Structuralism

Structuralism a part of linguistic and the literary Criticism it starting point from the menorah work of swiss linguistics  Ferdinand de Saussure in the twentieth century.  The structuralism is came as ongoing work in linguistics almost another semiotic and literary analysis of Roman Jacobson.  After ward the structuralism seen in larger areas of semiotics, which is origin in the work of charles Sanders peirce and Saussure. 

Frequency:-
The separation between an event and other its narration allows several possibilities.

Duration:-

The separation between an event and its narration means that there is discourse time and narrative  time.  

Voice:-

Voice is concerned with who narrates, and from where. This can be split in different ways.

Mood:-

Genette said narrative mood is dependent on the 'distance' and 'perspective' of the narrator, and like music, narrative mood has predominant patterns. It is related to voice.

Structuralism

Here , l have put it down the two hindi movie which have same story and the nature of protagonist and after passed through many circumstances both meet together and in both movies her father accepted protagonist as her daughter's husband. Therefore it has a similarities between narrative structure and pattern.

1.Heropanti

2.Chennai Express

Directed by sabbir Khan 

Kriti Sanon:- Dimple Chaudhary 

Tiger Shroff:- Bablu 

Chaudhary is a very well known and respected man in his village. He is a very strict patriarch of the Jat family from Haryana consisting of four brothers – Chaudhary himself,  On the night of her marriage, Renu the elder daughter of Chaudhary, elopes with her Chaudhary decides to find her at any cost. Chaudhary and his men bring them over to his place and one of them reveals Bablu.

Chaudhary holds Bablu and the other two friends captive till they tell of the couple's whereabouts. They tell him that they don't know anything. Bablu tells his friends that he is in love with a girl of that town.

Bablu makes a deal with her that in exchange for her sister's whereabouts, Dimpy must find the girl he fell in love with. To Dimpy's shock, it turns out that it was none other than her.

Bablu and his friends go with Chaudhary's men to town one day where Bablu helps to find them in Delhi. Dimpy is kidnapped by some local goons, Bablu manages to locate her in time and beats up the goons, winning the trust of Dimpy's father. And Dimpy is confessing her love to Bablu.

Chaudhary arranges Dimpy's marriage with Rajjo. Bablu realises that he misses Dimpy too much. He and his friends come back with the intention to get Dimpy to elope with Bablu. Chaudhary, however, is frightened when Bablu returns, fearing that he will elope with Dimpy. He keeps a close eye on Bablu and Dimpy. 

When Bablu and his friends are about to leave, Rajjo beats up Bablu with the intention of injuring him, however Bablu fights back and defeats Rajjo in a hand-to-hand combat when Rajjo insults him and Dimpy. 

He realises that Dimpy will only be happy if she is with Bablu, and tells Bablu to take her away.  while Chaudhary and the other people of the Jatt community agree to permit inter-caste and love marriages.

Directed by  sunil Shetty 

Dipika padukone:- Meenalochli

Shahruk Khan:- Rahul Mithaiwala

Rahul Mithaiwala is an orphaned bachelor living in Mumbai. Raised by his grandparents from the age of eight, . Meanwhile, Bhishambhar dies on the eve of the celebration. Rahul's grandmother Neetu tells Rahul that Bhishambhar wanted his ashes to be divided into two parts—one of each to be immersed in the Ganga and Rameswaram. She asks Rahul to take the ashes to Rameswaram and disperse them. Reluctantly, he accepts her request. They booked tickets in Chennai express and Rahul forget to take ashes and he returned back, when train already departed.

Same time one girl who running , the four men are trying to kidnap her.  Rahul learns that the four men are her cousins and that her real name is Meenalochni "Meenamma" Azhagusundaram. She is become marriage to a ruffian named Tangaballi. Meenamma's father, Durgeshwara "Durgesh" Azhagusundaram, is a powerful headman of the local mafia in Tamil Nadu.

Meenamma takes Rahul to Durgesh and introduces Rahul as her lover. Tangaballi challenges Rahul to a duel that Rahul unknowingly accepts, due to his lack of knowledge in Tamil. 

Rahul pretends to take Meenamma hostage and escapes with her in Durgesh's car, battling Durgesh's men. He save her life  and help a lot from her fiance, which she doesn't wants to marry. Meenamma then realises that she has fallen in love with Rahul. Tangaballi catches Rahul as he tries to leave, but the villagers help them escape again. 

Meenamma persuades Rahul to disperse Bhishambhar's ashes and travels with him to Rameswaram, where they complete the rites. Rahul realises that he has fallen in love with Meenamma. He takes Meenamma back to Durgesh and tries to make him understand and honour Meenamma's wish. He also tells Meenamma that he loves her.

 At last, Rahul courageously tells Tangaballi and his goons that he is ready for the fight this time.  Rahul is severely injured but emerges victorious. Durgesh accepting that the love of a common man like Rahul is bigger than their physical ability and political influence. Durgesh allows Rahul to marry Meena. Rahul then leaves a message that love knows no regional or language barriers and that with a strong heart, there is no limit to what the common man can add.

Structure of both

Movie

☆ Heropanti

~ Based on inter cast, class and love marriages.

~Dimple's marriage arranged with Rajjo.

~Dimple and Bablu fall in love and their families accepted their love.

~ Narrative has several possibilities of political influence.

☆ Chennai Express

~ Based on regional or language, class and love marriages

~ Meenamma's marriage arranged with Tangaballi.

~Meenamma and Rahul falls in love and their families accepted their love.

~ Narrative has physical ability & political influence.

Thank you ....

Literary Criticism: Study of poems

Aftermath By Meena Kandasamy 

(to consuming six glasses of orange juice)

the next morning in school during your
english exam you take permission to go to
the toilet where you throw up all the white
and creamy breakfast milk. only it tastes
sour and looks like bits of maggoty curd.
weeks later, you get to know two things
one of which will change your life for ever.
first, you scored the highest in the english
exam. second, you became a gossip item.
you still don’t know what affects you more.

because of your boldness and brashness
and bunking classes your ulcerated vomit
is taken for morning sickness. the sourness
extends when you hear hushed whispers
passing around. girls younger than you,
point at you and speak such banal secrets.
in staff-rooms, and in ungainly corridors
teachers chatter of your child, so vividly
imagined in the backdrop of your really
empty womb. slander is a slaughterhouse.

even best-friends seek answers as the
rumours inflame. your anger is mistaken
to be toward a crude imagined lover who
disowned you. you know the nauseous
truth of your thighs: you are virgin. But
evidence will not be revenge, for, so many
smoky eyes implore you to supplicate, to
admit alleged truths. impeaching faces lay
down rules: don’t shout or scream, but
swallow the shame. next, confess the sin.

sin yes they will shred your innocent life to
that yes you may fume or froth or boil or
simmer yes you are their staple soup they
need you just this way yes your fury takes
its toll annihilating you not them yes anger
and hatred seethe in your untamed tresses
yes you know how gossip chokes even the
tethered dreams yes something breaks in
you yes dear yes you start the brute search
for sleeping pills and chaste suicide ideas.

(First published in Cerebrations)

Brahm By RALPH WALDO EMERSON

If the red slayer think he slays,

Or if the slain think he is slain,

They know not well the subtle ways

I keep, and pass, and turn again.

Far or forgot to me is near;

Shadow and sunlight are the same;

The vanished gods to me appear;

And one to me are shame and fame.

They reckon ill who leave me out;

When me they fly, I am the wings;

I am the doubter and the doubt,

I am the hymn the Brahmin sings.

The strong gods pine for my abode,

And pine in vain the sacred Seven;

But thou, meek lover of the good!

Find me, and turn thy back on heaven.

An Introduction By Kamala Das 

I don't know politics but I know the names
Of those in power, and can repeat them like
Days of week, or names of months, beginning with Nehru.
I amIndian, very brown, born inMalabar,
I speak three languages, write in
Two, dream in one.
Don't write in English, they said, English is
Not your mother-tongue. Why not leave
Me alone, critics, friends, visiting cousins,
Every one of you? Why not let me speak in
Any language I like? The language I speak,
Becomes mine, its distortions, its queernesses
All mine, mine alone.
It is half English, halfIndian, funny perhaps, but it is honest,
It is as human as I am human, don't
You see? It voices my joys, my longings, my
Hopes, and it is useful to me as cawing
Is to crows or roaring to the lions, it
Is human speech, the speech of the mind that is
Here and not there, a mind that sees and hears and
Is aware. Not the deaf, blind speech
Of trees in storm or of monsoon clouds or of rain or the
Incoherent mutterings of the blazing
Funeral pyre. I was child, and later they
Told me I grew, for I became tall, my limbs
Swelled and one or two places sprouted hair.
WhenI asked for love, not knowing what else to ask
For, he drew a youth of sixteen into the
Bedroom and closed the door, He did not beat me
But my sad woman-body felt so beaten.
The weight of my breasts and womb crushed me.
I shrank Pitifully.
Then … I wore a shirt and my
Brother's trousers, cut my hair short and ignored
My womanliness. Dress in sarees, be girl
Be wife, they said. Be embroiderer, be cook,
Be a quarreller with servants. Fit in. Oh,
Belong, cried the categorizers. Don't sit
On walls or peep in through our lace-draped windows.
Be Amy, or be Kamala. Or, better
Still, be Madhavikutty. It is time to
Choose a name, a role. Don't play pretending games.
Don't play at schizophrenia or be a
Nympho. Don't cry embarrassingly loud when
Jilted in love … I met a man, loved him. Call
Him not by any name, he is every man
Who wants. a woman, just as I am every
Woman who seeks love. In him . . . the hungry haste
Of rivers, in me . . . the oceans' tireless
Waiting. Who are you, I ask each and everyone,
The answer is, it is I. Anywhere and,
Everywhere, I see the one who calls himself I
In this world, he is tightly packed like the
Sword in its sheath. It is I who drink lonely
Drinks at twelve, midnight, in hotels of strange towns,
It is I who laugh, it is I who make love
And then, feel shame, it is I who lie dying
With a rattle in my throat. I am sinner,
I am saint. I am the beloved and the
Betrayed. I have no joys that are not yours, no
Aches which are not yours. I too call myself I.

Two Fantastic Duo of the Romantic age: Jane Austen and Mary Shelley

Hello readers, 

Warmly welcome to my blog. Here, I write a blog on the imaginative conversation between Jane Austen and Mary Shelley. If they are meet together then what happens in actually? Because of that here we created dialogue of Jane Austen and Mary Shelley. I hope you will  enjoy.

Jane: Hello! Mary. How are you?

Mary: I'm fine Jane. And you!

Jane: I am also very well!

Mary: After a long time ago today we meet What are you doing now a days.

Jane: Nothing is special.

Mary: I am belongs to the eighteenth century. what about you?

Jane: Ohh! That's good. I am from the most important novelist of Nineteenth century.

Mary: I read your many works and I know. something about you as such you concentration on the thoughts and feelings of a limited number of characters and then created as profound an understanding and as precise a vision of the potential of the human spirit as the art of fiction has ever achieved. Although your novels received favorable reviews.

Jane: Yes. This is all right about me and I also see that some qualities of you and your novels, like so many authors praise about you and your imagination and power of discrimination it's really inspired author. After that you borrowed social and moral ideas from Paine and your works. Enlightened an eighteenth century.

Mary: Yes. That's right and another I wrote some works like, Frankenstein and The Modern Prometheus in 1818, History of a six weeks Tour in 1817, The Last man in 1826, Mathilda in 1819, Falner in 1837. So, I won't to know about your works could you please tell me about it?

Jane: Ok fine. I wrote some. Works as such, sense and sensibility in 1811, Pride and Prejudice in 1813, Mansfield park in 1814 Emma in 1816.

Mary: can you discuss your works in detail?

Jane: why not? First I have written sense and sensibility in 1811. It was published anonymously because I have not wrote my name in that particular novel because there were less opportunities to write by woman. It is about three Dashwood sisters, Elinor Dashwood, Marianne Dashwood and Margaret Dashwood. Thay are daughter of Mr and Mrs Henry Dashwood. The novel deals with satirical and comic work offers a vivid depiction of 19th century middle-class life. It follows the experience of love heart broken and Romance of Marianne and Elinor Dashwood.

Mary: It looks fantastic piece of work, so let you know about my Novel Frankenstein.

Jane: Oh! I like it, what is in it?

Mary: I have completed writing of that novel in1817 and it was published 1 January 1818. It is a story about victor Frankenstein and his curiosity and desire to expand his knowledge and do experiments on human body. Therefore he created Monster through the help of science and after he hatred his creation. Then Monster face problem and struggle against social control He won't be able to do anything. At last Monster take revenge from the victor Frankenstein. It consists of demonstrates the of men and women. Although how the humans are changing their nature with the time.

Jane: which kind of element you have included to write these novels.

Mary: I have combined science and the supernatural elements to Frankenstein.

Jane: I am very interested in it. But I have a different kind of a concept in my stories as in, Pride and prejudice. It is published in 1813 and it is Romantic Novel of Manners. Here I have mentioned characters, like Elizabethan Bennet, Fitzwilliam Darcy, Jane Banner Charles Bingley etc.
It is Universally truth that single man is possession of good fortune and want of a wife.The novel focuses on the Bennet and Mrs.Bennett and their five daughters. Jane, Elizabeth, Mary, Kitty and Lydia. The central idea is that to finding a husband for her daughters. The story mainly based on the character of Elizabeth and Darcy. Darcy appears with the proud because of his high ranking social status. While Elizabeth's prejudice against Darcy as wealth and rank after Elizabeth realised that she was wrong and actually he is a selfless kind hearted individual.

Mary: Here you put it down some thoughts whatever you had experience and you are written very well with your contemporary situation. I see that you are interested in writing fiction and nonfiction books.

Jane: Almost also you have done since early your contemporary time that is also that is also very valuable and innovative.

Mary: Thanks you for your interpretation of your thoughts an idea about my work. It is really nice talking to you.

Jane: And also I have great interaction with you.

Thank you......

Thinking Activity: Northrop Frye

Thinking Activity : Northrop Frye 

Herman Northrop Frye was Canadian literary critic, Theorist and considere as one of the most influential critic of 20th century.

Literary work of Northrop Frye 

• Fearful Symmetry (1947)
• Fables ofIdentity (1963)
• The Modern Century (1967),
• The Stubborn Structure (1970)
• TheCritical Path (1971)
• The Secular Scripture (1976)
• The Great Code (1982) and hislast book
• Words with Power (1990)
• The Great Code II.

Most influential work :-

•  Anatomy of Criticism (1957)
• “The Archetypes of Literature,” first published in the Kenyon Review (1951) and later reprinted in Fables of Identity, is, in Frye’s words, “to some extent a summarized statement ofthe critical program” later expanded.

Archetypal

Criticism 

1. What is Archetypal Criticism? What does the archetypal critic to do?

Northrop Frye provided a proper theoretical concept of archetypal Criticism. Frye believes that Archetype is in literature so in Archetypal Criticism he concerned that analyzing a text in concern to the Myths and Archetypes they are  in text it reflects in a form of image, description, allusions, symbols references etc. 

The effort of Archetypal Criticism replaces New Criticism but Northrop Frye does not conected to another pology  of and psychoanalysis as Frazer & Jung, Therefore Frye concern to the Archetype. Jungian Theory consists  the idea about Archetypal as 

"a primitive mental image inherited from the earliest human ancestors, and supposed to be present in the collective unconscious."

Frye begins this essay by stating that art can be studied systematically. That study is called criticism. We cannot expect literature to behave like a science. But we can expect criticism to behave like a science. Criticism as we find it in journals and scholarly monographs has every characteristic of a science. Evidence is examined scientifically, texts are edited scientifically. 

Prosody is scientific in structure, so is phonetics; so is philosophy. And yet in studying this kind of critical science the student may feel he is moving away from literatur. He finds that literature is flanked on one side by and on the other by philosophy.

2. What is Frye trying to prove by giving an analogy of 'physics' to nature and Criticism to literature?

Here, the Northrop Frye given the Archetypes, which is identified into the different parts as it  based on seasons because systematically the whole structure of has Frye had made it depends upon the nature and natural aspects. So various seasons are played vital role in literary Criticism and also it comes as a symbol.  

There is a logic to linked between the actions and seasons , because the any kind of rival or birth is come in comedy, associated with spring.  Basically the victory which elements comes as symbol over winter and Tragedy associated with  tragic end or the downfall of the protagonist.  So it goes with the change of seasons, Therefore it comes in Autumn.

 Then in the winter connected with the satire and mockery which concern with the hero and it symbolizes the absence of the productivity.  After at last one, Romance usually comes in summer, it represented in the frame of achievement and marriage.