Raat Rani

Hello everyone,this task was given by Vaidehi ma'am. In this blog i will discuss about some questions related to  web series 'Modern Love Mumbai: Raat Rani"

 Question :-List down the contradictory symbols you observed in the episode “Raat Rani”. 

Throughout the episode, I noticed several contradictory symbols that piqued my interest:

Bike and Bicycle: The contrasting symbols of Lutfi's bike and Lali's bicycle reflect their relationship dynamics. Lutfi's threat to leave without her emphasizes dependence, while Lali's frustration with her bicycle signifies her desire for independence. Interestingly, Lali later buys a bike for Lutfi, creating a contradictory symbol.

Flyover as Self-Independence: Initially, Lali struggles to cross the flyover, representing her dependency on her husband. However, as the episode progresses, she gains confidence, symbolizing her victory over reliance and her journey towards self-independence.

Question :-Which is your favorite symbol from Raat Rani? Why?

Among the numerous symbols in "Raat Rani," one stand out as deep and meaningful to me:

Bicycle: Lali's Bicycle is the most significant symbol. When her husband leaves her, only the bicycle is left. This bicycle gave her courage. It always stands as the strong partner of Lali while she was alone. 

Question:-Which is your favorite frame from the episode? Why?

Question:-“Courage is Contagious” – Give an example for this from the episode.

Courage is a powerful quality that can influence and positively impact the people around us. It can create a sense of unity and strength within a community, as more and more people are motivated to take action and make positive changes in their own lives and the lives of others. So, remember, being courageous not only helps you but also has the potential to spread and make the world a better and braver place for everyone.

'Courage' featured in this series in which Lali's character is set. Lali's life comes with many problems like her husband leaves her, after that the roof of the house breaks, the bridge cannot be crossed, she fights all these problems and works with courage. 

Lali's says in the one scene In this she despises the society and goes forward with courage.She does not give up and sells kava at night. Wherever she works, she also inspires it, and thus we can say that courage is contagious.

Question:-Compare and write a note on all the women characters from Raat Rani.

"Raat Rani" introduces us to various female characters, each distinct in their own way:

Lali: The protagonist of the episode, Lali starts off as a dependent woman, heavily relying on her husband. However, as the story progresses, she undergoes a remarkable transformation. She finds her voice, discovers her independence, and embraces her true self.

Ray: A lawyer introduced later in the episode, Ray epitomizes independence. She is self-assured, financially stable, and lives life on her own terms. Through her character, we see a different facet of female empowerment.

These and the other women characters who showed for few times portray various shades of independence, showcasing the complexities and diverse experiences of women in different circumstances.

Digital Humunity

 Hello everyone, I am Mansi Gujadiya. In this blog i will discuss about Digital Humunity.

Question:- Disscus about your understanding of Digital Humunity 

Defination

Digital Humanities is the study of us--humans--as individuals and as a species. Digital Humanities attempts to define what it is to be human, whether it be through art or government, technology and everything in between; digital humanists and humanists alike are interested in humans and their interactions with others and their environment.

What is digital humunity?

Digital Humanities (DH) began a few decades ago with the application of computer tools to problems in literary stylistics, text processing, and text linguistics (including corpus linguistics, machine translation, and other computational problems). Today, the field is dominated by mark-up languages--the "ML" in HTML, SGML, UML, and XML--the meta-language used to "tag" writing for machine processing (searching, display) and thus the crucial new dimension of textual information in the 21st century. Content, however, is the real object of mark-up. Mark-up language is also closely related to "scripting," the specialized form of programming by means of which text operations are typically carried out on computers and Web pages are made to be interactive. Thus mark-up languages have become the means for an essentially new form of writing in which the medium and the message are more intimately and intricately interconnected than ever before, for literature and film, for language study, and for commercial applications.

DH in English considers both the technical aspects of the application of computer technology to the humanities, and also the appreciation and assessment of its products. Programming languages are typically taught in Computer Science and Artificial Intelligence.

DH students will have opportunities to participate in such research, in addition to opportunities for teaching experience. While all programs of study will necessarily include familiarity with at least one period of English literature, the flexibility of graduate requirements in English will allow students to follow their own interests in the selection of their coursework.

What is Done Under Digital Humanities? 

Answer generated by ChatGPT

Digital Humanities is an interdisciplinary field that combines the use of digital tools and methodologies with traditional humanities disciplines. It aims to explore and analyze human culture, history, literature, art, and other aspects of human society using computational methods and digital technologies. Some of the key activities done under Digital Humanities include:

Data Mining and Text Analysis: 

Researchers in Digital Humanities often use data mining and text analysis techniques to analyze large corpora of texts, such as literature, historical documents, or social media data. These methods can reveal patterns, trends, and insights that might not be readily apparent through traditional close reading.

Data Visualization: 

Digital Humanities scholars create visual representations of data to better understand complex relationships and patterns within cultural and historical datasets. Visualization techniques help communicate findings to a broader audience and aid in generating new research questions.

Text Encoding and Markup:

 Texts are often encoded using markup languages like XML or TEI (Text Encoding Initiative). This allows scholars to add semantic meaning and structure to texts, making them more accessible, searchable, and analyzable by computers.

Building Digital Archives and Databases: 

Digital Humanities projects involve creating online repositories and databases of historical materials, artifacts, and cultural resources. These archives make research materials widely available and facilitate collaboration among scholars.

Digital Mapping and GIS (Geographical Information Systems): 

Digital Humanities researchers use GIS tools to map historical data, literature settings, migration patterns, and other spatial aspects, helping to reveal geographic connections and contexts.

Computational Analysis of Images and Visual Culture:

 Digital Humanities examines visual materials using image analysis tools, facial recognition, and computer vision to understand the representation and evolution of visual culture.a

lysisDigital Humanities leverages network analysis to study social connections, intellectual networks, and information flow across historical periods and cultural contexts.

Digital Storytelling and Interactive Narratives:

 Scholars use digital platforms to create immersive and interactive narratives, enabling users to explore historical events or literary works in engaging ways.

Social Media and Digital Communication Analysis: 

Researchers in Digital Humanities study digital communication patterns, trends, and social phenomena using social media data.

Cultural Heritage Preservation: 

Digital Humanities contributes to the preservation and digitization of cultural heritage materials, making them accessible for future generations and preventing loss due to degradation or natural disasters.

Collaborative Research: 

Digital Humanities encourages interdisciplinary collaboration among scholars, technologists, librarians, and other stakeholders to foster innovative research projects.

Ethical and Legal Considerations:

 Scholars in Digital Humanities also engage in discussions around ethical considerations, data privacy, copyright, and accessibility when using digital tools and working with sensitive historical materials.

Some projects in digital humunity

Digital Humanities is a dynamic and evolving field that continuously adopts and develops new technologies and methodologies to address research questions in the humanities domain.Digital Humanities Projects

Text Analysis.

Network Analysis.

Mapping.

Data Visualization.

Digital Storytelling.

Digital Publishing and Digital Collections.

Some projects in digital humunity 

   Answer by ChatGPT

   

        As of my last update in September 2021, "digital humanity" is a field that explores the intersection of digital technologies and the humanities, such as literature, history, philosophy, linguistics, and cultural studies. It involves using digital tools and methods to enhance research, analysis, and communication in humanities disciplines. Below are some example projects in the field of digital humanities, along with brief descriptions and links for further exploration:

The Shakespeare Quartos Archive

Definition: The Shakespeare Quartos Archive is a collaborative project that brings together digital editions and facsimiles of pre-1642 editions of William Shakespeare's plays. It allows scholars and the general public to compare different versions of the same play and track textual variations over time.

Link: http://www.quartos.org/

The Programming Historian

Definition: The Programming Historian is an open-access platform that provides tutorials and practical lessons for historians and other humanities scholars to learn programming and digital tools. It aims to empower researchers to utilize computational methods in their research.

Link: https://programminghistorian.org/

The Digital Karnak Project

Definition: The Digital Karnak Project reconstructs the ancient Egyptian temple complex of Karnak using digital models, interactive maps, and virtual reality technology. It allows users to explore the architecture and history of this significant religious site in ancient Egypt.

Link: http://dlib.etc.ucla.edu/projects/Karnak/

Please note that the field of digital humanities is continuously evolving, and new projects may have emerged since my last update. For the latest developments and additional projects, I recommend searching reputable academic journals, conferences, and digital humanities organizations.

Archetypal Criticism -Presentation

PPT

PPT

Archetypal Criticism.pptx from MansiGajjar13

YouTube Video

Hemingway's Hero -Presentation

PPT

Hemingway Hero Characteristics.pptx from MansiGajjar13

YouTube Video

Figurative language

 Hello,

       This Blog is an Assignment of paper no.: 109 Litarary Theories and Criticism and Indian Asthentics. This assignment i am discussed about the Figurative Language.

Personal Information 

Name:- Mansi B. Gujadiya

Roll Number:-12

Enrollment Number:-4069206420220013

Batch:-M.A SEM -2( 2022-23 )

Email ID:- mansigajjar10131@gmail.com

Paper Number:-109

Paper Code:-22402

Paper Name:-Litarary Theories and Criticism and Indian Asthentics

Submitted to:- English department MKBU

Topic:-  Figurative Language 

Question:-  introduction of Figurative language 

Introduction 

Practical criticism began in the 1920s with a series of experiments by I.A.Richards on his students to assess poems on their own, on which no information regarding authorship or any other extraneous information was provided. Richards wanted his students to concentrate on the “words on the page”, rather than rely on predetermined or accepted opinions of the text. Such a method would have positive psychological effects on the students because they would respond to the myriad emotions and meanings that would result in an “organised response”. This meant that they would clarify the diverse undercurrents of thoughts in the poem and relate their own emotions with them and arrive at a response that would encompass the thoughts which are in an organised form.

  William Empson, in Seven Types of Ambiguity (1930), in connection with this project, developed the under-graduate essays for Richards to study of connotative and complex meanings in poems. His method ushered a novel approach of critical analysis known as “New Criticism”. New Critics emphasised on a close analysis of texts, paying little attention to historical or biographical details of a poem. For F.R. Leavis, the close analysis of a text is a moral activity, in which the critic would employ his sensibility on the literary text and examine its sincerity and moral seriousness. New Criticism would entail concentrating on the form and meaning of particular works, rather than theoretical questions and practice of criticism would not entail social or economic bearings as well as biographical considerations of the author.  

Divided into four parts

• Practical Criticism: A Study of Literary Judgment(1929),elaborates Richards’ views on the practice of literary criticism. The first part, titled “Introductory”, is an introduction to his critical practice, where he expounds the three-fold purpose in writing the book. Part two, “Documentation” containsthe thirteen poems for his students’ analyses and Part three, “Analysis” the most significant of the four chapters, where his critical precepts are explained. The eight chapters in this section are:
•  Four Kinds of Meaning
•  Figurative Language
•  Sense and Feeling
•  Poetic Form 
• Irrelevant Associations and Stock Responses 
• Sentimentality and Inhibition
•  Doctrine in Poetry
•  Technical Presuppositions and Critical Preconceptions. 

misreading of poems:

 Part four is titled “Summary and Recommendations” followed by the Appendices A to D. In the introduction, Richards mentions the three objectives in writing the book. First, to introduce a new kind of documentation to those who are interested in the contemporary state of culture for critics, philosophers, teachers, psychologists or those who are just curious onlookers. Second, to provide a new technique for those interested in reading poetry to decide why they should like it or not, and the third to develop better methods of critical analyses that are different from the existing ones. For this purpose, he has given poems to his students without revealing any information about the poets who wrote them. Richards analyses the factors that lead to misreading of poems:

•  1. The difficulty to comprehend the plain sense of a poem is one of the aspects. Many students fail to understand the meaning of a poem; often the feeling, tone and intention of a poem are also misunderstood.
•  2. Likewise, words have a movement or rhythm even when read in silence. Many readers fail to capture the sensuousness and rhythm inherent in poetry. 
•  3. Imagery, especially visual imagery is difficult to interpret. Images that take shape in one mind may be different from others, but these images may not be connected to the images that existed in the poet’s mind. 
•  4. The credible influence of irrelevant mnemonics, which is the private and personal associations, affects reading texts.
•  5. Stock responses based on private judgements intrude when a poem’s opinions and emotions are readily available to the reader’s mind.
•  6. Display of excessive emotions. 
• 7. Inhibitions function as hindrances in understanding poetry. 
•  8. Indoctrination, which is views and beliefs about the world contained in poetry, could become the foundation for confusion or unreliable judgement.
•  9. Technical conjectures can cause difficulty. When something has once been done in a certain manner and if it is done differently that is beyond recognition, it calls for assessing a poem from outside by technical details.
•  10. Lastly, the general critical preconceptions resulting from theories about the nature and value of poetry intervene between the reader and the poem.

 Richards concludes that critical reading of poetry is an arduous task. In this regard he mentions: “The lesson of all criticism is that we have nothing to rely upon in making our choices but ourselves.”This means that the lesson of good poetry, if properly understood, lies , lies in the extent to which ordering of the individual mind takes place. Response to emotion and meaning would result in an “organised response” that would materialise into “psychologism”, which is not concerned with the poem but the responses to it.

Four Kinds of Meaning 

Richards begins the extract by pointing to the difficulty of all reading. The problem of making out the meaning is the starting point in criticism. The answers to ‘what is a meaning?’, ‘What are we doing when we endeavour to make it out?’ are the master keys to all the problems of criticism. The all-important fact for the study of literature or any other mode of communication is that there are several kinds of meaning. Whether we speak, write, listen, read, the ‘Total meaning’ is a blend of several contributory meanings of different types. Language – and pre-eminently language as it is used in poetry has several tasks to perform simultaneously. Four kinds of functions or meanings as enlisted by I.A. Richards are the following: (1) Sense, (2) Feeling, (3) Tone and (4) Intention.

Sense

       ‘We speak to say something and when we listen we expect something to be said. We use words to direct our hearers’ attention upon some state of affairs, to present to them some items for consideration and to excite in them some thoughts about these items’. In short, what we speak to convey to our listeners for their consideration can be called ‘sense’. This is the most important thing in all scientific utterances where verification is possible

Feeling

      The attitude towards what we convey is known as ‘feeling’. In other words, we have bias or accentuation of interest towards what we say. We use language to express these feelings. Similarly, we have these feelings even when we receive. This happens even if the speaker is conscious of it or not. In exceptional cases, say in mathematics, no feeling enters. The speaker’s attitude to the subject is known as ‘feeling’.

 Tone 

       The speaker has an attitude to his listener. ‘He chooses or arranges his words differently as his audience varies, in automatic or deliberate recognition of his relation to them. The tone of his utterance reflects his awareness of this relation, his sense of how he stands towards those he is addressing. Thus ‘tone’ refers to the attitude to the listener

Intention

       Finally apart from what he says (sense), his attitude to what he is talking about (feeling), and his attitude to his listener (tone), there is the speaker’s intention, his aim (conscious or unconscious) - the effect he is endeavouring to promote. The speaker’s purpose modifies his speech. Frequently, the speaker’s intention operates through and satisfies itself in a combination of other functions. ‘It may govern the stress laid upon points in an argument. It controls the ‘plot’ in the larger sense of the word. It has special importance in dramatic and semi-dramatic literature. Thus the influence of his intention upon the language he uses is additional to the other three influences.

     If we survey the uses of language as a whole, the predominance of one function over the other may be found. A man writing a scientific treatise will put the ‘sense’ of what he has to say first. For a writer popularising some of the results and hypotheses of science, the principles governing his language are not so simple; his intention will inevitably interfere with the other functions. In conversation, we get the clearest examples of the shifts of function, i.e. one function being taken over by another.

Conclusion

Richards concludes that the indirect devices for expressing feelings through logical irrelevance and nonsense (through statements not to be taken strictly, literally, or seriously) are not peculiar to poetry.