”. The poet represents men as worse than they are. He can represent men better than in real life based on material supplied by history and legend rather than by any living figure. The poet selects and orders his material and recreates reality. He brings order out of Chaos. The irrational or accidental is removed and attention is focused on the lasting and the significant. Thus he gives a truth of an ideal kind. His mind is not tied to reality:
“It is not the function of the poet to relate what has happened but what may happen – according to the laws of probability or necessity.”
History tells us what actually happened; poetry what may happen. Poetry tends to express the universal, history the particular. In this way, he exhibits the superiority of poetry over history. The poet freed from the tyranny of facts, takes a larger or general view of things, represents the universal in the particular and so shares the philosopher’s quest for ultimate truth. He thus equates poetry with philosophy and shows that both are means to a higher truth. By the word ‘universal’ Aristotle signifies:
“How a person of a certain nature or type will, on a particular occasion, speak or act, according to the law of probability or necessity.”
The poet constantly rises from the particular to the general. He studies the particular and devises principles of general application. He exceeds the limits of life without violating the essential laws of human nature.
Elsewhere Aristotle says, “Art imitates Nature”. By ‘Nature’ he does not mean the outer world of created things but “the creative force, the productive principle of the universe.” Art reproduce mainly an inward process, a physical energy working outwards, deeds, incidents, situation, being included under it so far as these spring from an inward, act of will, or draw some activity of thought or feeling. He renders men, “as they ought to be”.
The poet imitates the creative process of nature, but the objects are “men in action”. Now the ‘action’ may be ‘external’ or ‘internal’. It may be the action within the soul caused by all that befalls a man. Thus, he brings human experiences, emotions and passions within the scope of poetic imitation. According to Aristotle's theory, moral qualities, characteristics, the permanent temper of the mind, the temporary emotions and feelings, are all action and so objects of poetic imitation.
Poetry may imitate men as better or worse than they are in real life or imitate as they really are. Tragedy and epic represent men on a heroic scale, better than they are, and comedy represents men of a lower type, worse than they are. Aristotle does not discuss the third possibility. It means that poetry does not aim at photographic realism. In this connection R. A. Scott-James points out that:
“Aristotle knew nothing of the “realistic” or “fleshy” school of fiction – the school of Zola or of Gissing.”
Abercrombie, in contrast, defends Aristotle for not discussing the third variant. He says:
“It is just possible to imagine life exactly as it is, but the exciting thing is to imagine life as it might be, and it is then that imagination becomes an impulse capable of inspiring poetry.”
Aristotle by his theory of imitation answers the charge of Plato that poetry is an imitation of “shadow of shadows”, thrice removed from truth, and that the poet beguiles us with lies. Plato condemned poetry that in the very nature of things poets have no idea of truth. The phenomenal world is not the reality but a copy of the reality in the mind of the Supreme. The poet imitates the objects and phenomena of the world, which are shadowy and unreal. Poetry is, therefore, “the mother of lies”.
Aristotle, on the contrary, tells us that art imitates not the mere shows of things, but the ‘ideal reality’ embodied in very object of the world. The process of nature is a ‘creative process’; everywhere in ‘nature there is a ceaseless and upward progress’ in everything, and the poet imitates this upward movement of nature. Art reproduces the original not as it is, but as it appears to the senses. Art moves in a world of images, and reproduces the external, according to the idea or image in his mind. Thus the poet does not copy the external world, but creates according to his ‘idea’ of it. Thus even an ugly object well-imitated becomes a source of pleasure. We are told in “The Poetics”:
“Objects which in themselves we view with pain, we delight to contemplate when reproduced with minute fidelity; such as the forms of the most ignoble animals and dead bodies.”
The real and the ideal from Aristotle's point of view are not opposites; the ideal is the real, shorn of chance and accident, a purified form of reality. And it is this higher ‘reality’ which is the object of poetic imitation. Idealization is achieved by divesting the real of all that is accidental, transient and particular. Poetry thus imitates the ideal and the universal; it is an “idealized representation of character, emotion, action – under forms manifest in sense.” Poetic truth, therefore, is higher than historical truth. Poetry is more philosophical, more conducive to understanding than Philosophy itself.
Thus Aristotle successfully and finally refuted the charge of Plato and provided a defence of poetry which has ever since been used by lovers of poetry in justification of their Muse. He breathed new life and soul into the concept of poetic imitation and showed that it is, in reality, a creative process.

HELEN OF TROY

In Greek mythology, Helen of Sparta was perhaps the most inspired character in all literature, ancient or modern. A whole war, one which lasted for ten years, was fought over her. Not only that, nearly all the myths of the heroic age were threaded together in such a way that this most idealized of all wars was the culmination of various exploits, including the Argonaut, the Theban wars, and the Calydonian boar hunt. It is as though this event was in the destiny of every dynasty formed from the beginning of things.
Helen, the face that launched a thousand ships, was a tantalizing enigma from the very first. She was flesh and blood certainly, but she was also immortal, since her father was none other than Zeus. Her mother was the beautiful Leda, queen of Sparta, and was a sister of Clytemnestra, Castor and Pollux. In Greek myths, she was considered the most beautiful woman in the world. By marriage she was Queen of Laconia, a province within Homeric Greece, the wife of King Menelaus. Her elopement with Prince Paris of Troy brought about the Trojan War. She was described by Dares Phrygius as "She was beautiful, ingenuous, and charming. Her legs were the best; her mouth the cutest. There was a beauty-mark between her eyebrows".
Elements of her putative biography come from classical authors such as Aristophanes, Cicero, Euripides and Homer (in both the Iliad and the Odyssey). Her story appears in Book II of Virgil's Aeneid.
In her youth, she was abducted by Theseus. A competition between her suitors for her hand in marriage sees Menelaus emerge victorious. An oath sworn beforehand by all the suitors (known as the Oath of Tyndareus) requires them to provide military assistance in the case of her abduction; this oath culminates in the Trojan War. When she marries Menelaus she is still very young; whether her subsequent involvement with Paris is an abduction or a seduction is ambiguous.
The legends recounting Helen's fate in Troy are contradictory. Homer depicts her as a wistful figure, even a sorrowful one, who comes to regret her choice and wishes to be reunited with Menelaus. Other accounts have a treacherous Helen who simulates Bacchic rites and rejoices in the carnage. Ultimately, Paris was killed in action, and in Homer's account Helen was reunited with Menelaus, though other versions of the legend recount her ascending to Olympus instead. A cult associated with her developed in Hellenistic Laconia, both at Sparta and elsewhere; at Therapne she shared a shrine with Menelaus. She was also worshipped in Attica and on Rhodes.
" However, in the play this meeting and the ensuing temptation are not unambiguously positive, closely preceding death and descent to Hell. Images of her start appearing in the 7th century BC. In classical Greece, her abduction by Paris—or elopement with him—was a popular motif. In medieval illustrations, this event was frequently portrayed as a seduction, whereas in Renaissance painting it is usually depicted as a rape by Paris. The fact that the terms rape and elopement were often used interchangeably lends ambiguity to the legend.
#There are also different stories about her fate. After she returned to Sparta, Menelaus tried to kill her for her treachery, however she disrobed and her beauty weakened Menelaus and made him drop his sword. In another version, she was thought to have gone to Mount Olympus, while yet a different account says she eventually went to the Underworld to spend eternity with Achilles.

LINGUISTICS

1. *Prescriptive grammar:* The grammar that we are taught in school. Typically a prescriptive grammar is about the "shoulds and shouldn'ts" in a language rather than a description of what speakers actually know when they know a language. Prescriptive grammars typically reflect the grammar of a written standard and are concerned with making determinations about the "correct" choice when there are potential variants (e.g. in English, we can choose to either separate a preposition from the noun it modifies [What did you play with?] or not to do so [With what did you play]). The prescriptive grammar of English says that only one of those is "correct" even though all speakers of English have the option.
2. *Standard language:* The variety of a language that serves as the model for what is "correct" and "incorrect" for a given language. The standard language is generally the one that is written.
3. *Dialect:* A variety of a language with a grammar that differs in predictable ways from other varieties of the language. In many places, “dialects” are especially tied to different regions or geographic areas.
4. *Generative grammar:* The idea that a finite set of rules or constraints can generate [e.g. produce as an output] an infinite number of utterances, many of them novel. This model shows that native speakers of a language acquire a set of rules and a lexicon rather than specific sentences.
5. *Phonetics:* The study of the sounds we use to produce/interpret speech.
6. *Phonology:* The study of the sounds that occur in specific languages and the rules or constraints that govern when they occur.
7. *Morphology:* The study of the units of meaning (words, prefixes etc.) in a language and their patterns of occurrence.
8. *Lexicon:* The set of morphemes in a language.
9. *Root:* The main meaning morpheme in a word and the morpheme to which affixes attach (e.g. in 'untie', the root is 'tie').
10. *Inflection:* The morphology that governs grammatical relationships between words (e.g. the 3rd person, present verb marker in English [-s] tells us something about the relationship between the noun and the verb).
11. *Derivation:* The morphology that governs how new meanings are created (e.g. if I attach the prefix 'un-' to a verb like 'tie', I create a new meaning--namely the opposite of the original word).
12. *Syntax:* The study of the construction of sentences in a language. This includes the linear order (e.g. Subject Verb Object vs. Subject Object Verb) as well as the relationships between the parts of the sentence.
13. *Semantics:* The study of meaning (e.g. what does "open" mean).
14. *Pragmatics:* The study of meaning in context (e.g. "the door is open" can have different interpretations depending on the context).
15. *Diachronic:* The study of language across time (e.g. the history of the changes in a language).
16. *Synchronic:* The study of language at a specific point in time.
17. *Pidgin:* A language that often has a simplified grammar and lexicon and that is used as a kind of lingua franca among speakers who don't share a native language. Pidgins are typically not anyone's native language.
18. *Creole:* A pidgin that has been expanded to fulfill all the functions of a human language and that has become some group of speakers' native language. Of some potential confusion is the fact that creoles are often called pidgins by their speakers.

STRUCTURALISM AND POSTMODERNISM

John Mann explains what the Continentals are up to these days.
In the 1980s there was a lot of excitement about postmodernism, deconstruction, structuralism and post-structuralism. This flood of theory appeared to offer a radical new perspective for understanding and experiencing the world. It was an enlightenment which left all those who rejected it cursed with still being stuck in the murky mire of the old ways of thinking which had dominated western thought for 2000 years and which at last we could escape. Such religious fervour with its condemnation of heretics and establishment of new messiahs has softened, and it is now possible to look quietly and calmly at what was going on.
Structuralism arose on the continent, in particular in France, in the early 60s. The first ‘big name’ was Claude Lévi-Strauss, an anthropologist, who took on Jean-Paul Sartre, the leading French intellectual and philosopher of the time, and didn’t so much win, as went unanswered (which from Sartre’s point of view was worse). Here was France’s main philosopher, Sartre, who usually had something to say about everything, being attacked in Lévi-Strauss’ The Savage Mind, and yet not replying! The implication was that he couldn’t reply, and the intellectual mood began to move towards Lévi-Strauss’ intellectual position, which he called structuralism.
A simple explanation of structuralism is that it understands phenomena using the metaphor of language. That is, we can understand language as a system, or structure, which defines itself in terms of itself. There is no language ‘behind’ language with which we understand it, no metalanguage to explain what language means. Instead it is a self-referential system. Words explain words explain words (as in a dictionary), and meaning is present as a set of structures.
Such an approach was an attack on other types of philosophy which claim that there is a ‘core’ of truth which is ‘reality’, something behind the world of ‘appearance’. For example Marxists might argue that we can understand the world (‘appearance’) by examining the relations of production (‘reality’), or some fundamentalist Christians might argue that we should understand the world as a battle of God against Satan, so this ‘truth’ is hidden, but in fact it explains the world.
Another structuralist was Roland Barthes, who claimed the term for a while, who was a literary critic and wrote about the ‘Death of the Author’. He argued the author could not claim to know what his/her book was about any more than the reader. Again, the idea that there was a hidden reality (hidden to the reader but known to the author) was challenged, and instead a view of the ‘text’ presented which was available to all equally.
Michel Foucault, a philosopher and historian, argued that science has to be understood socially before it can be understood intellectually – for example he showed how ‘madness’ is primarily a social invention, rather than a medical discovery. He claimed that the analysis of systems of thought required analysis of the detail, to show how each part interacted with other parts. It wasn’t enough to simply identify a ‘core’ (such as the evolution of scientific knowledge) and to ignore all other aspects of science.
Jacques Lacan, a psychoanalyst who claimed that the unconscious is structured like a language, is widely seen as a major structuralist thinker. He claimed to be ‘returning to Freud’ and be working against the Americanisation of psychoanalysis with its emphasis on egopsychology. He emphasised the role of the unconscious by showing that the ‘I’ is not a centralised core ‘ego’ but a dispersed, fragmented, interrelated unknown (the unconscious).
So we can see that a primary feature of the structuralists is their attack on ‘foundationalism’, attacking any thought that claims to have found a Firm Foundation on which we can construct beliefs. Instead they emphasise the ‘relatedness’ of truth, how Truth is not something we ‘discover’, or can ‘own’, or can ‘start from’, but a structure which society invents.
Moving on from the structuralists we come to Derrida and deconstruction. I come to Jacques Derrida next since his first three important books were published in 1967, which is ahead of the main post-structuralist book Anti-Oedipus which came out in the early 1970s.
Derrida can be called a post-structuralist in a sense, since he moves on from structuralism, taking some of it for granted, and challenging other parts of it. Where the structuralists constructed a system, a structure, Derrida deconstructs it, that is, he takes it apart. However, the disconcerting thing is that he does so from the inside. His technique of deconstruction shows how structures or systems of thought contain the seeds of their own downfall.
Derrida does not have a system of thought as such, instead he simply reads an author, for example Rousseau or Lévi-Strauss or Hegel, and shows how their thought contains contradictions. And further, these contradictions are not something which can be corrected, as if the author had errors in an argument which, once corrected, could produce a better argument, no – rather the contradictions were conditions of the system of thought existing in the first place!
Derrida shows each system of thought to be necessarily contradictory. How he does this is quite technical, but the idea is to show how the system (1) creates binary pairs – for example good and bad, male and female, black and white, writing and speaking, mad and sane etc, (2) prioritises one term over another, and indeed defines one in terms of the other – for example male over female (what Derrida calls ‘Phallocentrism’), sane over mad, good over bad etc. (3) then show that in fact you may as well prioritise the second term over the first – show how the first term is dependent on the second, (4) finally show how the system is dependent on this marginalising of the second term, when in fact it relies on the second term (the marginal) also, in some sense, being at the centre.
Jacques Derrida has gained a strong group of followers in the USA, particularly amongst literary critics, who take literally his phrase “there is nothing outside the text” to treat anything as a ‘text’ and so subject to literary interpretation.
Post-structuralism’s main book, Anti-Oedipus by Deleuze and Guattari, is in fact an attempt to combine Marx and Freud (the subtitle is ‘Capitalism and Schizophrenia’) by liberation through free desire. Post-structuralism is really a cultural movement more than an intellectual movement. Structuralism in the 60s was at least in part an intellectual programme, and it was possible to analyse phenomena by treating them as being parts of a system. Post-structuralism moved beyond this, questioning the very notions of Truth, Reality, Meaning, Sincerity, Good etc. It regarded all absolutes as constructions, truth was created, it was an effect, it wasn’t present ‘in’ something. Similarly there was no authority, no Real, everything was defined in terms of everything else, and that process itself was relative and constructed.
The main philosopher for the poststructuralists was the nineteenth century philosopher Friedrich Nietzsche, whose main thought began with the realisation that if God is dead, anything is possible – everything is permitted, everything is relative. There are no absolutes anymore. Nietzsche also wrote in a style similar to an Old Testament prophet (see for example his Thus Spoke Zarathustra) – his style is full of such phrases as “we are living among the ruins of God” – and post-structuralists tend to follow this poetic style.
As this movement was growing in popularity in the 70s some other important things were happening. The radical political groups from the 60s (for example the Maoists) were coming to an ideological dead-end. Solzhenitsyn was being translated, and revealing in detail the horrors of Eastern Europe. The importance of the media as an agent for social change was being realised and media saturation of life was becoming an important cultural phenomenon. These trends now mixed with the philosophical currents just described with the following effects.
Firstly, there was a large backlash against Marxism and socialism. It was argued that Marxism was a ‘totalizing’ system, whose intellectual totalitarianism moved necessarily to the Gulag, and instead liberalism and capitalism were embraced as being more open and relative. Secondly there was a move of intellectuals away from political engagement (Sartre for example had always been out marching with the students, and Foucault was often in demonstrations for prison rights, amongst other things), and back to ‘intellectual’ work. Finally there was great interest in the role of the media in defining reality for us, and an analysis of society as fragmentary, full of images, saturated by the media, making everything relative, ephemeral and short-lived: in other words, postmodern.
People are now criticising post-structuralism and deconstruction as providing philosophical justification for conservatism, reaction, depoliticising society and encouraging an irresponsible, hedonistic lifestyle (for example, did Foucault still have unsafe sex when he knew he had AIDS? Should Derrida have tried to defend his fellow philosopher Paul de Man’s Nazi record? What of Heidegger’s Nazi past? What of Baudrillard’s claim that the Gulf War never happened?)
As a result of these criticisms, some of the excesses of post-structuralism and deconstruction are now over. Currently there appears to be a more sober mood among Continental philosophers as they try to re-position these intellectual movements within the fight for human rights, and to create better human values.

MARXISM AND LENINISM

Marxism and Leninism are two kinds of political thought that show some difference between them when it comes to their ideologies. Marxism is a political thought framed by Karl Marx and Friedrich Engels. This Marxist system aims at a state of living where the society is bereft of the difference between the rich and the poor. On the other hand, Leninism is a kind of a political system that practices dictatorship. It is the dictatorship of the proletariat. In other words, it can be said that Leninism recommends the dictatorship of the working class. This is one of the main differences between Marxism and Leninism.
Marxism is a political ideology that explains how there is going to be a proletariat revolution due to the class struggle. This class struggle is the result of means of production being divided very unevenly between different classes.
Marxism takes the help of history to rewrite the living conditions of the people. It has history as a firm base in forwarding its principles. Marxism is considered by many political experts as a branch of philosophy too. It is firmly believed that communism is born out of Marxism only.
#Difference_Between_Marxism_and_Leninism
It is important to know that Marxism insists on implementing the theory of its political thought so that others can understand the nuances of it. Unlike Communism, it does not believe in practical implementation. In fact, it can be said that practical implementation of the theoretical ideas of Marxism led to the formation of Communism.
On the other hand, Leninism aims at the implementation of both political and socialist economic theories that have been developed from Marxism. It is thus important to know that Leninism was developed by and was named after the Russian revolutionary and political leader Vladmir Lenin.
#Marxism_vs_Leninism
The term Leninism came to be used as early as 1922. It was Grigory Zinoviev who popularized Leninism in the year 1924 at the fifth congress of the Communist International otherwise called as Comintem. It was popularized as a word denoting the meaning ‘revolutionary’ by the then leader Grigory Zinoviev.
What is the difference between Marxism and Leninism?
• Marxism was more of an ideology that Karl Marx created to point out what will happen when the social classes struggle with each other. Leninism was how Lenin changed Marxism to fit Russia. So, in practicality, Leninism was more practical than Marxism as it carried the changes necessary to fit into an actual country.
• When forming Marxism Marx envisaged that his theory would come into practice in more developed and advanced capitalist states because that was where the revolution he talked of could take place. However, Leninism took place in a country which was not so developed or advanced as Marx imagined. Russia at the time was not economically advanced and was populated by a large number of farmers. That is why Lenin has to change aspects of Marxism to fit the Russia at that time.
• In Leninism, economic and industrial development was a key aspect as Russia was behind in these areas. However, that is not the case with Marxism as Marxism talks of a country that is already industrialized and advanced.
• Marxism argued that a proletariat revolution was inevitable. This was based on several assumptions. Firstly, Marxism believed that the capitalist states will not let people move towards socialism. This will create revolutionary wrath in the working class which would make them go for a revolution. However, Lenin did not agree with this. He argued that such capitalist states would have enough power that they will use to suppress any revolutionary feelings in the working class. Leninism says that the capitalist states will give just enough money and benefits to the working class so that they will NOT have revolutionary feelings. Without revolutionary feeling, there will be no revolution.
• Marxism believed people will spontaneously become aware of their status and rise for a revolution. Leninism believed that a party should be formed to guide people because otherwise the revolution happening will not be a practical idea. As a result, Lenin created Bolshevik Party. It seized Russia’s power in 1917.
• Marxism believed in the dictatorship of the proletariat, where the proletariat would rule. However, in Leninism, Russia was led by a Communist Party whose leaders thought they knew what the working class wanted.
In short, it can be said that Marxism was the theory and Leninism was how it was practically used.

STYLISTICS

Stylistics is a relatively modern branch of linguistics, often grouped under applied linguistics, which is devoted to the study of “style” or the linguistic choices made by speakers and writers, especially, but not exclusively, in literary texts as well as in other non-literary contexts such as advertisements, film and media, political speeches, casual conversations, etc.
In A Dictionary of Stylistics, Katie Wales writes “The goal of most stylistics is not simply to describe the formal features of texts for their own sake, but in order to show their functional significance for the interpretation of the text; or in order to relate literary effects to linguistic ’causes’ where these are felt to be relevant.”
A literary or non-literary work differs from any other such work not only in terms of content, but also in terms of how the content is expressed, presented, and arranged. Stylistics makes use of linguistic tools in order to attempt to characterize the linguistic features and devices present in a piece of work, which could be spoken or written, though the emphasis is usually on the written form.
Stylistic analysis involves examination of grammar, lexis, semantics, syntax, phonological properties and discursive devices in a given work. In this way, Stylistics encompasses discourse analyses. Since a major part of Stylistics has always been focused on studying literary texts, it is also known as literary linguistics or literary Stylistics.
Stylistics, or the scientific study of style, examines language variation, but of a particular type, which is different from linguistic variations associated with dialects and registers of a language. Style differences or linguistic choices made by language users can arise because a context or a particular situation, nature of participants and their relationship with each other, time and place of conversation, medium or mode of conversation, etc.
Linguistic stylistics has various overlapping sub-disciplines, which include, but are not limited to- literary stylistics, interpretive stylistics, evaluative stylistics, corpus stylistics, discourse stylistics, feminist stylistics, computational stylistics, literary pragmatics, literary semantics, stylometrics, critical linguistics, schema poetics, cognitive stylistics, etc.
The question of the nature of stylistics, its position among the various disciplines, its scope and limits has aroused considerable discussion ever since the inception of the field.
Stylistic analysis of a text can help understand and explain the impact of a literary or non-literary piece of work on a reader. Stylistic study encompasses linguistic analysis as well as psychological processes involved during reading and understanding of a given work. And in this way, Stylistics acts as a middle ground and connective means between linguistics and literary criticism to demonstrate how the linguistic elements act significantly in a text to convey the author’s message.
Quirk (1969) has remarked that a man’s style is as specific as his fingerprints. Stylistic analysis can, in fact, settle many knotty problems in literature because a writer’s use of language can reveal his aesthetic personality, his deep-laid philosophy and worldview, perhaps far more accurately than any study of his background and the literary movement he subscribes to.
Stylistic tools can help validate intuitions of literary critics to evaluate a piece of work and generate objectivity around the conclusions due to the consistent and precise nature of the linguistic arguments.
Forensic Stylistics has emerged as an interesting field in the recent past where the knowledge of stylistic tools is applied in the context of law and crime investigation. This involves understanding of the language of the written law and in judicial purposes, and most importantly, the use of style as linguistic evidence. Both written and spoken materials can be scientifically analyzed and investigated with linguistic or stylistic tools for determination of content, meaning, speaker identification and authorship.
Stylistic analysis of the language of the suspect has become an important part of crime investigation. Linguistic data, spoken or written, can reveal the suspect’s age, race, gender, educational levels, religious and spiritual beliefs, socio-economic and geographical background, culture, and ethnicity. Forensic stylistics makes use of the knowledge of psycholinguistics and extends it to legal venues.
Forensic Stylistics can also be used in the assessment of spoken or written threats, examination of suicide notes, deeper analysis of confessions and statements of criminals, revelation of false allegations, and understanding criminal behavior on a broader level through the word choices of criminals. Stylistic analysis can also be utilized in cases of disputed authorship since literary style varies from author to author.

WHAT IS THE DIFFERENCE BETWEEN DRAMA AND PLAY

Drama and Play are two words that are often confused when it comes to their usage and meanings. Strictly speaking, there is some difference between the two words. The word ‘drama’ is used in the sense of ‘theater’. On the other hand, the word ‘play’ is used in the sense of ‘a literary composition’. The difference is that a drama is a type of play. A movie or TV show can also be dramas but are not plays. Some other types of plays are musical, comedy,Shakespearean, and biopic.A play is a dramatic performance, as on stage, and a drama is a composition in prose or verse presenting in dialogue or pantomime a story involving conflict or contrast of character.
The most significant difference between these two entities is that drama refers to a form of written literature that is intended for performance while play refers to a theatrical performance. In simple words, a drama is to be read and a play is to be seen. However, different people might give different interpretations to what they read. This is to say, in a drama, we only read the dialogues and stage directions; we often imagine the performance in our minds. But in a play, the audience get to see the story enacted. Here we do not have to imagine the emotions of the characters, sound and light effects or background settings. In addition, the play might present a different interpretation from what we understood from reading the drama. This difference could be even made from a subtlest change of tone, mood or gesture. It can be said that a play gives artists’ interpretation of the drama.