Youth festival - 2023 MKBU

Greetings, readers! This blog serves as a response to the assignment presented by Dr. Dilip Barad from the Department of English at MKBU. Within these digital pages, I aim to present a comprehensive overview of the various youth events. Specifically, this blog will dive deep into the collective experience of the Youth Festival 2023 meticulously organized by Maharaja Krishnakumarsinhji Bhavnagar University. While my personal involvement didn't extend to active participation in any specific event, I am excited to share insights into my three-day journey as a dedicated volunteer.

"Manbhavan Yuvak Mahotsav - 2023 Highlights, MKBU [ Narishakti Vandana ]"Maharaja Krishnakumarsinhji Bhavnagar University Organised its 31st Youth Festival titled "Manbhavan Yuvak Mahotsav" from November 3rd to 5th. Each year, the students enthusiasm during the Youth Festival reaches remarkable heights. The central theme of this festival was "Nari Shakti Vandana," and the event was hosted by the Physical Education Department of the University.

 The entire festival featured a total of 32 competitions organized under five Sections, including Literature, Music, Fine Arts, Dance, and Theatre, each with a specific name. 

 - "मनभावन शब्दम" - English Department

- "मनभावन स्वरम" - New Court hall

- "मनभावन नृत्यम" - Amphitheatre

- "मनभावन नाट्यम" - Atal Auditorium

- "मनभावन रंगम" - External Department

The joyous fusion of Yatra and Kala creates a delightful world when experienced through reading or hearing. The Kalayatra, a manifestation of this fusion, saw the enthusiastic participation of over 10+ teams in the Youth Festival. The journey of Kalayatra encompassed key locations, starting from Samaldas Arts College, leading through Central Solt, Atabhai Chowk, Rupani Circle, Sardar Nagar, Swaminarayan Gurukul, and concluding at J.K Sarvaiya College.

The judges were fair and didn't know the names of the colleges or departments. They only used code numbers for each university and college. In Kala Yatra, every team had a special theme they created. It was like a lively display of their artistic ideas. The three best teams in Kala Yatra were celebrated as the winners.

Cheers to the winning teams of Kalayatra 2023:

1. KPES College, Bhavnagar

2. Shri Swami Sahajanand College of Commerce and Management, Bhavnagar

3. Sardar Patel Group of Colleges, Bhavnagar

Here is our theme and performance in Kalayatra. 

                                       

A big shout-out and heartfelt gratitude to Ronak Sanghvi (Red Dot Filmography) for recording this video. It will aid us in documentation and be accessible for future students of the English Department.

        

 

Here I am sharing glimpses of the Kalayatra Practice and the Works that we have done. 

     

                                        

  

                                        

Although I didn't participate directly in any particular Youth Festival event, my role as a volunteer played a crucial part in the overall success of the occasion. I was tasked with responsibilities such as organizing participants, providing assistance when needed, capturing memorable moments through photography, and handling various logistical aspects. A special acknowledgment goes to Alpa Ma'am for her consistent support and guidance, especially in shaping the conceptualization of Kalayatra. Her dedicated contributions were instrumental in making the event a fulfilling and enriching experience for everyone involved.

On November 3, 2023, from 9:30 to 12:00, an Opening Ceremony took place in the Amphitheatre. Two students from the Life Science Department hosted the entire event. The Ceremony commenced with the University song and a warm welcome to the chief guests. Dignitaries present included M.M. Trivedi sir, Sagardan Gadhvi, Amiben Upadhyay, Bhartiben Shiyal, and Dr. Hetalben Mehta, the Principal of Swami Sahajanand College.

The highlight of the event was a captivating Kathak performance by the Kalapath group from Bhavnagar. Their performance, aligned with the central theme of Nari Shakti Vandana, was truly exceptional.

The chief guests expressed the significance of the Youth Festival in the overall development of students and extended their best wishes to all participants.

                                    

                                        

Here is the video recording of Opening Ceremony.  

 https://www.youtube.com/live/jDLAZemNAN0?si=ey_qhJwiBJ2Ct3h9

Various Events of the Youth Festival - 3rd November 2023 (Friday) Day - 1

Here, I am providing a list of different competitions on Day 1, along with a brief overview of the events, topics given, and some photographs.

1. Mimicry (Organized in the Amphitheatre)

Mimicry, the inaugural event of the Youth Festival, unfolded as a captivating showcase of talent and creativity. Participants utilized their voices to imitate various sounds such as scooters, helicopters, trains, auto-rickshaws, and sounds of different animals. Participants dedicated substantial effort to ensuring the excellence and satisfaction of their performances.

Last year, only four participants took part in Mimicry. However, it was heartening to see that this time around, there were 7 or 8 participants, reflecting an increased interest and participation in the event.

2. Skit: (Organized in the Atal Auditorium)

A skit, held in the Atal Auditorium, is a concise and comedic performance typically involving a small group of actors. It serves to entertain the audience while conveying a humorous message. This event provides participants with the opportunity to showcase their creativity, acting skills, facial expressions, and wit, often eliciting laughter from the spectators. The skit covered various significant topics, shedding light on the current scenario in India.

Skit, as an entertaining event, mirrors everyday situations, bringing people together through shared laughter and amusement.

3. Bhajan (Organized at New Court Hall)

Bhajan is a devotional song or hymn in Hinduism, commonly sung in praise of deities. The musical expressions play a crucial role in the Bhajan event, requiring instruments like the Tabla and more. Overall, the Bhajan event serves as a powerful means of expressing devotion.

4. On the Spot Painting: (External Department)

On the Spot Painting is an event where artists create captivating artwork. Participants express their skills and creativity on the spot. Numerous students enthusiastically took part in this On the Spot Painting event. The topics given for this event were "Nari Shakti" and "Utsavo ni Ujavani." In this particular event, Hina Parmar from our class actively participated and showcased her talent.

5. Prashna Manch (Quiz Competition) Round 1:

(Organized in the Department of English)

The quiz event comprises two rounds, with each team consisting of three participants. In the initial round, participants undergo a written test, and the top five teams proceed to the final round. The quiz master orchestrates the second and final round, which is open for observation by others.

During the event, I, along with Hetal and Ghanshyam from Semester 3 class, volunteered and assisted students from Semester 1 class. This collaborative volunteering effort was enriching as it facilitated effective communication among all participants.

                                                

                                                   

6. Folk Dance (Organized in the Amphitheatre)

Folk dances serve as vibrant celebrations of cultural traditions, encapsulating the rich heritage of diverse communities. Participants dedicate numerous days to perfecting their performances during these events, striving for elegance, extraordinariness, and satisfaction. The rigorous practice demands considerable energy from the participants. The entire amphitheater was filled with spectators thoroughly enjoying the live performances presented by the participants, reflecting the essence of Indian culture. The diverse forms, such as Adivasi Ras, Prachin Garbo, Tippani, and more, showcase the intricacies of human experience through the art of dance.

7. Halvu Kanthya Sangeet (Sugam Geet) [Organized in New Court Hall]

Numerous participants took part in this event, and from our department, Hardi from Semester 1 class actively participated in Sugam Geet.

8. Swarachit Kavya Pathan (Poetry Writing and Recitation):

Swarachit Kavya Pathan was organized in the Department of English. In this competition, participants were tasked with writing poetry on topics assigned to them on the spot. Following this, each participant had to recite their poem, showcasing and enhancing the remarkable abilities and skills of the students. Numerous participants, including my friend Upasana from the English Department, took part in this competition. My friends and I were present to support and encourage the participants, providing me with the opportunity to listen to poetry recitations and thoroughly enjoy the experience.

Topics of Swarachit Kavya Pathan:

1. ઉમ્મીદ 

2. બાળપણ ખોવાણું 

3. સ્મરણોની કેડીએ 

4.જે કર જૂલાવે પારણું 

5. મેરી મિટ્ટી મેરા દેશ 

After the completion of this competition, we had the opportunity to listen to poetry from Parulben Khakkhar, Kavi Shree Snehi Parmar sir, and Dr. Himal Pandya sir. It was truly a great, memorable, and fruitful experience to hear their poetic expressions.

9. Paper Collage (External Department)

The subjects or topics for Paper Collage were Fish Tank, Flowerpot, and Rainy Season. This competition offers an excellent platform for students to showcase their abilities and skills in a highly artistic manner.

4th November, 2023 (Saturday)

Second Day of Youth Festival

On the second day of the Youth Festival, I am providing a list of different competitions, an overview of the events, and some photographs.

1. Samuh Geet (Western):

   This was the first event on the second day of the Youth Festival, organized in the Amphitheatre from 10:30 to 12:30 PM.

2. Ekanki (One Act Play):

   One Act Play was organized in the Atal Auditorium. At that time, the final round of the quiz was taking place in the English Department. As a volunteer, I couldn't watch the One Act Play. The plays performed were:

   - Kashmir Crisis

   - Laxmi

   - Vat Ek Vyathani

   - Ene Nahi To Mele

   - Jo Guzar Na Saki Woh Zindagi Humne Guzari Hain

   - Meran

   - Mahamrutunjay

   - Christy Brown

3. Shastriya Gayan (Classical Singing):

   This event took place in the New Court Hall.

4. Tatkal Photography (On-the-Spot Photography):

   This event was organized in the External Department. Participants were given topics on the spot and allotted time to capture photos according to the subjects. Participants had to submit the photographs afterward.

   Topics for On-the-Spot Photography:

   - યુથ ફેસ્ટિવલ 2023

   - આજની નારી

   - કુદરતની સંગાથે

5. Clay Modeling (External Department):

   The Clay Modeling event was organized in the External Department of MKBU. The subjects for Clay Modeling were:

   1. માતૃપ્રેમ (Maternal Love)

   2. ગ્રામ્ય જીવન (Rural Life)

   3. સંગીતકાર (Musician)oll

**6th November, 2023**

**Fourth day of the Youth Festival**

1.Elocution Competition:

   The Elocution competition was organized at New Court Hall. Numerous participants took part in this event, including Trushali Dodiya. Participants were allowed to present their ideas and views in Hindi, Gujarati, and English. The topics for the Elocution competition were:

   - આર્ટિફિશિયલ ઇન્ટેલિજન્સ: કેટલું પડકારજનક?

   - યત્ર નર્યાત્સુ પૂજ્યંતે

   - ચાલો વૃધ્ધાશ્રમ ઘટાડીએ

   - પર્યાવરણ અને માનવ: એક સિક્કાની બે બાજુ

   - Global Terrorism: Implications and Solutions

   - बुलंद भारत की बुलंद तसवीर

2. Quiz Competition (Final round):

   The final round of the quiz competition took place in the Department of English with five teams. The quiz master provided essential instructions before commencing the quiz. Spectators, including myself and some friends, were allowed to watch the final round.

3. Classical Dance:

   Classical Dance was organized in the Atal Auditorium. Indian Classical dance encompasses various performances rooted in Hindu musical theatre styles. There were six to seven participants, and it is a famous dance form performed by both men and women. It involves intricate facial expressions, and all participants performed exceptionally well.

4. Cartooning (External Department):

   The event of Cartooning was organized in the External Department of MKBU. Dhatri Parmar participated in this competition and secured the second position. The topics for Cartooning were:

   - મોંઘવારી

   - ચૂંટણી

   - ગાંધીજી અને જનતા

5. Essay Competition (Department of English):

   The Essay competition took place in the Department of English. Numerous participants took part, aiming to explore new ideas and thoughts. The competition aimed to develop writing and thinking skills. The topics for the Essay competition were:

   1. India's Space Odyssey

   2. From the Kitchen to Cabinet - Women, Don't Give Up

   3. Are Wars Inevitable?

   4. The Importance of Value-based Education

   5. Plastic Pollution - Problems & Resolution

6. Poster Making (External Department):

   Poster Making was organized in the External Department of MKBU. Participants were given topics to create posters, showcasing their skills and abilities. The topics for Poster Making were:

   - વૃધ્ધની સેવા

   - પાણી બચાવો

   - કન્યા શિક્ષણ

7. Mono-Acting (Atal Auditorium):

   Mono-Acting was organized at Atal Auditorium. Many students participated, choosing topics related to current situations like the exploitation of women and rape. Pooja Bhuva took part in this event.

5th November, 2023

Third day of the Youth Festival

1. Installation:

   The Installation event was organized at the External Department of MKBU from 8:00 am to 10:00 in the morning. The topics for Installation were:

   1. નારીશક્તિ (Women Power)

   2. સુરક્ષા

   3. મજૂર

   4. ચિકિત્સા (આયુર્વેદના સંદર્ભમાં)

2. Samuh Geet (Bhartiya):

   The Samuh Geet Bhartiya event was organized in the Amphitheatre.

3.Mime (Atal Auditorium):

   The Mime event took place in the Atal Auditorium. The Mime event at the Youth Festival unfolded as a mesmerizing showcase of silent storytelling, where young performers captivate audiences with their artful expressions and imaginative narratives. Participants, draped in white, bring scenes to life through the eloquent language of gestures and movements, conveying emotions and tales without uttering a single word. The Mime event not only demonstrates the performers' skillful mastery of body language and facial expressions but also serves as a powerful medium for social commentary and introspection.

Closing Ceremony of the Youth Festival:

The Closing Ceremony brought much joy and excitement for all the students. Before the final declaration of results, the closing ceremony took place at the Amphitheatre around 4:00 P.M. All the students were eager to know the full and final results of the Youth Festival.

Winning Moments:

Out of 18 students of the Department of English - Maharaja Krishnakumarsinhji Bhavnagar University, two students received awards. Winning is good, but participation is more important than winning. Many congratulations to Trushali Dodiya for winning the second position in Rangoli competition and Dhatri Parmar for winning the second position in Cartooning. It was truly a proud and great moment for all of us.

This year, the Swami Sahajanand group of colleges won the championship shield, while The KPES college came as runners-up. Many congratulations to both the institutes for their excellent performance in the Youth Festival 2023.

Volunteers' Invaluable Contribution: The success of the Youth Festival was greatly indebted to the dedicated volunteers who played a pivotal role in ensuring the smooth execution of various events. These volunteers, though not directly participating in the competitions, were the backbone of the festival. Their responsibilities ranged from organizing participants, providing assistance whenever needed, capturing memorable moments through photography, managing logistics, and ensuring that everything ran seamlessly. Their unwavering commitment and hard work significantly contributed to the overall success and positive experience of the Youth Festival.

Food Facilities by MKB University: The Maharaja Krishnakumarsinhji Bhavnagar University (MKB University) left no stone unturned in providing comprehensive food facilities for the participants, volunteers, and attendees during the Youth Festival. The university ensured that everyone involved in the event, from students to guests, had access to nourishing and well-prepared meals.

Cultural Studies in Practice

Greetings, I'm Avani Jani, composing this blog to explore key highlights of thinking activity given by Prof. Dilip Barad about Cultural Studies in Practice. In this blog, I will discuss Cultural Studies and how Cultural Studies (CS) is applied in the reading of a play, "Hamlet," by Shakespeare, the novel "Frankenstein," and the poem "To His Coy Mistress" by Andrew Marvell.

Cultural Studies, derived from the Latin roots "Cultura" and "Colere" signifying cultivation and protection, respectively, underwent a transformative evolution by the Nineteenth century in Europe. Originally denoting the habits, customs, and tastes of the upper classes, referred to as the elite, the concept of culture takes on a distinct meaning within the realm of Cultural Studies.

In essence, Cultural Studies perceives culture as the mode of meaning and idea generation within a society. This paradigm underscores the influence of power relations on meanings, positing that elite culture wields control over these meanings by dictating the terms of discourse. This dominance results in the rejection of non-elite perspectives on life and art. Cultural Studies, however, intervenes in this dynamic, elevating specific components of culture to increased visibility and significance.

Notably, Cultural Studies contends that culture revolves around the meanings collectively generated by a community or society. Patrick Bratlinger's perspective on Cultural Studies emphasizes its fluid and loosely coherent nature, characterizing it as a collection of tendencies, issues, and questions rather than a rigidly unified movement with a fixed agenda.

The interdisciplinary nature of Cultural Studies is manifest in its composition, drawing from diverse intellectual traditions such as Marxism, Post-structuralism, Postmodernism, Feminism, Gender Studies, Anthropology, Sociology, Race and Ethnic Studies, Film Theory, Urban Studies, Public Policy, Popular Culture Studies, and Postcolonial Studies. These fields converge on the examination of social and cultural forces that either foster community or instigate division and alienation. Cultural Studies, in its genesis, bears the imprint of influence from Structuralism and Post-Structuralism.

◇ Four Goals of Cultural studies:- 

1. Cultural Studies transcends the confines of a particular discipline such as literature Criticism or history.  

2.  Cultural Studies is Politically engaged. 

3.  Cultural Studies denies the separation of high and low or elite and Popular culture.  

4.  Finally, Cultural studies analyze not only the cultural work but also the means of Production.

 ◇ Five types of Cultural studies:- 

 1. British Cultural Materialism 

 2. New Historicism 

 3. American Multiculturalism 

 4. Postmodernism and Popular culture 

 5. Post Colonial Studies 

◇ Cultural Studies in Practice:- 

In practice, Cultural Studies is a versatile and interdisciplinary approach that can be applied to various aspects of human expression and societal phenomena. Below are some ways in which Cultural Studies is implemented:

1. Literary Analysis: Cultural Studies can be applied to literary works by examining how culture and society influence and are reflected in literature. This interdisciplinary approach analyzes the social, historical, and political context in which a literary work was created and how it addresses issues like identity, power, and representation. Scholars often explore themes, symbols, and narratives in literature to uncover deeper cultural meanings and to challenge dominant ideologies.

2. Film and Media Studies: Cultural Studies extends to the analysis of film, television, and other media forms. Scholars in this field examine how media reflects and shapes cultural norms, values, and identities. They explore the impact of media on society, considering issues such as representation, stereotypes, and the construction of reality. Cultural Studies also looks at the production and consumption of media and its role in shaping popular culture.

3. Visual Culture: Visual artifacts, including art, advertisements, and photography, are subjects of analysis in Cultural Studies. This involves scrutinizing images and symbols to understand how they convey cultural meanings and influence perceptions. Visual culture analysis often delves into issues of representation, power dynamics, and the ways in which images contribute to the construction of social realities.

4. Popular Culture Studies: Cultural Studies rejects the separation of high and low culture, engaging with both elite and popular forms of cultural expression. This can involve studying popular music, fashion, sports, and other forms of entertainment. Scholars examine how these cultural products both reflect and shape societal values, norms, and identities.

5. Postcolonial Studies: Cultural Studies is instrumental in analyzing the legacies of colonialism and its impact on cultural identity. Postcolonial Studies, a subset of Cultural Studies, explores how cultures have been shaped by colonial encounters and how they negotiate their identities in the postcolonial era. It considers issues of power, representation, and resistance in the context of colonial histories.

6. Cultural Policy and Public Policy: Cultural Studies engages with public policy, particularly cultural policy, to understand how governments and institutions shape and influence cultural expression. This includes examining issues such as censorship, funding for the arts, and cultural diplomacy.

7. Everyday Life Studies: Cultural Studies pays attention to the everyday experiences and practices of individuals. This involves analyzing how people negotiate and construct their identities in their daily lives, considering rituals, language, and interpersonal dynamics.

8. Digital and Cyber Culture Studies: With the rise of digital technology, Cultural Studies extends to the analysis of online cultures, social media, and virtual communities. Scholars in this field explore how digital platforms shape cultural practices, social interactions, and power structures.

Practicing Cultural Studies in 'HAMLET':

"Hamlet," composed around 1600 by William Shakespeare, stands as a timeless tragedy featuring Prince Hamlet of Denmark. The narrative delves into profound themes encompassing revenge, madness, political intrigue, and the intricacies of human nature. Hamlet, the protagonist, grapples with the daunting task of avenging his father's murder orchestrated by his uncle, King Claudius. Renowned for its poetic language and memorable soliloquies, notably the "To be or not to be" speech, the play captivates readers with Hamlet's internal struggle and his fervent desire to avenge his father's death. This Cultural Studies interpretation takes a distinctive perspective, shedding light on the roles of marginalized characters, specifically Rosencrantz and Guildenstern, and exploring power dynamics within the cultural context. In the subsequent passage, attention is directed towards a pivotal scene involving Claudius, Rosencrantz, and Guildenstern—Hamlet's friends and fellow students from Wittenberg.

Here this speech by Rosencrantz 'response to Claudius's plan to send Hamlet to England is considered as a good speech and with an excellent set of metaphors. 

The singular and peculiar life is bound

With all the strength and armor of the mind

To keep itselfrom noyance, but much more

That spirit upon whose weal depends and rests

The lives of many. The cease of majesty

Dies not alone, but like a gulf doth draw

What's near it with it. lt is a massy wheel

Fixed on the summit of the highest mount,

To whose huge spokes ten thousand lesser things

Are mortised and adjoined; which, when it falls,

Each small annexment, petty consequence,

Attends the boisterous ruin. Never alone

Did the King sigh but with a general troun........

In dissecting this speech, a poignant theme emerges—the concept of the singular and peculiar life of a ruler or king and the immense responsibility they shoulder for the well-being of their subjects. The weight of this responsibility, as articulated in the speech, underscores the gravity of royal actions, influencing the lives of many. However, intriguingly, despite the profound nature of this passage, it tends to linger in relative obscurity within the collective memory of readers. Rosencrantz and Guildenstern, characters intricately woven into the fabric of "Hamlet," are characterized as the "jellyfish" of Shakespeare's repertoire—easily forgettable. This raises the question of why such a resonant and pivotal expression of royal responsibility does not enjoy the same prominence as other well-known lines in the play. Murray J. Levith introduces an engaging perspective on the forgettable nature of Rosencrantz and Guildenstern. Originating from Dutch-German roots, their names, when combined, possess a melodic quality akin to a song with a jingling cadence. This linguistic charm, while noteworthy, does not shield them from their fate as characters easily slipping from memory. Drawing a parallel, Granville-Barker extends the discussion to characters in "The Merchant of Venice," specifically Solanio and Salarino. Actors, he notes, often deem these roles uninteresting or dull, dubbing them as "the two worst bores in the whole Shakespearean canon." Granville-Barker draws a comparison, likening them to Rosencrantz and Guildenstern from "Hamlet," asserting that both pairs lack depth and fail to capture the imagination of performers. In delving into the names of Rosencrantz and Guildenstern, it is posited that their representation in "Hamlet" may not accurately reflect the social status or historical significance associated with those names in real life. Instead, Shakespeare likely opted for these names due to their grand, Danish-sounding qualities, aligning with the play's setting and contributing to the overall atmosphere. The subsequent exploration unveils the roles assigned to Rosencrantz and Guildenstern within the play. Tasked with gathering information from Hamlet, they become unwitting pawns in Claudius's scheme to spy on the troubled prince. However, Hamlet's keen perception foils their intentions, revealing their role as mere instruments manipulated by Claudius. As the plot unfolds, Claudius dispatches them on a mission to England, unknowingly carrying a letter ordering Hamlet's execution. In essence, the narrative of Rosencrantz and Guildenstern exemplifies the intricate interplay of power, manipulation, and forgetfulness within the broader context of "Hamlet." Despite their pivotal roles in the unfolding drama, they remain in the shadows, emblematic of the transient nature of certain characters in Shakespearean works, whose significance may be overshadowed by more prominent figures in the playwright's vast and intricate tapestry.

                                                    They must sweep my way,

And marshal me to knavery. Let it work,

For 'tis the sport to have the engineer

Hoist with his own petard. And 't shall go hard

But I will delve one yard below their mines

And blow them to the moon: Oh, 'tis most sweet

When in one line two crafts directly meet.

The line "Hoist with own petard" encapsulates the predicament of Rosencrantz, Guildenstern, and Claudius, all ensnared in their own trap. This metaphorical expression underscores the irony of their situation, as they become victims of the very stratagem they had set in motion. Hamlet, in a subsequent revelation to Horatio, disavows guilt for his actions toward Rosencrantz and Guildenstern, asserting that their fate is the natural consequence of their own deeds. This absolution underscores Hamlet's perception that they were unwittingly caught in the intricate web of their own involvement. In a reflective turn, the following paragraph suggests that Hamlet may perceive himself not as a murderer but as an agent of moral rectitude. He articulates a view that aligns with the notion of righting the moral order rather than engaging in gratuitous violence. Hamlet further contends that, akin to a disposable tool, once Claudius exploits someone, he discards them. Rosencrantz and Guildenstern, he asserts, are mere pawns in Claudius's manipulative game. Hamlet, employing a metaphor, characterizes Rosencrantz as a sponge, emphasizing their expendability in Claudius's overarching political machinations.

Hamlet: . . . Besides, to be demanded of a sponge! What replication should be made by the son of a king? Rosencrantz: Take you me for a sponge, my lord? Hamlet: Aye, sir, that soaks up the King's countenance, his rewards, his authority. But such officers do the King's best service in the end. He keeps them, like an ape, in the corner of his jaw, first mouthed, to be last swallowed. When he needs what you have gleaned, it is but squeezing you, and, sponge, you shall be dry again.

Moreover, it is emphasized that they are perceived not only as pawn sponges but also as expendable, akin to monkey food. While these former school fellows may harbor some goodwill towards Hamlet, the primary and more significant motive appears to be ingratiating themselves with the king. The preceding paragraphs have extensively delved into the dynamics of power and its manifestation in the lives of both a king and pawns. The subsequent paragraph illustrates this dynamic with concrete examples, shedding light on how power aligns with political maneuvering and policy implementation. In a continuation of the discourse, contemporary perspectives are brought into focus, notably through Tom Stoppard's work, "Rosencrantz and Guildenstern Are Dead." In this rendition, these characters are depicted as ineffectual pawns, grappling with existential questions about their identity, purpose, and destination. Stoppard paints them as archetypal figures trapped on a ship, embodying a sense of existential inertia akin to individuals already resigned to their fate. In a striking departure from Shakespeare's portrayal, Stoppard's rendition arguably goes beyond marginalizing the powerless; it universalizes this marginalization. Whether in Shakespeare's nuanced version or Stoppard's existential interpretation, Rosencrantz and Guildenstern emerge as inconsequential entities, echoing Rosencrantz's term, "a Small annexment" and representing petty consequences in the grand machinations of kings.

● Tom Stoppard's Play - 'Rosencrantz and Guildenstern Are Dead' :-

Tom Stoppard's play, "Rosencrantz and Guildenstern Are Dead," is an absurdist and existential tragicomedy that delves into the lives of two minor characters from Shakespeare's Hamlet. Stoppard's rendition portrays them as even more overtly ineffectual pawns, constantly grappling with questions of identity, purpose, and existence. The play raises the ultimate question of whether they exist at all.

In "Rosencrantz and Guildenstern Are Dead," Stoppard presents a contemporary exploration of existential queries within a world that may lack any inherent meaning. The essence of marginalization is a prominent theme, depicting the characters as archetypal figures navigating a spaceship Earth in the twentieth or twenty-first century—a journey leading nowhere but to a death for individuals already considered dead.

Stoppard's handling intensifies the marginalization of these characters compared to Shakespeare's version. While Shakespeare marginalized the powerless in his portrayal of Rosencrantz and Guildenstern, Stoppard extends this marginalization to encompass a broader perspective, suggesting that, in the eyes of some, everyone is ensnared in forces beyond their control. This reworking reflects a shift in cultural and philosophical views from Shakespeare's time to our own.

In both Shakespeare's and Stoppard's versions, Rosencrantz and Guildenstern emerge as insignificant entities, mere pawns in the "massy wheel" of kings.

"To His Coy Mistress" under the Glasses of Cultural Studies:

Andrew Marvell's poem, "To His Coy Mistress," provides insights into the speaker's knowledge of various literary and cultural traditions, including classical Greek and Roman literature, medieval European courtly love conventions, and Biblical passages. The speaker, much like Marvell himself, appears highly educated, well-read, and adept at weaving associated images that reflect his erudition. His references include precious stones, exotic places, and a lifestyle where indulgence in eating and drinking is attainable. The speaker, aware of the conventions he employs, doesn't expect the coy lady to take his details seriously, as they share the same cultural background.

Jules Brody introduces the concept of the "implied reader," distinct from the fictive lady, who would be familiar with earlier or contemporaneous examples of love poems, serving as a source of models that Marvell might evoke, imitate, distort, subvert, or transcend. It's reasonable to speculate that the coy lady, like the implied reader, is well-educated and knowledgeable about the conventions used in the poem.

The poem primarily focuses on themes of love, beauty, wealth, and sexual activity, rather than addressing the contemporary issues of the time. Marvell seems to prioritize an implied cultural world over historical reality.

However, the poem's omissions are notable. It does not consider poverty, even though a significant portion of the European population was below the poverty line during that era. The speaker also does not contemplate disease as a daily reality, despite the prevalence of plagues, such as the Great Plague of London, during which around 68,000 people died. The poem selectively ignores the harsh realities of the time, opting instead for rich and diverse allusions.

In essence, the poem remains largely detached from the real world, creating a literary realm that sidesteps the challenges and adversities of the historical context it emerges.

From Paradise Lost to Frank- N- Furter: The Creature Lives

'Frankenstein' by Mary Shelley, viewed through the lens of Cultural Studies, reveals several key aspects:

1) Revolutionary Births:

   Written during a period of significant societal changes, 'Frankenstein' challenges prevailing ideas. Its continued relevance suggests a timeless rebellious core. The narrative serves as a symbol in contemporary discussions, touching on issues like consumerism and concerns about genetic modifications, test-tube babies, and cloning. The story engages with political and scientific themes, permeating popular culture through various mediums.

The Creature as Proletarian:

   Mary Shelley's experiences in a politically charged era influenced her depiction of the Creature. The character embodies complexity, challenging established norms. Monsters like the Creature disrupt existing orders, often products of the same systems they contest. While society may feel threatened by these figures, they symbolize overcoming odds. The Creature's struggle for acceptance parallels Shelley's own challenges and reflects societal attitudes during that time.

'A Race of Devils':

   The Creature's yellow skin in 'Frankenstein' represents the fear of outsiders or those perceived as different, echoing prevalent prejudices of Shelley's time. Influenced by anti-slavery sentiments, the novel reflects societal views of Africans. The story is also seen as a critique of empire and racism, emphasizing that social decisions shouldn't solely rely on theories or science.

 From Natural Philosophy to Cyborg:

   'Frankenstein' remains relevant in an age dominated by genetic engineering and cloning. The narrative reflects the shift from natural philosophy to biology during the Romantic era. Mary Shelley drew inspiration from scientific demonstrations on electricity's effects on bodies. In the present, advancements in fertility science and debates on genetic engineering align with the book's exploration of ambitious science, blurring the lines between life and death.

2) The Frankenpheme in Popular Culture: Fiction, Drama, Film, Television:

"The Greatest Horror Story Novel Ever Written":

   'Frankenstein' has spawned numerous adaptations and inspired diverse works across various media. Elements from the novel, termed "Frankenphemes," permeate cultural discussions on race, class, and genetically engineered foods. The narrative's influence extends to fiction, drama, film, and television.

Frankenstein on the Stage:

   Stage adaptations often simplify the story, focusing on dramatic moments and omitting complexities. Parodies and modern reinterpretations, like "The Rocky Horror Show," showcase a more humorous approach, introducing new characters and altering the original narrative.

Film Adaptations:

   Film adaptations, particularly the 1931 classic, have shaped popular perceptions of 'Frankenstein.' Changes introduced by James Whale, such as using a criminal brain for the monster, have endured. Subsequent films have explored different angles, sometimes deviating significantly from the novel's nuances.

Television Adaptations:

   'Frankenstein' has found its place in television, with portrayals in shows like The Addams Family and The Munsters. Notable TV adaptations, such as "Frankenstein: The True Story," have featured distinguished casts and explored the narrative's timeless themes.

In essence, 'Frankenstein' continues to resonate across cultural dimensions, offering insights into societal fears, scientific ambitions, and the enduring struggle for acceptance.

Note: I have taken help from ChatGPT to eliminate grammatical errors from my blog and to present my thoughts in a more impactful manner.