Tuesday 10 March 2020
Monday 9 March 2020
Assignment Topic: Gayatri spivak and the subaltern
Name :Mehal J. Pandya
Sem :2
Roll no. 13
Enrollment no. 2069108420200029
Subject : Cultural studies
Assignment Topic: Gayatri spivak and the subaltern
Batch:2019-2020
E-mail Id :mehalpandya252@gmail.com
Submitted to: Department of English
M. K. Bhavanagar University
Preface :
In the post-colonial studies, the term ‘subaltern’ identifies and describes the
man, the woman, and the social group who is socially, politically and geographically outside of the hegemonic power structure. Nowadays, Subaltern concern has become so prominent that it is regularly used in various disciplines such as history, psychology, sociology, anthropology and literature. The concept
of subaltern contains the groups that are marginalized, oppressed and exploited on
the basis of social, cultural, religious and political grounds. Subaltern literature reflects various themes such as oppression, marginalization, subjugation of lower and working classes, gender discrimination, disregarded women, deprived classes, racial and caste discrimination etc. It is one of the subdivisions of post -colonialism.
Antonio Gramsci:
Italian Marxist best known for his elaboration of the concept of hedging money a founder of the Italian communist party in 1921 he was imprisoned by the passage in 1926 and spent the reminder of his life under arrest while in the prison and despite Poor health he continued to study and write. His name is The Priso Notebook (1929-1935).it was published only after the fall of Fascism, represent the core of his considerable contribution to Marxist theory.
Gayatri spivak :
Gayatri spivak is one of the influential critic who is related to postcolonial feminism deconstruction and Marxism she is follower of the Derrida and his translator.she gave the theory of subaltern.
According to Gayatri spivak "TheSubaltern cannot speak, she opines that the subaltern does not have a voice".
B.K. Das opines that” Gayatri Spivak has expanded the meaning of subaltern who laid the stress on gendered subaltern-that women who are doubly oppressed by colonialism and particularly in the Third World countries”
She, therefore, has given literary mode to Subaltern studies. Spivak has become a reliable voice of the post-colonial period since the publication of her essay “Can the Subaltern Speak?” She has deeply extended her discourse to a large variety of topics such as Marxism, Feminism and Deconstruction. Through her cultural and critical theories, she tried to challenge the legacy of colonialism.
In the Indian cultural context, the term “subaltern” asks more significance as the people have struggled hard for independence. She prefers the term “subaltern” as it contains the exact picture of the lower-class people. Morton quotes the words of Spivak as: I like the word subaltern for one reason. It is totally situational. Subaltern began as a description of a certain rank in the military. The word was under censorship by Gramsci: he called Marxism “monism”, and was obliged to call the proletarian “subaltern.” That word, used under duress, has been transformed into the description of everything that doesn’t fall under strict class analysis. I like that, because it has no theoretical rigor.
Subaltern :
When we talk about the subaltern then first we should know about that, what is 'subaltern' means?
In simple language we can different subaltern who are victim and no power no power to raise their voice and also this way we can define the meaning of subaltern in post call on colonial studies and in critical theory third term subaltern design it's the colonial population who are socially political and geographical e outside the hierarchy of power of a Colony and the empires Metropolitan Homeland.
As we know so many Nation are colonized,like Canada,Australia,New Zealand, Nigeria, Kenya,India,Pakistan and more countries which were once colonized by British.
Subaltern term means of lowering Gayatri spivak borrowed these term from Italian Marxism Marxist Antonio gramsci in her essay she also wrote about the subaltern group example of women tribal peoples third word
Basically, the word ‘subaltern’ is originated from the Late Latin word ‘subalternus’ in which ‘sub’ means ‘under’ and ‘alternus’ means ‘every other’. It is primarily a British military term which is used for a junior officer below from the rank of a captain, literal meaning ‘subordinate’.
When we talk about subaltern we also remember its related with colonialism as well spivak story strongly argument for this word subaltern and who are subaltern cannot speak for himself or herself because of the structure of colonial power Michel foucault talk about the power in its influence on people and over action.
During the colonial time women speaking is even more impossible because of the social structure for the society and the evil custom for the women, so the colonialism and the patriarchy ensure that women should keep quiet and they should not speak it so fat to raise their voice,it is not possible in any cost at those time. So Spivak also wrote on feminism and critique on that.
Marginalised people ,power, hegemony and hierarchy all are aspects through,we can study about the subaltern.Power is based on assumption information and analysis of people and events. Thus power is about a cultural condition -of knowledge.we are always under the power and influence of other and our actions are according that power and influence. Sometime that power of a person, family, society, political power.So ,this how one can become Subaltern.
In our society we can find the many kind of discrimination and that's why in our society we can find subaltern, victim and marginalised people. Ex- In literature we can see the subaltern and lower class in The purpose by T. P. Kailasam and the untouchable,who are also subaltern. Rohinton Mistry's 'Fine Balance' is one of remarkable work on untouchability.
'Mapping subaltern studies and the post -colonial' whose editor is Vinayak chaturvedi. This book was published in 2000.
In the post-colonial scenario, the term ‘subaltern’ gets wider perspective as it refers to the third world countries and the marginalized groups in the society. Subaltern Studies as a distinctive branch of learning and research, began first in England at the end of 1970’s, when conversations on subaltern themes among a small group of English and Indian historians led to a proposal to launch a new journal in India to dig out the history of the marginalized section of the society.
The study of subaltern there is a one project which was launched in 1982 under the leadership of Ranjeet Gurjar at the time India was the free from colonial world of Britishers. In1982, Oxford University Press in New Delhi published the first volume of essays entitled Subaltern Studies: Writings on South Asian History and Society edited by Ranajit Guha. The first three volumes of essays appeared annually from 1982 and
the success of these volumes stimulated three more volumes in the next five years.
Ranajit Guha is certainly the most famous name among all Subaltern Historians. His Elementary Aspects of Peasants Insurgency in Colonial India is the most powerful example of Subaltern historical scholarship. Returning to the 19th Century ‘peasants’ insurrection in Colonial India.
Ranjit Guha has explained the aim of Subaltern Studies in Subaltern Studies I as: The aim of subaltern studies is to promote a systematic and informed discussion of subaltern themes in the field of South Asian Studies, and thus help to rectify the elitist bias characteristic of much research and academic work in this particular area, (i) His further argument is that the Subaltern Studies is the study of "the history, politics, economics and sociology of subaltenity ... in short, the culture informing the condition. (SS: 48)
The project Explorer and recorded smaller rebellions and tried to readers balance it gave a voice to the subaltern with him the freedom struggle.
In study of subaltern there are member of group ,they are; Shahid Amin, David Arnold, Partha Chetterji, David Hardiman, Dipesh Chakrabarty and Gyanendra Pandey.David Arnold study about the subaltern and also he follow the Antonio Gramsci. He wrote upon him and his Italian background and life. Francisco wrote about the separatism and the lower class people's situation.
The reason behind the study of marginalised and who have no voice ;is to refocus history on the unique role of subaltern or who were marginalised people is bringing about large scale transformation in society. They were focused on subaltern in term of class, race, gender, cast, language and culture.
Here is one chart in context of social formation and the subaltern
In this table in the very first we can see the capitalist hold the power and working people are subaltern. Working people generate the profit and all benefits for the Capitalist.
In the patriarchy women became subaltern and victim. In a roll of daughter, sister, wife,mother. Because of they have no right to speak they reduce their identity to her relationship with men. We can see the gender discrimination in those time and even in present time but in 21st century women started to raise their voice and ask for their right.
Conclusion :
At the end of so many thinking and arguments we can say Subalaturn will never speak because of our society structure and the hierarchy or power. They will be exist in society so the hierarchy will remain because of power will be there and it creates the system like this. If any one sabalturn will speak there are so many who will never revolt. This is a Subalaturn theory which can also represent marginalised.In short we can find the power and control and the class system in society.
Work citation
Guha, Ranjit. Selected Subaltern Studies. Delhi: OUP, 1998
Guha, Ranjit. Ed. Subaltern Studies, Vol, VII, Oxford, 1982
Nayar, Pramod K. An Introduction to Cultural Studies. New Delhi: Viva Books Private Limited, 2019.
Assignment Topic: Indian poetics
Name :Mehal J. Pandya
Sem :2
Roll no. 13
Enrollment no. 2069108420200029
Subject : literary criticism
Assignment Topic: Indian poetics
Batch:2019-2020
E-maid:mehalpandya252@gmail.com
Submitted to: Department of English
M. K. Bhavangar University
Preface:
Indian poetic basically related with the Sanskrit language and also it's root going through the two great epic poems 'Ramayana' and 'Mahabharata'. In Sanskrit language there are so many great poets like Kalidas and other writer like Bhavbhuti, Dandi.
In Indian poetic we can see the different theories and theory schools. So, let's study on different school of theories in details.
Literary theory
When we are going to study about theory, it is important to know the names of them.This theory are given by the great thinker and they also talk about them in details in their work so here is the table in which I put the detail about the theory.
Rasa school :
“ Rasa in Bharatmuni is nothing but the exposition of the structure of human experience.”
Rosa theory is very important in Indian poetics. Rosa is said to arise when the Sthayabhava in individuals is awakened by his perception of the Vibhava, Anubhava, Vyabhicharibhava and Sattvic bhava. Rasa theory finds its root in late vedic period in Atharvaveda( 200 BC-100 BC) Bharatmuni (F.c.AD approx.) gave major statement in his Book ‘Natyashastra’.
We can find the Sthayabhavas in each individual and they will never die. Here are names of Sthayabhavas :
1 Shringar
2 Karun
3 Veer
4 Raudra
5 Hasya
6 Bhayanak
7 Vibhatsa
8 Adabhut
9 Shant
Bharatmuni give a sloka in his Natyashastra
शृंगार करूणवीर
रौद्र हास्य à¤à¤¯ानक
विà¤à¤¤्साद्à¤ूतशांतश्व
नव नट्ये रसा स्मृता।।
Bharatmuni:
Bhartamuni also says in his book definition of Rasa and next will be all theory development of those things many critics write them nearly of their principle of theory as a like:
vibhavnubhavVabhichasayogarasanishpati
Vibhava (विà¤à¤µ),
Sthayabhava (स्थायीà¤ाव),
Sancaribhava ( संकरीà¤ाव),
Anubhava (अनुà¤à¤µ) and
Sattvikabhava (सात्विकà¤ाव
Riti School:
This school's exponent Vamana.He is author of Kavyalankara Sutravritti. According to Vamana Riti or Style or mode of expression is the soul of poetry.It is arrangement of words. This is based on Gunas or on qualities like figure of speech. Both sound and sense which have a role to play to enhance the aesthetic of poem.
Style is distinction between this two:
1 Vaidarbha style
2 Gaudya style
In Dandin we find the earlier partiality for Vaidarbha style and aversion to Other style named Gaudya style. According to Dandin Vaidharbha style is best for poetry and he says this style contains ten poetic qualities which are gives properly balance. They are mentioned here:
1.Ojas: strength through the use of long compounds
2. Prasad: clarity & lucidity
3. Shlesha: well knittedness
4. Samata: evenness of sound within a line
5. Samadhi: ambivalence through the use of metaphors
6. Madhurya: sweetness
7. Sukamarata: softness & delicacy
8. Udaratva: exaltation
9. Arthavyakti: lucidity of meaning
10. Kanti: grace
From all these, Phase, Madhurya and Prasad are very important.
(A. ) Vaidarbha: According to vamana vaidarbha is that style which is untouched by even the slightest blemish, which is full of all the qualities and which is a scoot as the lute.
(B) Gaudiya style: The gaudiya style is characterized by Ojas and Kanti but it devoid of madhurya and saukumaryo it is full of long compound and bombastic words.
(C) Panchali : Panchali is the style which has the qualities of Madhurya and saukumarya and is devoid of ojas and kanti. It is soft and resemble the puranic style
Dhvani school
Dhvani theory is a theory of meaning, of symbolism, and this principle leads to the poetry of suggestion being accepted as the highest kind of poetry.This is also very important theory next to the Rosa theory. Anandvardhan talk on Dhvani theory. He also wrote about in his work ' Dhavnyaloka'. Dhvani explains the structure and function in literature about the aesthetic effect the figural mode and devise.The stylistIc values and also Dvani explain about excellent and defeat which means Gunas and Dosha.
We can see that all the subsequent theories in literary theory, there are theory traditions this both theories Rasa and Dhvani, combination adequate and sufficient to analyse the constitution of meaning in literature.
Anandvardhan uses the term Dhvani to designate the universe of suggestion.Two part of Dhvani are :
1 Sphotak
2 Vyanjana
He also give three levels of meaning through
1Abhidha
2Lakshna
3Vyanjana
4 Alankara :
Alankara means ornament when we wear ornament and they make us more beautiful as it is, the Alankara beauty the poetto. This alankara school is the earliest and most sustained one. We can find information about the Alankara from the 'Alankarasutra'.
" Bhamaha " is the first Alamkara poetician. In chapters 2 and 3 of " Kavyalamkara "he describes 24 figures of speech. There are two types of Alamkaras.
1. Shabdalamkara :- Shabda + Alamkar (The meaning of sound.)
2. Arthalamkara :- Artha + Alamkar ( The meaning of word & thoughts.)
In this school Bharata give four figure of in his work Natyashastra, he mentioned this four figure in the 17th chapter;
1 Upama
2 Rupak
3 Dipak
4 Yamak
Acharya Mammat gave his views and he worked on this as well. He enumerates sixty one figures and group them into seven types:
Upama (simile)
Rupaka (metaphor)
Aprastut prasansa (indirect speech)
Dipaka (stringed figure)
Vyatireka( dissimilitude)
Virodha (contradiction)
Samuccaya (concatenation)
Vakrokti
This is also a important school in Indian poetic. Kuntak is the founder of Vakrokti school.He is author of Vakroktijivit'.
The word of vakrokti consist two words-Vakta and another one is Ukti. Vakra means zigzag not straight and Ukti means poetic expression speech.
Vakrokti :- Vakra + Ukti
Vakrokti manifested at six levels
1 The phonetic level
2 The lexical level
3 The grammatial level
4 The sentiment level
5 The contextual level
6 The compositional level
Vakrokti theory is a useful framework for stylistic analysis of literature.
Kuntak made Vakrokti a full -fledged theory of literariness. According to him Vakrokti is - "Both words and meanings marked by artistic turn of speech "
Auchity school
Auchitya in literary criticism had not appeared all of sudden but literary critics collect ingeniously materials from older literature and build their theories on them. Ksemendra likewise found the concept of Auchitya in earlier literature which he developed into an elaborate thesis.
According to Kuntak Auchitya as guna a quality on account of which any Charming expression bring the excellence of the subject described.
According to Ksemendra Auchitya resides in twenty eight place and also he appears to have been more or less inspired by approach of Kantaka in listing the place where vakrokti resides.
The concept of Auchitya could , perhaps, be understood as the sense of proportion between the whole (Angin) and the part (Anga) and harmony on one side; and, appropriateness and adaptation on the other.
It said; be it Alamkara or Guna, it will be beautiful and relishing if it is appropriate (Uchita) from the point of view of Rasa; and, they would be rejected if they are in- appropriate . And, what is normally considered a Dosha (flaw) might well turn into Guna (virtue) when it is appropriate to the Rasa
But, many are hesitant to accept Auchitya as the Atma of the Kavya. They point out that Auchitya by its very nature is something that attempts to bring refinement into to text; but, it is not an independent factor. And, it does not also form the essence of Kavya. Auchitya is also not a recognized School of Poetics.
Some special features in Indian poetic
1 The theory of suggestion :
That t poetry Works By suggestion has been opted by Shelley received and I recharged but the Indian as they have studied at length the way the suggestion works the words and sentence of a poem have a differential or direct meaning through which the emotive meaning Express itself and overshadows the former good poetry does not influence emotional like music that does not say anything it present a referential meaning as well as an emotion attitude image from the letter with sufficient uniformity and distinctness so get the emotive attitude thirst suggested or evoked may be called emotive meaning. there is another way of suggesting the emotive meaning in there's the Raho Trickle construction of words and sentence instead of describing certain characters their behaviour and surroundings suggest certain emotions.
2 Permanent and transitory emotions
Emotions are vacant in poetry are of two classes 1 class dominates a poem wild other are transient and subservient to them. Thus the pervading emotion or the prevailing mood in a poem. Ex Romeo and Juliet. May be love which is served by such transitory emotions as longing, rashness, anxiety sadness, joy, self-pity, cruelty, stupefaction etc.
Now the emotions that may be employed to strike the dominant not of poem are the more elemental powerful and pervasive in human nature such as the love, fear and wonder each of these manifest itself through a number of less element tell and powerful emotion which appear and disappear in quick succession in the poem.
Abhinavagaupta is very rigid in these matters; he enumerate nine motion that can function as permanent one, and does not admit any others. He lays down that only these,when depicted by appropriate suggestive means and through their proper auxiliary emotions, can produce Rosa or aesthetic delight.
Conclusion :
Finally, there are all theory properly their condition may be true and right of his way through writing of literature. Indian poetics in such concepts of very valuable tools of evolution of work of art and some other related things. Here most important that we are not evolution to only for in one theory. All of theorist has right and true of his own view and poetry and literature creator got idea that all over theory possible to use of most kind of work.
Work citation:
Chodhary Dev, Glimpse of Indian Poetic. New Delhi :Sahitya Academy 2002.
Deshpande G. T. "Indian literature" Bhartiya Sagittarius Shastra,2016
Patel,Manilal H. and Pandit Harish.Sahitya Mimansa. Amdavad:Parshva ,2014
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