Assignment - 110

 History of English  literature from 1900 to 2000 

Paper -110 

Name - Nehalba Gohil 

Roll no - 15 

Enrollment no - 4069206420210009

Email ID - nehalbagohil26@gmail.com

Batch - 2021 - 23

Sem - 2 M.A 

Submitted to - S.B. Gardi department of English M.K . Bhavnagar University 

Harold Pinter 

The Birthday Party Summary :

Thanks for exploring this SuperSummary Plot Summary of “The Birthday Party” by Harold Pinter. A modern alternative to SparkNotes and CliffsNotes, SuperSummary offers high-quality study guides that feature detailed chapter summaries and analysis of major themes, characters, quotes, and essay topics.

The Birthday Party by Harold Pinter is a three-act play.In act 1, Petey and Meg Boles are the proprietors of a resort on the coast of England. Meg is preparing breakfast while Petey reads the paper.They talk about Stanley Webber, their tenant, and two others who might rent a room. Meg wakes Stanley for breakfast, and after Petey leaves for work, Stanley compliments her cooking, calling it succulent. She flirts with him, and he changes his tune, telling her that her tea is muck and the resort is a pigsty.

Meg pivots and tells Stanley about the potential new tenants. Stanley seems worried at first, but then Meg asks about his musical career. Meg leaves to shop, and Lulu appears with a package. She chastises Stanley for his appearance and for being anti-social, and then leaves. Stanley spies on two men who arrive—McCann and Goldberg. McCann is asking if this job will be the same as earlier jobs.

When Meg returns, Goldberg introduces himself and McCann and then asks about Stanley. Meg answers that it is Stanley’s birthday, and the other two suggest a party. She leads them to their room upstairs. When she returns, Stanley asks her about the men.He tells her it is not his birthday, yet he accepts a present—the package Lulu left. It is a drum, which he beats more and more wildly until the end of the first act

Act 2 begins in the evening. McCann is ripping Petey’s newspaper apart. Stanley enters and the two discuss the birthday party. Stanley tells McCann that he would prefer to celebrate by himself, but McCann insists that Stanley attend.

Stanley attempts to leave the resort, but McCann stops him, insisting they have met before. Stanley plans to return home and tells McCann he is the same man he always was, in spite of his drinking. He becomes more upset as he cannot figure out why McCann and Goldberg are there, and grabs McCann, protesting that what he said was said in error. Goldberg and Petey arrive, and introductions are made. Petey tells them he will miss Stanley’s party because it is his chess night.

Petey and McCann exit, and Stanley turns his efforts toward Goldberg, trying to convince him to leave the resort. Goldberg resists Stanley’s attempts, talking about life and celebrating it. When McCann returns, he and Goldberg question Stanley and tell him that he is dead. Stanley adamantly disagrees and tries to fight McCann and Goldberg. At that point, Meg, dressed for the birthday party, enters the room playing the toy drum. They turn the lights out and McCann shines a flashlight on Stanley’s face while Meg, Goldberg, and McCann toast the birthday boy.

The lights are turned back on as Lulu arrives for the party. Meg tries to get Stanley to dance, though he refuses, while Lulu and Goldberg flirt. McCann sings. They decide to play a game of blind man’s bluff. McCann breaks Stanley’s glasses and trips him.Stanley tries to strangle Meg. McCann and Goldberg hurry to save Meg, and the lights go out again. When McCann finds the flashlight, Stanley has switched to attacking Lulu. The others move toward him and the curtain falls.

Act 3 begins the next morning. Once more, Petey is at the table reading the paper. Meg pours Petey tea after explaining that McCann and Goldberg ate the whole breakfast. She planned to wake Stanley, but he was talking to McCann. She asks Goldberg about the car and wheelbarrow, which he says donot exist. She leaves to go shopping, and Petey asks Goldberg about Stanley’s health, to which Goldberg responds that Stanley suffered a breakdown. Petey offers to get a doctor but Goldberg assures him that it is not necessary. Petey learns that McCann and Goldberg will be taking Stanley to Monty.

Petey goes out and shortly after, Lulu appears. McCann has once more shredded he newspaper. Goldberg hits on her, but she rebuffs him. McCann and Goldberg advance on her, but she manages to escape them, fleeing through the back door. McCann goes to fetch Stanley, who cannot even speak when questioned again about his health. Petey returns and tries to stop them taking Stanley away, but McCann and Goldberg threaten Petey, and leave with Stanley

Meg returns and asks Petey about McCann and Goldberg, and he tells her they left—but he tells Meg that Stanley is still upstairs, in bed. They settle into a conversation about the birthday party as the third and final act end

Characters : 

Stanley Webber

A man who has been living for the past year in Meg and Petey Boles’s boarding house. Stanley is reclusive and unkempt, wearing filthy old pants and a pajama top. If Meg didn’t go…

Meg Boles

Along with her husband, Petey, Meg is one of proprietors of the boarding house in which Stanley lives. What Meg lacks in intelligence, she tries to make up for in fastidiousness, constantly trying to…

Petey Boles

Meg’s husband, and the co-proprietor of the boarding house in which Stanley lives. Petey is an affable man whose presence is rather minor in his own home, since he spends most of his time 

Goldberg

A charming, swift-talking man who arrives at Meg and Petey’s boarding house with his associate, McCann, with the intention of locating Stanley Webber. Goldberg introduces himself as Nat, but he frequently refers…

McCann

 associate. An Irishman who takes orders from Goldberg, McCann doesn’t know why he has been assigned to locate Stanley Webber and remove him from Meg and Petey’s boarding house. Nonetheless, he carries 

Lulu

A young woman who visits Meg and Petey’s boarding house. Before McCann and Goldberg arrive, she tells Stanley that he ought to go outside for some air, prompting him to invite her to run 

Monty

A man who never appears in the play. In conversation with Petey in the final act, Goldberg tells Petey that he and McCann will take Stanley to see Monty, who he leads Petey to believe.

Assignment - 109

 Literary Theory and criticism and India Aesthetics 

Paper - 109 

Name - Nehalba Gohil 

Roll no - 15 

Enrollment no - 

4069206420210009 

Email ID - 

nehalbagohil26@gmail.com 

Batch - 2021 - 23 

Sem -2 M.A 

Submitted to - S.B. Gardi department of English M.K. Bhavnagar University 

 Rasa theory - 

Introduction

The poet is different from ordinary person as he is able to arrange words and senses in an elegant manner. Everyone wants to express what he or she has experienced or felt deeply. When we observe something beautiful around us, we are so much moved that we want to share our experience with others. When we see the rising sun or setting sun or moon with all her milky white light or feel the first showers of the monsoon, we want to partake of this experience with someone we love. The experiences whether joyful or sad touch the deep chords of our hearts and we wish to narrate them to others. This is an innate or inborn desire of mankind to share pleasurable or painful experiences in literary works also. Thus emotions are the foundation of literary works. Of course, mere or direct narration of such emotions does not become literature. Suggestivity is the key to creative expression.

When an experience is narrated, the person uses appropriate language and diction. Language and diction of expression depends on the content. It is imaginative and fanciful. It may be in some form such as poetry, prose, play etc. This presentation in imaginative manner is called literature. Every one who narrates is not a poet but one who narrates is beautiful and imaginative manner affects the readers or bhavaks. We have often seen rainbows in the sky and we are also thrilled by its beauty, William Wordsworth exclaims in a very beautiful manner in his poem.

• “My heart leaps up when I behold
• 
  
• A rainbow in the sky.”
• 
  
• Milton in his sonnet “On His Blindness” tells about his blindness in a highly poetic manner.
• 
  
• 
  
• “When I consider how my light is spent,
• 
  
• Ere half my days, in this dark world and wide,”

William Wordsworth in his poem on Lucy describes an innocent girl in unparallelled manner:

• “She dwelt among the untrodden ways
• 
  
• Beside the springs of Dove:
• 
  
• A maid whom there were none to praise,
• 
  
• And very few to love;”

The full poem is as the difference between an ordinary person and the poet who is highly sensitive, imaginative and is able to express his feelings in intensely effective manner. This does not mean that merely by using highly bombastic adjectives, poetry is created. The great Sanskrit rhetorician Bhamaha says that merely by using words like extremely good or exceedingly beautiful, great poetry is not born.

In Meghdootam, Kalidasa’s Yaksha sends a message to his beloved through a cloud. He says to cloud:

• “O cloud! you will see river Narmada,
• 
  
• Spread out at the foot of the Vindhaya Mountain,
• 
  
• Rough and full or rocky hills,
• 
  
• looking like the decorations on an elephant’s body,

• 
  

The above-quoted sloka gives us the idea how poetry is made effective with the help of apt diction and imaginative language. When we read any good piece of literature, we get pleasure as a reader or when watch a play on the stage, we derive certain kind of pleasure from the scenes enacted on the stage. This kind of pleasure according to Indian poetics is called ‘rasa. The word ‘rasa’ actually means ‘essence’ or ‘sap’ but here it can be taken as aesthetic pleasure, poetic delight or poetic relish.

What is ‘Rasa’?

Rasa at one time meant ‘water’, ‘juice’ or ‘wine’. At another time it implied ‘essence’. In another context it meant ‘relish’ or ‘savouring’. There was a time when it indicated the primary constituents of medicine. It also meant ‘aesthetic pleasure’ or ‘enjoyment’ – a meaning or association of meanings with which we are essentially concerned.

Rasa Theory Context

Rasa Theory finds its root in the late Vedic period in Atharvaveda (200 BC- 100 BC). But Bharata Muni is regarded the father of Indian Rasa Theory as he gave major statement in his book Natyashastra (1st century AD Approx) which is a Indian Treatise on performing arts, encompassing theatre, dance and music.

Bharata, the great rhetorician has tried to explain how this aesthetic pleasure takes place. He has tried to give the theory of ‘rasa’ in one sutra (aphorism). He says:

vibhava anubhava-vyabhichari-samyogad rasr-nisapattihi (N.S.6th ch).

विभावानु भाव व्यभिचारी संयोगाद रस निष्पतिः।

This means that rasa develops from the blending of vibhava, anubhava and vyabhichari. It manifests itself when the sthayibhava, the emotion of the reader is correlated with the following three aspects presented in a piece of creative literature (i) excitant (ii) ensuing response and (iii) transitory feelings.

These three should be combined into one. Many theoreticians have tried to explain the above mentioned aphorism in different way. Bhattlollata, Srisankuka, Bhattanayka and Abhinavagupta are the major commentators who have tried to explain the theory of rasa from their different and individual points of view.

Types of Rasa

Before we understand the structure of ‘rasa’ in detail. We must understand the following four terms in some detail. These are as follows:

• Sthayibhava : permanent emotions or feelings.
• Vyabhicharibhava: transitory (fleeting) emotions.
• Vibhava : excitant or stimulating determinants.
• Anubhava : Consequent or ensuing response.

Sthayibhava

Sthayibhava means permanent emotions inherent in all human beings. They are dormant, inborn and innate emotions that are acquired by training or education. They are permanent feelings deeply embedded in human psyche. They are eight in number but some rhetoricians have added three more.

Let us have a look at the main eight or nine sthayibhavas.

Sthayibhavas

Rati (Love)

Hasa (Laughter)

Soka (Grief)

Krodha (anger)

Utsaha (Enthusiasm)

Bhaya (fear).

Jugupsa (Disgust)

Vismaya (astonishment)

Nirveda (Indifference/renunciation).

Vatsalya (Affection for children).

Sneha or Sahacarya (Desire for the companionship particular friend).

These sthayibhavas are manifested into the following rasas:

Sl. No. Sthayibhava Rasa

1. Rati Sringara (Erotic)

2. Hasa Hasya (Comic)

3. Soka Karuna (Compassionate)

4. Krodha Raudra (Wrathful)

5. Utsaha Vir (Heroic)

6. Bhaya Bhayanaka (Terrifying)

7. Jugupsa Bibhatsa (Odious)

8. Vismaya Adbhuta (Marvellous)

9. Nirveda Santa (Tranquil)

types of navarasa

Sthayibhavas are comparatively stable and last longer. They are frequent and more powerful. Generally, all human beings experience them now and then. Sancharibhavas contain ancilliary emotions. The sancharibhavas or vyabhicharibhavas are said to be 33 in number.

They are as follows:

Sancharibhavas or Vyabhicharibhavas

• Nirveda (Despondency or indifference)
• Glani (Weakness languishing)
• Sanka (Apprehension)
• Asura (Envy or jealousy)
• Mada (Intoxication)
• Srama (Fatigue)
• Alasya (Indolence)
• Dainya (Depression)
• Cinta (Anxiety)
• Moha (Delusion)
• Smrti (Recollection memory)
• Dhrti (Contentment)
• Vrida (Shame)
• Capalata (Inconstancy)
• Harsa (Joy)
• Avega (Agitation)
• Gaiva (Arrogance)
• Jadata (Stupor)
• Visada (Despair)
• Antsukya (Longing)
• Nidra (Sleep)
• Apasmara (Epilepsy)
• Supta (Dreaming)
• Vibodha (Awakening)
• Amarsa (Indignation)
• Avahitta (Dissimulation)
• Ugrata (Ferocity)
• Mati (Resolve)
• Vyadhi (Sickness)
• Unmada (Insanity)
• Marana (Death)
• Trasa (Terror)
• Vitarka (Trepidation)

There are sattvikabhavas or involuntary states or inbuilt body responses besides other bhavas. They are eight in number.

Stambha (paralysis)

Pralaya (fainting)

Romanca (horripilation)

Sveda (Perspiration)

Asru (Tears)

Vairarnya (Change of colour)

Vipathu (Trembling)

Vaisvarya or svarahbhanga (Change in voice/ breaking of the voice).

Vibhava

The vibhavas or determinants help in development of a feeling in sentiment. These vibhavas are of two kinds: alambana (supporting) and uddipana (excitant).

Anubhava

Anubhavas are the consequents or reactions to these deternminants. Thus according to Bharata, through the union of vibhava, anubhava and sancharibhava rasa is manifested.

Let us take an example of karuna rasa. The view play, for example, experiences the feeling of grief (se manifest in the performer. A number of vibhavas are such cases such as death of some loved one, misfortunes, sufferings etc. They depend on visaya, asraya, and uddipana. vibhava of soka takes different visible forms depending on the nature of the experienced. Abhinaya indicates the sthayibhavas. Bharata uses the word ‘nispatti’ (rendering) of rasa through bhavas in sahrdaya. In the sentiment of soka (grief), there may be anubhavas like mourning (vilapa), weeping (rudana), shedding of tears etc. Sattvikbhavas would be indicated through tears, change of voice etc. In abhinaya, we find actions like weeping, paleness of face, change of voice, deep breathing, fainting, immobility, loss of memory etc.

According to Bharata, each rasa has three subtypes based on three gunas– sattva, rajas and tamasa. The quality of vibhava, the source of sthayibhava determines the types of correlated rasa. Even karuna rasa may be sattvika, rajasika or tamasika depending on the cause of grief. For example, grief caused by destruction of righteousness is sattvika, grief caused by loss of worldly reputation or wealth is rajasika and grief caused by the personal loss of one’s own is tamasika. Thus, the theory of rasa is related with yoga as well as the Vedantic philosophy of India. In the succeeding chapters, we shall deal with individual ‘rasas’ in some details.

Characteristics or Rasa

But before we conclude, let us enumerate the salient characteristics or rasa :

1)  It is akhanda, complete and indivisible. It is a blending of all the three elements. One element alone cannot produce it.

2) It is sva-prakash, self-manifested. It needs no other agency. It is manifested on its own when the above mentioned three elements are finely blended.

It is free from the touch of any other perception. This means that to enjoy it, we must be wholly focused and concentrated.

It is a sheer joy. It is a pure state of consciousness. It is higher than the sensual pleasures that we derive from food, sleep, or intoxicants etc.

It is known as the joy that elevates one to brahmananda, the joy supreme. It can be compared with the sublime joy or ecstasy that Longinus refers to in his views on ‘The sublime.’

It is beyond ordinary, physical and material, worldly joy. It is a sense of wonder or of surprise. It broadens one’s vision and understanding of life.

The poet through the manifestation of ‘rasa’ makes us partake the various experiences and emotions that we may not have experienced in our individual lives.

It is the spiritual experience that makes man identify with the spirit divine which is one and unfragmented whole. He experiences the feeling of oneness (advaita) through the experience of ‘rasa.’

Assignment : 108

 The American Literature 

Paper - 108 

Name - Nehalba Gohil 

Roll no - 15 

Enrollment no - 4069206420210009 

Email ID - nehalbagohil26@gmail.com 

Batch - 2021- 23 

Sem - 2 M.A 

Submitted to - S.B. Gardi department of English of M.K. Bhavnagar University  

Topic - Earnest Hemingway for whom the Bell Tolls 

Summary - 

  The Bell Tolls opens in May 1937, at the height of the Spanish Civil War. An American man named Robert Jordan, who has left the United States to enlist on the Republican side in the war, travels behind enemy lines to work with Spanish guerrilla fighters, or guerrilleros, hiding in the mountains. The Republican command has assigned Robert Jordan the dangerous and difficult task of blowing up a Fascist-controlled bridge as part of a larger Republican offensive.

A peasant named Anselmo guides Robert Jordan to the guerrilla camp, which is hidden in a cave. Along the way, they encounter Pablo, the leader of the camp, who greets Robert Jordan with hostility and opposes the bridge operation because he believes it endangers the guerrilleros’ safety. Robert Jordan suspects that Pablo may betray or sabotage the mission.

At the camp, Robert Jordan meets Pilar, Pablo’s “woman.” A large, sturdy part-gypsy, Pilar appears to be the real leader of the band of guerrilleros. A rapport quickly develops between Robert Jordan and Pilar. During the course of the evening, Robert Jordan meets the six other inhabitants of the camp: the unreliable Rafael, feisty and foul-mouthed Agustín, dignified Fernando, old Primitivo, and brothers Andrés and Eladio. The camp also shelters a young woman named Maria, whom a band of Fascists raped not long before. Robert Jordan and Maria are immediately drawn to each other.

Robert Jordan and Anselmo leave the camp to scout out the bridge. When they return, Pablo publicly announces that neither he nor his guerrilleros will help blow up the bridge. Pilar and the others disagree, however, so Pablo sullenly gives in. Privately, Rafael urges Robert Jordan to kill Pablo, but Pilar insists that Pablo is not dangerous. That night, Maria comes out to join Robert Jordan as he sleeps outside. They profess love for each other and make love.

The next morning, Pilar leads Robert Jordan through the forest to consult with El Sordo, the leader of another band of guerrilleros, about the bridge operation. They take Maria along. El Sordo agrees to help with the mission, but both he and Robert Jordan are troubled by the fact that the bridge must be blown in daylight, which will make their retreat more difficult. On the way back to Pablo’s camp, Robert Jordan and Maria make love in the forest. When they catch up with Pilar, Maria confesses to Pilar that the earth moved as they made love. Pilar, impressed, says that such a thing happens no more than three times in a person’s lifetime.

Back at the camp, a drunken Pablo insults Robert Jordan, who tries to provoke Pablo, hoping to find an excuse to kill him. Pablo refuses to be provoked, even when Agustín hits him in the face. When Pablo steps away for a few minutes, the others agree that he is dangerous and must be killed. Robert Jordan volunteers to do it. Suddenly, Pablo returns and announces that he has changed his mind and will help with the bridge. Later that night, Maria comes outside to sleep with Robert Jordan again. They talk about their feeling that they are one person, that they share the same body.

In the morning, Robert Jordan wakes up, sees a Fascist cavalryman, and shoots him, awakening the camp. After breakfast, the group hears sounds of a fight in the distance, and Robert Jordan believes that the Fascists are attacking El Sordo’s camp. Agustín and Primitivo want to aid El Sordo, but Robert Jordan and Pilar know that it likely would be useless.

The scene shifts to El Sordo’s hill, which a group of Fascists is assaulting. El Sordo’s men play dead and manage to shoot the Fascist captain, but several minutes later, Fascist planes bomb the hilltop and kill everyone in El Sordo’s band. The ranking Fascist officer orders the beheading of all the corpses of El Sordo’s men.

The guerrilleros at Pablo’s camp, having heard the planes bomb El Sordo’s hill, feel glum as they eat lunch. Robert Jordan writes a dispatch to the Republican command recommending that both the bridge operation and the larger offensive be canceled, for the Fascists are aware of the plan and the operation will not succeed. He sends Andrés to deliver the dispatch to the headquarters of General Golz, a Republican leader. Maria again joins Robert Jordan in his sleeping bag that night, and they fantasize about their future life in Madrid.

Meanwhile, in Madrid, Robert Jordan’s friend, a Russian journalist named Karkov, learns that the Fascists know about the offensive the Republicans have planned for the next day. Karkov worries about Robert Jordan.

At two in the morning, Pilar wakes Robert Jordan and reports that Pablo has fled the camp with some of the explosives that were meant to blow the bridge. Though furious at first, Robert Jordan controls his anger and plans to carry out the operation anyway, with fewer explosives. He wakes up Maria, and as they make love, they feel the earth move again. Pablo suddenly returns just before dawn, claiming that he left in a moment of weakness. He says that he threw the explosives into the river but felt great loneliness after doing so. He has brought back five men with their horses from neighboring guerrilla bands to help. The fighters take their positions.

The scene shifts to Andrés, who has been traveling through the night to deliver Robert Jordan’s dispatch to General Golz. Crossing into Republican territory, Andrés is slowed when several suspicious but apathetic officers question him. When Andrés and his escort finally near Golz’s headquarters, a politician named André Marty suspects that they are Fascist spies and orders them arrested. Robert Jordan’s friend Karkov hears about the arrests and uses his influence to free the men. Robert Jordan’s dispatch finally reaches Golz but arrives too late. The Republican offensive already has begun and can no longer be stopped.

As dawn breaks, Robert Jordan and Anselmo descend on the bridge, shoot the Fascist sentries, and plant the explosives. Pilar arrives and says that Eladio has been killed, while Fernando, fatally wounded, must be left behind. When Robert Jordan detonates the explosives, the bridge falls, but shrapnel from the blast strikes Anselmo and kills him. Pablo emerges from below, saying that all five of his men are dead. Agustín accuses Pablo of shooting the men for their horses, and Pablo does not deny it.

As the group crosses the road in retreat, a Fascist bullet hits Robert Jordan’s horse, which tramples on Robert Jordan’s left leg, breaking it. Knowing that he must be left behind, Robert Jordan says goodbye to Maria, saying that he will be with her even if she goes. Pilar and Pablo lead Maria away.

Alone, Robert Jordan contemplates suicide but resolves to stay alive to hold off the Fascists. He is grateful for having lived, in his final few days, a full lifetime. For the first time, he feels “integrated,” in harmony with the world. As the Fascist lieutenant approaches, Robert Jordan takes aim, feeling his heart beating against the floor of the forest.

Themes 

The Loss of Innocence in War

Each of the characters in For Whom the Bell Tolls loses his or her psychological or physical innocence to the war. Some endure tangible traumas: Joaquín loses both his parents and is forced to grow up quickly, while Maria loses her physical innocence when she is raped by a group of Fascist soldiers. On top of these tangible, physical costs of the war come many psychological costs. Robert Jordan initially came to Spain with idealism about the Republican cause and believed confidently that he was joining the good side. But after fighting in the war, Robert Jordan becomes cynical about the Republican cause and loses much of his initial idealism.

The victims of violence in the war are not the only ones to lose their innocence—the perpetrators lose their innocence too. The ruffians in Pablo’s hometown who participate in the massacre of the town Fascists have to face their inner brutality afterward. Anselmo has to suppress his aversion to killing human beings, and Lieutenant Berrendo has to quell his aversion to cutting heads off of corpses.

War even costs the innocence of people who aren’t involved in it directly. War journalists, writers, and we as readers of novels like For Whom the Bell Tolls have to abandon our innocent expectation that wars involve clean moral choices that distinguish us from the enemy. Hemingway shows in the novel that morality is subjective and conditional, and that the sides of right and wrong are almost never clear-cut. With no definite sides of right and wrong in For Whom the Bell Tolls, there is no sense of glorious victory in battle, no sense of triumph or satisfaction that good prevails and evil is defeated.

The Value of Human Life

Many characters die during the course of the novel, and we see characters repeatedly question what can possibly justify killing another human being. Anselmo and Pablo represent two extremes with regard to this question. Anselmo hates killing people in all circumstances, although he will do so if he must. Pablo, on the other hand, accepts killing as a part of his life and ultimately demonstrates that he is willing to kill his own men just to take their horses. Robert Jordan’s position about killing falls somewhere between Anselmo’s and Pablo’s positions. Although Robert Jordan doesn’t like to think about killing, he has killed many people in the line of duty. His personal struggle with this question ends on a note of compromise. Although war can’t fully absolve him of guilt, and he has “no right to forget any of it,” Robert Jordan knows both that he must kill people as part of his duties in the war, and that dwelling on his guilt during wartime is not productive.

The question of when it is justifiable to kill a person becomes complicated when we read that several characters, including Andrés, Agustín, Rafael, and even Robert Jordan, admit to experiencing a rush of excitement while killing. Hemingway does not take a clear moral stance regarding when it is acceptable to take another person’s life. At times he even implies that killing can be exhilarating, which makes the morality of the war in For Whom the Bell Tolls even murkier.

Romantic Love as Salvation

Even though many of the characters in For Whom the Bell Tolls take a cynical view of human nature and feel fatigued by the war, the novel still holds out hope for romantic love. Even the worldly-wise Pilar, in her memories of Finito, reveals traces of a romantic, idealistic outlook on the world. Robert Jordan and Maria fall in love at first sight, and their love is grand and idealistic. Love endows Robert Jordan’s life with new meaning and gives him new reasons to fight in the wake of the disillusionment he feels for the Republican cause. He believes in love despite the fact that other people—notably Karkov, who subscribes to the “purely materialistic” philosophy fashionable with the Hotel Gaylord set—reject its existence. This new acceptance of ideal, romantic love is one of the most important ways in which Robert Jordan rejects abstract theories in favor of intuition and action over the course of the novel.

Assignments - 107

The twentieth century litrature from world war 2 to the end of the century

 Paper - 107 

Name - Nehalba Gohil 

Roll no - 15 

Enrollment no - 4069206420210009 

Email ID - nehalbagohil26@gmail.com 

Batch - 2021-23 

Sem-2 MA 

Submitted to - S.B Gardi department of English M.K Bhavnagar University 

Summary : 

Winston Smith is a low-ranking member of the ruling Party in London, in the nation of Oceania. Everywhere Winston goes, even his own home, the Party watches him through telescreens; everywhere he looks he sees the face of the Party’s seemingly omniscient leader, a figure known only as Big Brother. The Party controls everything in Oceania, even the people’s history and language. Currently, the Party is forcing the implementation of an invented language called Newspeak, which attempts to prevent political rebellion by eliminating all words related to it. Even thinking rebellious thoughts is illegal. Such thoughtcrime is, in fact, the worst of all crimes.

As the novel opens, Winston feels frustrated by the oppression and rigid control of the Party, which prohibits free thought, sex, and any expression of individuality. Winston dislikes the party and has illegally purchased a diary in which to write his criminal thoughts. He has also become fixated on a powerful Party member named O’Brien, whom Winston believes is a secret member of the Brotherhood—the mysterious, legendary group that works to overthrow the Parts

Winston works in the Ministry of Truth, where he alters historical records to fit the needs of the Party. He notices a coworker, a beautiful dark-haired girl, staring at him, and worries that she is an informant who will turn him in for his thoughtcrime. He is troubled by the Party’s control of history: the Party claims that Oceania has always been allied with Eastasia in a war against Eurasia, but Winston seems to recall a time when this was not true. The Party also claims that Emmanuel Goldstein, the alleged leader of the Brotherhood, is the most dangerous man alive, but this does not seem plausible to Winston. Winston spends his evenings wandering through the poorest neighborhoods in London, where the proletarians, or proles, live squalid lives, relatively free of Party monitoring.

One day, Winston receives a note from the dark-haired girl that reads “I love you.” She tells him her name, Julia, and they begin a covert affair, always on the lookout for signs of Party monitoring. Eventually they rent a room above the secondhand store in the prole district where Winston bought the diary. This relationship lasts for some time. Winston is sure that they will be caught and punished sooner or later (the fatalistic Winston knows that he has been doomed since he wrote his first diary entry), while Julia is more pragmatic and optimistic. As Winston’s affair with Julia progresses, his hatred for the Party grows more and more intense. At last, he receives the message that he has been waiting for: O’Brien wants to see him.

Winston and Julia travel to O’Brien’s luxurious apartment. As a member of the powerful Inner Party (Winston belongs to the Outer Party), O’Brien leads a life of luxury that Winston can only imagine. O’Brien confirms to Winston and Julia that, like them, he hates the Party, and says that he works against it as a member of the Brotherhood. He indoctrinates Winston and Julia into the Brotherhood, and gives Winston a copy of Emmanuel Goldstein’s book, the manifesto of the Brotherhood. Winston reads the book—an amalgam of several forms of class-based twentieth-century social theory—to Julia in the room above the store. Suddenly, soldiers barge in and seize them. Mr. Charrington, the proprietor of the store, is revealed as having been a member of the Thought Police all along.

Torn away from Julia and taken to a place called the Ministry of Love, Winston finds that O’Brien, too, is a Party spy who simply pretended to be a member of the Brotherhood in order to trap Winston into committing an open act of rebellion against the Party. O’Brien spends months torturing and brainwashing Winston, who struggles to resist. At last, O’Brien sends him to the dreaded Room 101, the final destination for anyone who opposes the Party. Here, O’Brien tells Winston that he will be forced to confront his worst fear. Throughout the novel, Winston has had recurring nightmares about rats; O’Brien now straps a cage full of rats onto Winston’s head and prepares to allow the rats to eat his face. Winston snaps, pleading with O’Brien to do it to Julia, not to him.

Giving up Julia is what O’Brien wanted from Winston all along. His spirit broken, Winston is released to the outside world. He meets Julia but no longer feels anything for her. He has accepted the Party entirely and has learned to love Big Brother 

Winston Smith

A minor member of the ruling Party in near-future London, Winston Smith is a thin, frail, contemplative, intellectual, and fatalistic thirty-nine-year-old. Winston hates the totalitarian control and enforced repression that are characteristic of his government. He harbors revolutionary dreams.

Julia

Winston’s lover, a beautiful dark-haired girl working in the Fiction Department at the Ministry of Truth. Julia enjoys sex and claims to have had affairs with many Party members. Julia is pragmatic and optimistic. Her rebellion against the Party is small and personal, for her own enjoyment, in contrast to Winston’s ideological motivational

O’Brien

A mysterious, powerful, and sophisticated member of the Inner Party whom Winston believes is also a member of the Brotherhood, the legendary group of anti-Party rebels.

Big Brother

Though he never appears in the novel, and though he may not actually exist, Big Brother, the perceived ruler of Oceania, is an extremely important figure. Everywhere Winston looks he sees posters of Big Brother’s face bearing the message “BIG BROTHER IS WATCHING YOU.” Big Brother’s image is stamped on coins and broadcast on the unavoidable telescreens; it haunts Winston’s life and fills him with hatred and fascination.

Mr. Charrington

An old man who runs a secondhand store in the prole district. Kindly and encouraging, Mr. Charrington seems to share Winston’s interest in the past. He also seems to support Winston’s rebellion against the Party and his relationship with Julia, since he rents Winston a room without a telescreen in which to carry out his affair. But Mr. Charrington is not as he seems. He is a member of the Thought Police.

Syme

An intelligent, outgoing man who works with Winston at the Ministry of Truth. Syme specializes in language. As the novel opens, he is working on a new edition of the Newspeak dictionary. Winston believes Syme is too intelligent to stay in the Party’s favor.

Parsons

An obnoxious and dull Party member who lives near Winston and works at the Ministry of Truth. He has a dull wife and a group of suspicious, ill-mannered children who are members of the Junior Spies.

Emmanuel Goldstein

Another figure who exerts an influence on the novel without ever appearing in it. According to the Party, Goldstein is the legendary leader of the Brotherhood. He seems to have been a Party leader who fell out of favor with the regime. In any case, the Party describes him as the most dangerous and treacherous man in Oceania.

 

 

Assignment - 106

 Twenty Century Literature 1900 to world war 2 

P - 106 Assignment

Name - Nehalba Gohil 

Paper - 106 

Roll no - 15 

Enrollment no - 4069206420210009 

Email id - nehalbagohil26@gmail.com 

Batch - 2021 - 23 

Sem- 2 MA 

Submitted to - S B Gardi Department of English M.K . Bhavnagar University 

Summary : 

Orlando, Virginia Woolf's sixth major novel, is a fantastic historical biography, which spans almost 400 years in the lifetime of its protagonist. The novel was conceived as a "writer's holiday" from more structured and demanding novels. Woolf allowed neither time nor gender to constrain her writing. The protagonist, Orlando, ages only thirty-six years and changes gender from man to woman. This pseudo-biography satirizes more traditional Victorian biographies that emphasize facts and truth in their subjects' lives. Although Orlando may have been intended to be a satire or a holiday, it touches on important issues of gender, self-knowledge, and truth with Virginia Woolf's signature poetic style.

On January 25, 1882, Virginia Stephen was born to Leslie and Julia Duckworth Stephen. Her father, Leslie, a parson turned agnostic, was a man of letters who served as editor of Cornhill Magazine and later began compiling the Dictionary of National Biography, for which he is best known. Virginia's parents reinforced traditional stereotypes of men and women. Her father was stern and detached; her mother was more emotional and fond of poetry. Virginia had many brothers and sisters, only a few of whom she was close to. In 1895, after the death of Virginia's mother, the family moved to a home in Bloomsbury, London. Here, Virginia became the family writer. Virginia coped with mental breakdowns throughout her life, attempting suicide twice before 1904. Once in Bloomsbury, Virginia's writing career began to take off. With some of her brother's university friends, Virginia formed the Bloomsbury group, a group of young people who worked in different fields, but shared similar interests and had the same goal of rejecting conventional behavior. This group, which so highly valued independent thought, appreciated Virginia's talents.

In 1912, Virginia married Leonard Woolf. Although they had little physical intimacy in their marriage, Virginia respected her husband greatly. His opinion mattered most to her. Leonard supported Virginia by offering her a very controlled, regulated environment, one that was conducive to writing and helped her cope with her mental illness. Virginia's manic-depression was worst just as she was finishing a novel. Unable to handle criticism, Woolf was vulnerable to breakdowns. Leonard helped Virginia channel her energy by starting their own publishing company, the Hogarth Press. Working here gave Virginia some much needed mental relaxation. Writing was not always an easy task for Virginia. A perfectionist, she labored over her novels until the very last moment. But generally, her works were well-received, and Virginia soon became quite acclaimed as an author. Yet mental illness was a battle that Virginia could not win. On March 28, 1941, fearing another breakdown, Virginia committed suicide by filling her pockets with rocks and jumping off a bridge into the river.

Orlando was written at the height of Woolf's career. It was an extremely popular book when it was published. In the first six months after publication it sold over eight thousand copies, whereas To the Lighthouse sold less than half that amount. Woolf's income from book sales nearly tripled with the publication of Orlando.

After finishing To the Lighthouse in 1927, Woolf was prompted by an attachment to her lover, Vita Sackville-West, and by a strong interest in biographical literature to begin Orlando. She wrote in her diary that Orlando was to be "Vita, only with a change from one sex to another." Sackville-West, like the novel's protagonist, was a wealthy woman from a historic and noble family. In the novel, Woolf mocks her friend's brooding, poetic nature, and her family's history, which is detailed in Vita's book Knole and the Sackvilles (1922). Vita and her husband, Harold Nicholson, both openly bisexual, proved great models for Orlando. The novel, replete with lesbian and bisexual undertones, explores the nature of gender difference and sexual identity. It was not entirely unique for its time; Orlando was published near the time of Radclyffe Hall's trial for obscenity for her portrayal of lesbian love in her autobiographical novel The Well of Loneliness. While Woolf's novel skirts explicit description of homosexuality, her sex changes imply a love that reaches across gender. Vita's son, Nigel Nicholson, wrote that Orlando was Woolf's "love letter" to his mother.

While Woolf endeavored to explore Vita through the novel, Orlando also gave her the opportunity to try her hand at the genre of biography. Woolf's father, Leslie Stephen, had spent enormous amounts of time working on the Dictionary of National Biography, an "official" work which gives the facts about the lives of many important English people. In Orlando, Woolf mocks such an attempt to present the facts. By only presenting the external life, Woolf felt that an "official" biography fails to capture the essence of its subject. Although the 'biographer' in Woolf's novel claims to be limited by documents and records, she fully explains Orlando's internal thoughts, feelings, and reflections. In this way, Orlando challenges the traditional notion of truth in description.

Characters 

Orlando

Protagonist of the novel, Orlando is a wealthy nobleman who is adventurous and artistic. Based on Woolf's real-life love interest Vita Sackville-West, Orlando (like West) has values deeply rooted in his home and in his long and noble ancestry. By changing genders halfway through the novel (from male to female) Orlando is able to reflect upon the differing positions and experiences of each gender. S/he is a reflective individual, who longs both for life and for love, and finds in poetry one of her greatest satisfactions. Orlando does not feel constrained by any time but the present, which frightens her in its potential for danger. It is in the present that Orlando realizes herself to be composed of not one, but many selves. Together, these selves and experiences combined with her love of nature, allow Orlando to find composure and confidence as one individual.

Sasha

Sasha is a Russian princess, a Muscovite, who travels by ship to England to the court of King James I. Her language and her demeanor makes her appear mysterious to the men of the Court, but her fluency in French allows her to converse freely with Orlando. When Orlando first catches sight of her, he is unable to tell whether she is a man or a woman. Her height and clothes make her appear androgynous, but Orlando is overcome her seductive nature. Deceitful, Sasha uses Orlando to entertain her while in London, and then she runs away with a Russian seaman, breaking Orlando's heart. The memory of Sasha's mysteriousness and seductiveness remains with Orlando as long as he lives.

Shel

A brave, gallant seaman, Shel sweeps Orlando off her feet in the nineteenth century when he sees her hurt on the moor. Shel is in love with Orlando and hastens to marry her, but he, like many fictional Victorian heroes, is torn between love for a woman and his duty as a seaman. When the wind changes, he must return to his ship to sail around Cape Horn. Shel is loved by Orlando as well. He and Orlando are unique since they have many qualities of the opposite sexes. The narrator notes that he is "as strange and subtle as a woman," yet he commits the heroic acts of a man.

Archduchess Henrietta / Archduke Harry

The Archduchess Henrietta who Orlando first sees riding on a horse through the courtyards of his home, is really a very tall man who dresses as a woman because he is in love with Orlando (as a man). He is a Romanian archduke of Finster-Aarhorn and Scand-op-Boom, and he asks Orlando to marry him and come away with him to Romania. As a character, he is ridiculous, a parody of heroes in novels who fall madly in love and do silly things to have their love requited. The Archduke is also quite slow; Orlando must cheat at a game they play over twenty times in order for him to catch her. Harry is traditional; he seeks a wife to live with him in his home, and he is appalled that a woman would cheat at a game. He plays a very comic role in the novel

Sir Nicholas Greene

Nick Greene appears twice in the novel, once as a seventeenth-century poet who writes a parody of Orlando, and later as the most eminent Victorian (nineteenth-century) literary critic. But though times have changed, Nick does not change much at all. He is forever complaining about how the high-point of English literature has passed and how the authors of the current moment care only about money. He is generally an unhappy man, completely enraptured by his own ill-health. Greene is a perpetual literary critic who can tear down the work of others, but creates nothing of very much importance himself. Because he lives deep in the world of fame and good reviews, Greene is able to get Orlando's work published and made famous.

Mr. Pope

In real life, Alexander Pope, a poet of the eighteenth-century, was famous for his polemical satires and mock-epics, "The Dunciad" and "The Rape of the Lock." In the novel, Orlando places Pope on a pedestal when she meets him at a gathering of "brilliant" people. When Pope is the only one to say truly witty things at the gathering, Orlando becomes enraptured by him and the fact that he is a writer. But the description of him is quite unflattering, "he looked like some squat reptile set with a burning topaz in his forehead." Orlando finds that Pope is a regular person, driven by petty jealousies, praise, and ego, like every other writer.

Rustum

The old gypsy man of the tribe in the hills of Turkey, Rustum welcomes Orlando into the tribe, but later distrusts her when he finds her beliefs differ so much from those of the gypsies. As a gypsy with no "official" property or ancestry, but whose lineage stretches back thousands of years (far further than Orlando's), Rustum cannot see the point in taking pride in a house of 365 bedrooms. To him, such a thing is worthless because it is not necessary. He does not see nature for its beauty (like Orlando) but for its potential to do danger. Ultimately, he functions in the novel to give Orlando perspective on her English values.

Queen Elizabeth I

Queen Elizabeth is a noble, older woman who is very accustomed to having power and control. She takes likes Orlando for his youthful, innocent look, something she longs to regain for herself. After she makes Orlando her Treasurer, Steward, and lover, she grows possessive of him. Her nature will not allow her to accept that she should be tossed aside for another. Violently jealous, Elizabeth cannot handle that Orlando would choose another lover. She dies soon after seeing him with another woman.

Rosina Pepita

A Spanish woman in Turkey, Rosina's marriage to Orlando lasts only a day before Rosina falls into a deep trance. Rosina does not play a major role in the novel, but the reader learns that she is a Spanish dancer, reputed to be a gypsy, whose mother and father are unknown. Her character is thought to be based on Vita Sackville-West's grandmother, who was a Spanish dancer.

Clorinda

One of the first women Orlando dated when he was a member of King James's court, Clorinda was a sweet, gentle lady, but her excessive religiosity and her intentions to lead Orlando from a life of sin, sickened him.

Favilla

The second of Orlando's loves at King James's court, Favilla was the daughter of a poor Somersetshire gentleman. Though Favilla had excessive grace and was greatly admired at Court, Orlando ended their relationship when he saw her whipping a spaniel dog.

Euphrosyne

The third of Orlando's loves at the court of King James, Euphrosyne would have made the perfect wife of a nobleman. She was fair, sweet, kind to animals, and from an extraordinarily good Irish family. Plans were under way for the marriage between Orlando and Euphrosyne, when he decided he preferred to run away with Sasha.

 

Breath interpretation challenge and shooting a video

 Samuel Beckett 

The theatre of absurd started in the early 20th century by a group dramatists who considered themselves intellectual and wanted to show thier reaction to the realistic dramatists of the 19th century who were very popular in thier time. The theatre of Absurd was a reaction again the realistic drama of the 19th century Gradually this movment became very popular among the audience of the time . Marin Esslin made the from popular. He wrote a Book entitled absurd drama many dramatists like Samuel Beckett Eugene o Neil Arthur Adamov and Edwardalbee etc wrote many Absurd plays which became very popular among the audience . Although it declined in the beginning of the 21st century even in our age there are some dramatists like Harold Pinter who wrote Absurd 

At the beginners of the third act of measure for measure as Claudio language in prison sentenced to death for the crime of fornication the Duke counsels the condemned man to reason thus with life 

A breath thou art servile to all the skyey influences that do this habitation where thou keepst Hourly afflict

Of all of Shakespeare's comedies measure for measure is the most conjuent with the works of Samuel Beckett. It's bitter language it's depiction of pitiful humanity and it's preoccupation with death resonate thoughts the Irishman works.

Breath is a Absurd play written by Samuel Beckett in the 1969 it considered as a smallest play ever written . It is only about 30 second Play . It also considered as experimental play this play can be intercepted in Mary ways . The play concider as absurd play here is the video of the play Breath 

Simply we know that breathing Means an inhalation or exhalation of air from the lungs but it's also considered as the life and death also . An inhalation is indicates the birth and an exhalation individual the death so we can say that Breath means both life and death . In life ot concider as the symbol of action sometimes person so much habituated of breathing person doesn't realise it's actually importance for live life . The play reflects the reality of human life it reflects meanings in the sense that people has no any purpose of living life everything is meaningless we live life just watching for death. Breathing help us to reach ultimately death so breath is the symbol of bridge between life and death people who do everything and anything in their life is all about absurdity.

Existentialism Flipped learning : Ask Questions

Flipped learning 

 In this flipped learning blog existentialism is taken as a topic to learn . In the paper of 20th century literature from WWII to the end of the century an absurd play waiting for Godot is studied as part of the syllabus in MA sem 2  In order to understand the play Better it is necessary to know what is existential and how this philosophical movment leads one to think as an individual. 

The process of flipped learning is very intersting as first place a teacher shares his / her blog link to students which leads another blog the flipped learning topic and there students watch video resources and read the material. The task of the students is to ask questions from the video they just watched.

Existentialism is a philosophy that emphasizes individual existence freedom and choice . It is the view that human's define their own meaning in life and try to make regional decison despite existing in an irrational universe . It focuses on the question of human existence and the feeling that there is no purpose or explanation at the core of existence. It holds that as there is no God or  any way to counter this nothingness is by embracing existence .

Video - 1 what is Existentialism 

Though existentialis differ in their views on existentialism but in a one or another way they share a basic belief of this term from this video I like that triangle idea of freedom individuality and passion which are the three side of existentialism . Along with it the Idea of philosophical suicide is quite interesting another important point discussed in this video is that camus denied to be an existentialist. 

Video - 2 The Myth of Sisyphus The Absurd Reasoning 

This video is about the philosophical suicide and the Myth of Sisyphus the cause of the death is absurdity meaning of life is the most important Camus individual act. He says relation of suicide act. Absurdity face in the question . Because of life is absurd try into common belief refusing to grant meaning to life. We know that this divorce between man and this life the actor and his setting is properly the feeling of absurdity . All healthy men having thought to thier own suicide it can be see without further explanation that there is a direct connection between this feeling and the longing for death.

Video - 3  Nothion of Philosophical Suicide 

This video talk about things like what is absurd like what is absurd and how does it occurs he answer to this question is that Absurd is neither in the man nor in the world. It can only occur in the presence of both. It can be assumed that the World is assumed that the to co conceal this irrationality a human being is needed and a kind of confrontation is needed between these two far absurd to occur.

 Video - 4 Dadaism Nihilism and Existentialism 

The values that human beings have inherited are traditionally given to the World which every human being follows and sometimes it also happens that it does not have a special meaning in life. Dadaism and Nihilism has nothing to do with each other there is only one similarity that both are fed up with arbitrary values want such values invented by others.

Video - 5  Existentialism a gloomy Philosophy 

In this fifth video existentialism is of ten accused of being a gloomy Philosophy so why is it thought of as a. Gloomy Philosophy? Because it brings into discussions subjects like anxiety despair absurdity.

Life + Anxiety= ? 

In this reason this video clarified that being an individual does not mean that one is a narcissist one can either choose to be a part of the herd and die or one can discover oneself as Nietzsche also said this sentence " Become who you are "

Video -6 Existentialism and Nihilism is it one and the same? 

Existentialism is not a philosophical movment nor a set of doctrines . Rather it is classified as a philosophical movment Divine perspective comes with belief immortality which ignores the morality as an important Notion of human perspective existentialism has more concerned with subjectivity while Nihilism has more concerned with objectivity.

Video - 7  let us introduce again 

Existentialism ask questions of existence that why I am here? What is life ? Divine perspective and human perspective . Human were not design by any supernatural power existentialism see the life from religiously scientifically and philosophically and raise questions about human existence.

In this lacture we look at the history of existentialism examine what for existentialists is the key concern of philosophy discuss the phrase existence precede essence and differentiate between existentialism. 

Video - 8 Existentialism and Nietzsche

Existentialism and Nietzsche talked about that human being is everything there is no need any supernatural power to joverrn life like God is dead so human being can make their own rules and be like Superman or ubermensch.

Video - 9  Existentialism Eric Dodson

Existentialism is a very broad idea to understand the deeper meaning of life. Existentialism is not apply to the mind but also apply to the heart which is called existential sensibility . It means that as a mind wants to know the meaning of life heart also wants to enjoy or feel it.

Video - 10 From Essentialist to Existentialism

I like the idea in this video is that only we can give reason to our choice or we can say that there is no reason for choice is just a choice there is no meaning of life but meaning is given by us to our life. 

The last video we can see this was a idea of existentialism is that waht given life meaning of life what is the purpose of life existentialist every meaningful thing is a meaningless here we can find the concept of Nihilism connected with the belief of ultimate meaningless of life . In this particular last video I like the concept of theory of theology. 

Question 

I have a few Questions

Video 1 

How we can find absurdity in our living life ? 

Video 2 

Nihilism is the loss of individuality if yes than why ?? 

Video 4 

What is the main consept of Dadaism and Nihilism ? I want to know about it .

ThAct : An Artist

Artist floating World 

Artist of the floating World is a novel by British author kazuo ishiguro it is set in post world war 2 Japan and is narrated by masuji ono an ageing Pinter who looks back on his life and how he has lived it. He notices how his once  great reputation has faltered since the  war and how  attitudes towards him and his paintings have  changed . The chief conflict deals with one's need to accept responsibility for his past actions rendered politically suspect in the context of post war Japan the novel ends with the narrator expressing good will for the young white collar workers on the streets at lunch break . The novel also deals with the role of people in a rapidly changing political environment and with the assumption and denial of guilt 

The novel is confidential as both historical fiction and global literature it is  considered historical fiction on account of its basis in a authors own experience and it draws from historical facts it is also considered global literature on account of its broad international market and it's thematicisation of how the World today is interconnected. 

1) Lantern appears 34 times in the novel event on the cover page the image of Lanterns is displayed what is the significance of Lanterns in the novel? 

Lanterns in the novel are associated with one's teacher mori San who included a lantern in each of his paintings and dedicates himself to trying to capture the look of Lanterns light for mori San the flickering easing extinguished quality of Lantern symbolises the transience of beauty and the importance of giving careful attached to small moment and details in the physical world lantern then symbolises an outlook on life which prizes small detail and everyday moments above the ideological concerns of nationalist or commercial concerns of business people . It is an old fashioned aesthetically focused and more traditional way of viewing the world.

2) write in brief a review of the film based on the novel 

The novel is structured as a series of interwoven memories described by Masuji ono Ishiguro uses a variety of techniques to convey the fallibility of one's recollection to the audience gradually revealing that ono is an u reliable narrator and undermining the audiance faith in his story 

Ono is an unreliable narrator disgusting his motives and spining recollection to portray himself more favorably although he denies making mistakes his true feelings slowly sleep through and the evolution of his character is expertly revealed by the reaction of his worried daughters. 

3) Debate on the use of art / artist (1) art for the sake of art aesthetic delight (2)art for earning money business purpose (3) art for nationalism imperialism art for the propaganda of government power (4) art for the poor/ Marxism and (5) no need of art and artist ( Masuji's father's approach) 

Art enthusiasts or not this is a phrase Many of us in the 21st century will be familiar with on question of why we create and value art for art's sake not be made based on how well work serves external parposes instead value is intrinsically defined by the aesthetic impression.

The novel highlights the way politicised art was retrospective seen as detrimental to society through the impact of the war but also present views within which art is conversely seen as ineffectual and unable to influence events  by implying that the war and it's subsequent effects would have occurred with or without Ono's propaganda.

4) What is the revevance of this novel is our times? 

The novel The Artist of the floating World is very fascinating in a way . The word floating is the most important thing in the whole work . The novel title is based on the literal translation on of Ukiyo e a word referring to the Japanese art of print therefore it can be read as a printmaker or an artist living in a changing word given both Ono's limited understanding and the dramatic change his word Japan in the first half of the twentieth century has undergone in his lifetime. 

The Act : Understanding the Zeitgeist of the 20th century : from modern Times to the era of Great Dictator

 Modern Times 

Modern Times is a silent Black and white film performed and directed by Charles Chaplin in 1936. The film is of both slapstick and satire and is a social economic commentary on American society during the thirtics a period of rapid industrialization and the onest of the great depression in the film he plays a character known as the tramp a happy go lucky underdoy who does not quite understand society and yet remains both cheerful and hopeful despite facing innumerable difficulty in modern times he portrays the reign of technology and society where humanity is forced to adjust to the machines and institutions of modern society particularly with advent of the dream and the parsuit of happiness. 

1931 Charles Chaplin told a newspaper interviewer 

Modern Time marked the last screen appearances of the little tramp the  character which had brought Charles Chaplin world fame and who still remains the most universally recognised fictional image of a human being in the history or art.

Unemployment is the vital question Machinery should benefits mankind it should not spell tragedy and throw it out of work. 

In modern times he set out to transform his observation and anxieties into comedy the little tram described in the film credit as a factory worker is how one of the million coping with the problem of the 1930. 

Chaplin at first planned  a sadly sentimental ending for the film while the tramp was in hospital recovering from nervous break down the gamine was to become a nun and so be parted from him for ever. 

By the time modern Times was released talking pictures had been established for almost a decade till now Chaplin had resisted dialogues knowing that his comedy and it's universal understanding depended on silent pantomime. 

Just at one moment though Chaplin own voice is heard directly tilted as a waiter the little worker is required to stand in for the romantic cafe tenor. 

As he had done for city light Chaplin composed his own musical score giving his arrangers and conductors a harder time than usual with the result Hollywood musicians Alfred Newman Walker off the film.

The challenge of sound 

The arrival of sound film was a bigger challenge for Chaplin then for any other actor or director he had won word fame with the universal language of pantomime in 1931 he predicted that taking pictures would not last six months and told an interviewer that dialogue may or may not have a place in comedy dialogue does not have a place in the sorct of comedies i make 

The ending of modern Times 

The most notable item in the supporting programme was a new silli symphony from the Walt Disney studios Mickey's orphan connect. The inclusion of this cartoon exemplified an intense mutual admiration between Chaplin and Disney who both recognised similarities in the other work . Disney bought advertising space in the programme in appreciation of the pantomimist supreme whose inimitable artistry and craftsmanship are timeless . It was signed Mickey mouse and Walt Disney. 

Thank you