Paper. no. 5 Keats Poetry

Name:-Hetal Dabhi
Sem:-2
Paper no:-5


Assignment

Keats Poetry

This list is intended to collate the poems which reflect Keats’ extraordinary genius and ability to handle a range of themes and form, rather than simply his most famous. Since we have chosen to focus on his shorter poems here, an honourable mention must go to four of his longer narrative poems: “Isabella,” “The Eve of St Agnes,” and “Lamia.”Many more great poems haven’t made it, but here is our choice of the 10 greatest poems by John Keats.

10. “Fancy” (1818)
Inspired by the garden at Wentworth Place, this poem makes the list because it affords us a window into Keats’ creative process. It’s no secret that his imagination manages to elevate the everyday and produce what can be described as escapist poetry. The richness of the language showcases the classic Romanticism found in much of Keats’ work, with the imagery touching on hedonism, as well as his preoccupation with nature and the seasons (which is explored further in poems such as “To Autumn”).
Ever let the Fancy roam,
Pleasure never is at home:
At a touch sweet Pleasure melteth,
Like to bubbles when rain pelteth;
Then let winged Fancy wander
Through the thought still spread beyond her:
Open wide the mind’s cage-door,
She’ll dart forth, and cloudward soar.
O sweet Fancy! let her loose;
Summer’s joys are spoilt by use,
And the enjoying of the Spring
Fades as does its blossoming;
Autumn’s red-lipp’d fruitage too,
Blushing through the mist and dew,
Cloys with tasting: What do then?
Sit thee by the ingle, when
The sear faggot blazes bright,
Spirit of a winter’s night;
When the soundless earth is muffled,
And the caked snow is shuffled
From the ploughboy’s heavy shoon;
When the Night doth meet the Noon
In a dark conspiracy
To banish Even from her sky.
Sit thee there, and send abroad,
With a mind self-overaw’d,
Fancy, high-commission’d:—send her!
She has vassals to attend her…
(Above is an excerpt. Read the rest of the poem here)
9. “Ode on a Grecian Urn” (1819)
One of several great odes Keats wrote in 1819, this is one of Keats’ most philosophical poems. It discusses the link between art and humanity (as shown by the creation of the urn), and how essential true beauty is to man. Unlike the more despondent “Ode On Melancholy” or “Ode To A Nightingale”, this poem leaves us with a small thrill of optimism: the figures on the urn are in a constant state of pleasure, ‘For ever piping songs for ever new’, never to be ravished by time. The Romantic concept is about as Keatsian as it gets, so here are the poem’s first two stanzas.
Thou still unravish’d bride of quietness!
Thou foster-child of Silence and slow Time,
Sylvan historian, who canst thus express
A flowery tale more sweetly than our rhyme:
What leaf-fringed legend haunts about thy shape
Of deities or mortals, or of both,
In Tempe or the dales of Arcady?
What men or gods are these? what maidens loath?
What mad pursuit? What struggle to escape?
What pipes and timbrels? What wild ecstasy?
Heard melodies are sweet, but those unheard
Are sweeter; therefore, ye soft pipes, play on;
Not to the sensual ear, but, more endear’d,
Pipe to the spirit ditties of no tone:
Fair youth, beneath the trees, thou canst not leave
Thy song, nor ever can those trees be bare;
Bold Lover, never, never canst thou kiss,
Though winning near the goal—yet, do not grieve;
She cannot fade, though thou hast not thy bliss,
Forever wilt thou love, and she be fair!
Ah, happy, happy boughs! that cannot shed
Your leaves, nor ever bid the Spring adieu;
And, happy melodist, unwearied,
For ever piping songs for ever new;
More happy love! more happy, happy love!
For ever warm and still to be enjoy’d,
For ever panting, and for ever young;
All breathing human passion far above,
That leaves a heart high-sorrowful and cloy’d,
A burning forehead, and a parching tongue.
Who are these coming to the sacrifice?
To what green altar, O mysterious priest,
Lead’st thou that heifer lowing at the skies,
And all her silken flanks with garlands drest?
What little town by river or sea shore,
Or mountain-built with peaceful citadel,
Is emptied of this folk, this pious morn?
And, little town, thy streets for evermore
Will silent be; and not a soul to tell
Why thou art desolate, can e’er return.
O Attic shape! Fair attitude! with brede
Of marble men and maidens overwrought,
With forest branches and the trodden weed;
Thou, silent form, dost tease us out of thought
As doth eternity: Cold Pastoral!
When old age shall this generation waste,
Thou shalt remain, in midst of other woe
Than ours, a friend to man, to whom thou say’st,
“Beauty is truth, truth beauty,”—that is all
Ye know on earth, and all ye need to know
“La Belle Dame Sans Merci” (1819)
It will perhaps be bemoaned that one of Keats’ most famous poems merits such a modest place on the list (though with so many to choose from such decisions will never be easy); after all, “La Belle Dame Sans Merci” is an iconic poetic figure, plucked from Arthurian legend and immortalised in Keats’ sparse, melodic verse. The desolate setting and bleak rhyme scheme convey the poem’s creative merit, but the power balance between man and woman is also a central theme, especially when compared with other works like “Lamia” and “The Eve Of St Agnes”. Here are the first few verses of the narrative poem.
O what can ail thee, knight-at-arms,
Alone and palely loitering?
The sedge has withered from the lake,
And no birds sing.
O what can ail thee, knight-at-arms,
So haggard and so woe-begone?
The squirrel’s granary is full,
And the harvest’s done.
I see a lily on thy brow,
With anguish moist and fever-dew,
And on thy cheeks a fading rose
Fast withereth too.
I met a lady in the meads,
Full beautiful—a faery’s child,
Her hair was long, her foot was light,
And her eyes were wild.
I made a garland for her head,
And bracelets too, and fragrant zone;
She looked at me as she did love,
And made sweet moan.
Written in 1819, ‘Ode on a Grecian Urn’ was the third of the five ‘great odes’ of 1819, which are generally believed to have been written in the following order – Psyche, Nightingale, Grecian Urn, Melancholy, and Autumn. Of the five, Grecian Urn and Melancholy are merely dated ‘1819’. Critics have used vague references in Keats’s letters as well as thematic progression to assign order. (‘Ode on Indolence’, though written in March 1819, perhaps before Grecian Urn, is not considered one of the ‘great odes’.)
This ode contains the most discussed two lines in all of Keats’s poetry – ‘”Beauty is truth, truth beauty,” – that is all/Ye know on earth, and all ye need to know.’ The exact meaning of those lines is disputed by everyone; no less a critic than TS Eliot considered them a blight upon an otherwise beautiful poem. Scholars have been unable to agree to whom the last thirteen lines of the poem are addressed. Arguments can be made for any of the four most obvious possibilities, -poet to reader, urn to reader, poet to urn, poet to figures on the urn. The issue is further confused by the change in quotation marks between the original manuscript copy of the ode and the 1820 published edition. (This issue is further discussed at the bottom of this page.)
There are two versions of this very famous ballad. The first version is from the original manuscript and the second version is its first published form. The first is generally considered the best; it was altered upon publication. We do not know who did the alteration.
The original version is found in a letter to Keats’s brother, George, and dated Weds 21 April 1819. Keats typically wrote a running commentary to George and his wife Georgiana in America, then loosely grouped the pages together as one long letter. The letter which contains La Belle spans almost three months, from 14 February to 3 May 1819. It also contains other famous poems, including ‘Why did I laugh tonight?’ which ends, prophetically enough, ‘Verse, fame and Beauty are intense indeed / But Death intenser – Death is Life’s high mead.’ Also included are ‘To Sleep’ and ‘On Fame.’ The letter ends with the beautiful Ode to Psyche, of which Keats wrote: ‘The following Poem – the last I have written is the first and the only one with which I have taken even moderate pains – I have for the most part dash’d of[f] my lines in a hurry – ‘
La Belle Dame Sans Merci (The Beautiful Lady Without Mercy/Pity) was dashed off, then, and largely dismissed by Keats himself. It was first published in the Indicator on 10 May 1820 and has since become one of his most celebrated poems.

Paper. No 8 A

Hetal Dabhi
Sem-2
Paper no. -8(Cultural studies )

Five types of cultural studies

What is cultural studies?

Cultural studies is a field of theoretically, politically, and empirically engaged cultural analysis that concentrates upon the political dynamics of contemporary culture, its historical foundations, defining traits, conflicts, and contingencies. Cultural studies researchers generally investigate how cultural practices relate to wider systems of powerassociated with or operating through social phenomena, such as ideology, class structures, national formations, ethnicity, sexual orientation, gender, and generation. Cultural studies views cultures not as fixed, bounded, stable, and discrete entities, but rather as constantly interacting and changing sets of practices and processes.[1] The field of cultural studies encompasses a range of theoretical and methodological perspectives and practices. Although distinct from the discipline of cultural anthropology and the interdisciplinary field of ethnic studies, cultural studies draws upon and has contributed to each of these fields.[2]

Cultural studies was initially developed by British academics in the late 1950s, 1960s, and 1970s, and has been subsequently taken up and transformed by scholars from many different disciplines around the world. Cultural studies is avowedly and even radically interdisciplinary and can sometimes be seen as antidisciplinary. A key concern for cultural studies practitioners is the examination of the forces within and through which socially organized people conduct and participate in the construction of their everyday lives.[3] As a result, Cultural Studies as a field of research is not concerned with the linguistically uncategorized experiences of individuals, or, in a more radical approach, holds that individual experiences do not exist, being always the result of a particular social-political context.

Five types of cultural studies

1) British culture Materialism
2) New Historicism
3) American Multiculturalism
4) Postmodernism and popular culture
5) Postcolonial studies
1.British culture Materialism

Cultural materialism emerged as a theoretical movement in the early 1980s along with new historicism, an American approach to early modern literature, with which it shares much common ground. The term was coined by Williams, who used it to describe a theoretical blending of leftist culturalism and Marxistanalysis. Cultural materialists deal with specific historical documents and attempt to analyze and recreate the zeitgeist of a particular moment in history.
Williams viewed culture as a "productive process", part of the means of production, and cultural materialism often identifies what he called "residual", "emergent" and "oppositional" cultural elements. Following in the tradition of Herbert Marcuse, Antonio Gramsci and others, cultural materialists extend the class-based analysis of traditional Marxism (Neo-Marxism) by means of an additional focus on the marginalized.
Cultural materialists analyze the processes by which hegemonic forces in society appropriate canonical and historically important texts, such as Shakespeare and Austen, and utilize them in an attempt to validate or inscribe certain values on the cultural imaginary. Jonathan Dollimore and Alan Sinfield, authors of Political Shakespeare, have had considerable influence in the development of this movement and their book is considered to be a seminal text. They have identified four defining characteristics of cultural materialism as a theoretical device:
6) Historical context
7) Close textual analysis
8) Political commitment
9) Theoretical method
Cultural materialists seek to draw attention to the processes being employed by contemporary power structures, such as the church, the state or the academy, to disseminate ideology. To do this they explore a text’s historical context and its political implications, and then through close textual analysis note the dominant hegemonic position. They identify possibilities for the rejection and/or subversion of that position. British critic Graham Holderness defines cultural materialism as a "politicized form of historiography".
Through its insistence on the importance of an engagement with issues of gender, sexuality, race and class, cultural materialism has had a significant impact on the field of literary studies, especially in Britain. Cultural materialists have found the area of Renaissance studies particularly receptive to this type of analysis. Traditional humanistreadings often eschewed consideration of the oppressed and marginalized in textual readings, whereas cultural materialists routinely consider such groups in their engagement with literary texts, thus opening new avenues of approach to issues of representation in the field of literary criticism.


2.New Historicism


New Historicism is a form of literary theorywhose goal is to understand intellectual history through literature, and literature through its cultural context, which follows the 1950s field of history of ideas and refers to itself as a form of "Cultural Poetics". It was first developed in the 1980s, primarily through the work of the critic and University of California, Berkeley English professor Stephen Greenblatt and gained widespread influence in the 1990s.[1] The term New Historicism was coined by Greenblatt when he "collected a bunch of essays and then, out of a kind of desperation to get the introduction done, I wrote that the essays represented something I called a 'new historicism'".

In its historicism and in its political interpretations, New Historicism is indebted to Marxism. But whereas Marxism (at least in its more orthodox forms) tends to see literature as part of a 'superstructure' in which the economic 'base' (i.e. material relations of production) manifests itself, New Historicist thinkers tend to take a more nuanced view of power, seeing it not exclusively as class-related but extending throughout society.[citation needed] This view derives primarily from Michel Foucault.
In its tendency to see society as consisting of texts relating to other texts, with no 'fixed' literary value above and beyond the way specific cultures read them in specific situations, New Historicism is a form of postmodernism applied to interpretive history.
New Historicism shares many of the same theories as with what is often called cultural materialism, but cultural materialist critics are even more likely to put emphasis on the present implications of their study and to position themselves in disagreement to current power structures, working to give power to traditionally disadvantaged groups. Cultural critics also downplay the distinction between "high" and "low" culture and often focus predominantly on the productions of "popular culture" (Newton 1988). [7] New Historicists analyze text with an eye to history. With this in mind, New Historicism is not "new". Many of the critiques that existed between the 1920s and the 1950s also focused on literature's historical content. These critics based their assumptions of literature on the connection between texts and their historical contexts (Murfin & Supriya 1998).
New Historicism also has something in common with the historical criticism of Hippolyte Taine, who argued that a literary work is less the product of its author's imaginations than the social circumstances of its creation, the three main aspects of which Taine called race, milieu, and moment. It is also a response to an earlier historicism, practiced by early 20th century critics such as John Livingston Lowes, which sought to de-mythologize the creative process by reexamining the lives and times of canonicalwriters. But New Historicism differs from both of these trends in its emphasis on ideology: the political disposition, unknown to the author that governs their work.

3.American Multiculturalism


Which brings us to the current political version of American multiculturalism. It is a term that gathered force in the aftermath of the 1960s when cultural narcissism and identity politics became fused into the multicultural movement.

African -American writers

Tony Morrison
About her

Morrison grew up in the American Midwest in a family that possessed an intense love of and appreciation for black culture. Storytelling, songs, and folktales were a deeply formative part of her childhood. She attended Howard University (B.A., 1953) and Cornell University (M.A., 1955). After teaching at Texas Southern University for two years, she taught at Howard from 1957 to 1964. In 1965 Morrison became a fiction editor at Random House, where she worked for a number of years. In 1984 she began teaching writing at the State University of New York at Albany, which she left in 1989 to join the faculty of Princeton University; she retired in 2006.

Morrison’s first book, The Bluest Eye (1970), is a novel of initiation concerning a victimized adolescent black girl who is obsessed by white standards of beauty and longs to have blue eyes. In 1973 a second novel, Sula, was published; it examines (among other issues) the dynamics of friendship and the expectations for conformity within the community. Song of Solomon. (1977) is told by a male narrator in search of his identity; its publication brought Morrison to national attention. Tar Baby (1981), set on a Caribbean island, explores conflicts of race, class, and sex.

The critically acclaimed Beloved(1987), which won a Pulitzer Prizefor fiction, is based on the true story of a runaway slave who, at the point of recapture, kills her infant daughter in order to spare her a life of slavery. A film adaptation of the novel was released in 1998 and starred Oprah Winfrey. In addition, Morrison wrote the libretto for Margaret Garner (2005), an opera about the same story that inspired Beloved.

Zora Neale Hurston

Although Hurston claimed to be born in 1901 in Eatonville, Florida, she was, in fact, 10 years older and had moved with her family to Eatonville only as a small child. There, in the first incorporated all-black town in the country, she attended school until age 13. After the death of her mother (1904), Hurston’s home life became increasingly difficult, and at 16 she joined a traveling theatrical company, ending up in New York City during the Harlem Renaissance. She attended Howard University from 1921 to 1924 and in 1925 won a scholarship to Barnard College, where she studied anthropology under Franz Boas. She graduated from Barnard in 1928 and for two years pursued graduate studies in anthropology at Columbia University. She also conducted field studies in folkloreamong African Americans in the South. Her trips were funded by folklorist Charlotte Mason, who was a patron to both Hurston and Langston Hughes. For a short time Hurston was an amanuensis to novelist Fannie Hurst.
In 1930 Hurston collaborated with Hughes on a play (never finished) titled Mule Bone: A Comedy of Negro Life in Three Acts(published posthumously 1991). In 1934 she published her first novel, Jonah’s Gourd Vine, which was well received by critics for its portrayal of African American life uncluttered by stock figures or sentimentality. Mules and Men, a study of folkways among the African American population of Florida, followed in 1935. Their Eyes Were Watching God (1937), a novel, Tell My Horse (1938), a blend of travel writing and anthropology based on her investigations of voodoo in Haiti, and Moses, Man of the Mountain (1939), a novel, firmly established her as a major author.

Postmodernism and popular culture

POSTMODERNISM AND POPULAR
CULTURE
Cultural studies started life as a radical political project, establishing the
cultural centrality of everyday life and of popular culture. In a postmodern
world where old certainties are undermined and identities fragmented, the
way forward for those working with popular culture has become less clear.
In contrast to more pessimistic readings of the possibilities of
postmodernity, Postmodernism and Popular Culture engages with
postmodernity as a space for social change and political transformation.
Ranging widely over cultural theory and popular culture, Angela
McRobbie engages with everyday life as an eclectic and invigorating
interplay of different cultures and identities. She discusses new ways of
thinking developed with the advent of postmodernism, from the ‘New
Times’ debate to political strategies after the disintegration of western
Marxism. She assesses the contribution of key figures in cultural and
postimperial theory—Susan Sontag, Walter Benjamin and Gayatri
Chakravorty Spivak—and surveys the invigorating landscape of today’s
youth and popular culture, from second-hand fashion to the rave scene,
and from moral panics to teenage magazines.
McRobbie argues throughout for a commitment to cultural studies as an
‘undisciplined’ discipline, reforming and reinventing itself as circumstances
demand; for the importance of ethnographic and empirical work; and for
the need for feminists to continually ask questions about the meaning of
feminist theory in a postmodern society.
Angela McRobbie is Principal Lecturer in Sociology at Thames Valley
University, London. She has written extensively on popular culture, gender
and youth culture, and is also a regular contributor to newspapers and
magazines. Her current research is on the fashion industry.


Postcolonial studies


‘Not quite a dictionary but an invaluable reference tool nonetheless, its iden-
tification of key terms remains as useful as its definitions of those terms.’
Professor Antoinette Burton, University of Illinois
This best-selling key guide, now in its second edition, provides an
essential key to understanding the issues which characterize post-
colonialism, explaining what it is, where it is encountered and why it
is crucial in forging new cultural identities. As a subject, post-colonial
studies stands at the intersection of debates about race, colonialism,
gender, politics and language. Key topics covered include:
• borderlands
• transnational literatures
• neo-imperialism
• neo-liberalism
• ecofeminism.
Post-Colonial Studies: The Key Concepts is fully updated and cross-
referenced throughout. With additional further reading this book has
everything necessary for students and anyone keen to learn more
about this fascinating subject.
Bill Ashcroft teaches at the University of Hong Kong and the
University of NSW, Gareth Griffiths at the University of Western
Australia and Helen Tiffin at Queen’s University, Canada. They are
the editors of The Post-Colonial Studies Reader and the authors of
The Empire Writes Back, both published by Routledge.

Paper no.6(The Victorian Literature)

Presentation%20rrrr[1] from Hetaldabhi2

Paper no.5(The Romantic Literature)

Presentation%20(1)[1] from Hetaldabhi2

Paper no.8(Cultural Studies)

Presentation (7)paper 8[1] from Hetaldabhi2

paper-7(Criticism)

Presentation (6)hhhh from Hetaldabhi2

Middlemarch

Midlemarch with feminist perspective ,

About writer

The novel Middlemarch is written by George Eliot. The actual name of George Eliot was Mary Ann Evans. She is well-known for her realism and serious discussion. She is most philosophical in all Victorian novelist. Oscar wild remarked in 1897 that " we found philosophy in fiction in her novel."

In the hand of George Eliot novel was not only vehicle for Entertainment but rather means of human predicament. This thing we can see in her book Middlemarch. The full title of the novel Middlemarch is Middlemarch; A study of provincial life. 

Middlemarch is name of town and that is why we found so many characters in the novel and every character has there own story though they connect with the story of Novel.

The main female character whose story we found are Dorothea Brooke and Rosamond. First we see Dorothea Brooke is an intelligent and independent young woman, who differs from the conventional woman of the Victorian Age.

She marries with artificial unintelligent old man Edward Casaubon. We found Dorothea's marriage with casaubon as mismatch. Casaubon " a sickly clergyman, old enough to be her father " ( 837) so this became an unconsummated union. She realize this very late after her marriage but as our so cold tradition she remain faithful to her husband but we also see her nature of rebel to society when she married to will Ladislaw. We can say that because she goes against the weal of her husband that if she marry to will she wont get property.

Dorothea's choice of marrying will acts as a defiance to Middlemarch. She her self remarked in novel after marrying will

" I don't mind about poverty. I hate my wealth we could live quite well on my fortune - it is too much seven hundred - a year- and I will learn what everything costs."

We found that she never marry for the same of money but first for the being part of intellectual society and second for the sake of love. Her second marriage is debatable because of whatever written will of Casaubon. But we found that she is more intelligent then the woman we found in Victorian society.

The second most important woman character of the novel is Rosamond Vincy. She come from a familiar with the comfortable lifestyle of middle class society. She marry with Teritus Lydgate, the new doctor of town. She marry with him in her fancy full thought that because he is doctor he will provide her upper calls things and will satisfy her material need. But when her fancy come to end she became unhappy.

But one thing Need to remark here is that she also reaming faithful to hurt husband though he is not able to satisfy her. She sacrifice her need because she is married.

Here we found short Romantic courtship lead to trouble, because both parties entertain unrealistic ideas of each other . They married without getting to know one another . Marriage based on compatibility work better. Moreover marriage in which woman have greater also work better, such as the marriage between Fred and mary. She tell him she will not Marry if he becomes a clergyman.

Two major life choices govern the narrative of Middlemarch. One is marriage and the other vocation.

We found both the woman remaining Faith full to her husband though they are not happy. Because of our society's mindset. Which don't allow woman to come out of this regid Traduction. On the other part Casaubon never trust her wife and thi may become the reason why Dorothea think of second marriage.