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.
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:
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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