Tuesday 22 November 2016
Sunday 13 November 2016
"The Old Man and The Sea": Hemingway's language styleand writing Technique.
Name: Zarna Bhatti
Sem: 3
Paper: American
Literature
Roll no.5
Email Id:
zarnabhatti10@gmail.com
Assignment Topic:
“The Old Man and The Sea”: Hemingway’s language style and
writing Technique.
Submitted by: S.B.
Gardy Department of English MKBU.
Year: 2015-2017
Introduction:
Ernest Miller
Hemingway was born in 21st July, 1899. He was an American
novelist, short story writer, and journalist. Hemingway produced most
of his work between the mid-1920s and the mid-1950s, and won the
Nobel Prize in Literature in 1954. He published seven novels, six
short story collections, and two non-fiction works.
“The Sun also
rises”
“A Farewell to
Arms”
To have and have not
“The Nicks Adams
Stories”
“The Old Man and
the Sea”
Hemingway’s
writing Style:
From almost the
beginning of his writing career, Hemingway's distinctive style
occasioned a great deal of comment and controversy. Basically, his
style is simple, direct, and unadorned, probably as a result of his
early newspaper training. Actually, a close examination of his
dialogue will reveal that this is rarely the way people really speak.
Hemingway goes on at
some length, but the essence of what he says may be in this
paragraph:
“A writer's style
should be direct and personal, his imagery rich and earthy, and his
words simple and vigorous. The greatest writers have the gift of
brilliant brevity, are hard workers, diligent scholars and competent
stylists”.
Definition
of the Iceberg Theory:
| If a writer of prose knows enough of what he is writing about he may omit things that he knows and the reader, if the writer is writing truly enough, will have a feeling of those things as strongly as though the writer had stated them. The dignity of movement of an ice-berg is due to only one-eighth of it being above water. A writer who omits things because he does not know them only makes hollow places in his writing. |
| —Ernest Hemingway in Death in the Afternoon |
Hemingway's biographer Carlos Baker believed that as a writer of short stories Hemingway learned "how to get the most from the least, how to prune language and avoid waste motion, how to multiply intensities, and how to tell nothing but the truth in a way that allowed for telling more than the truth." Baker also notes that in the writing style of the "iceberg theory" suggests that a stories narrative and nuanced complexities, complete with symbolism, operate under the surface of the story itself.
For example, Hemingway believed a writer could describe an action, such as Nick Adams fishing in "Big Two-Hearted River," while conveying a different message about the action itself—Nick Adams concentrating on fishing to the extent that he does not have to think about the unpleasantness of his war experience. In his essay, "The Art of the Short Story," Hemingway is clear about his method: "A few things I have found to be true. If you leave out important things or events that you know about, the story is strengthened. If you leave or skip something because you do not know it, the story will be worthless. The test of any story is how very good the stuff that you, not your editors, omit." A writer explained how it brings a story gravitas:
Hemingway said that only the tip of the iceberg showed in fiction—your reader will see only what is above the water—but the knowledge that you have about your character that never makes it into the story acts as the bulk of the iceberg. And that is what gives your story weight and gravitas.
— Jenna Blum in the Author at Work, 2013From reading Rudyard Kipling Hemingway absorbed the practice of shortening prose as much as it could take. Of the concept of omission, Hemingway wrote in "The Art of the Short Story": "You could omit anything if you knew that you omitted and the omitted part would strengthen the story and make people feel something more than they understood." By making invisible the structure of the story, he believed the author strengthened the piece of fiction and that the "quality of a piece could be judged by the quality of the material the author eliminated." His style added to the aesthetic: using "declarative sentences and direct representations of the visible world" with simple and plain language, Hemingway became "the most influential prose stylist in the twentieth century" according to biographer Meyers.
In her paper "Hemingway's Camera Eye", Zoe Trodd explains that Hemingway uses repetition in prose to build a collage of snapshots to create an entire picture. Of his iceberg theory, she claims, it "is also a glacier waterfall, infused with movement by his multi-focal aesthetic". Furthermore, she believes that Hemingway's iceberg theory "demanded that the reader feel the whole story" and that the reader is meant to "fill the gaps left by his omissions with their feelings".
Hemingway scholar Jackson Benson believes Hemingway used autobiographical details to work as framing devices to write about life in general—not only about his life. For example, Benson postulates that Hemingway used his experiences and drew them out further with "what if" scenarios: "what if I were wounded in such a way that I could not sleep at night? What if I were wounded and made crazy, what would happen if I were sent back to the front?" By separating himself from the characters he created, Hemingway strengthens the drama. The means of achieving a strong drama is to minimize, or omit, the feelings that produced the fiction he wrote. Hemingway's iceberg theory highlights the symbolic implications of art. He makes use of physical action to provide an interpretation of the nature of man's existence. It can be convincingly proved that, "while representing human life through fictional forms, he has consistently set man against the background of his world and universe to examine the human situation from various points of view." Early fiction and short stories
Gwendolyn Tetlow believes that Hemingway's early fiction such as "Indian Camp" shows his lack of concern for character development by simply placing the character in his or her surroundings. However, in "Indian Camp" the use of descriptive detail such as a screaming woman, men smoking tobacco, and an infected wound build a sense of veracity. In other words, a story can communicate by subtext; for instance, Hemingway's "Hills like White Elephants" does not mention the word "abortion", although in the story the male character seems to be attempting to convince his girlfriend to have an abortion. "Big Two-Hearted River" Hemingway explains "is about a boy...coming home from the war ....So the war, all mention of the war, anything about the war, is omitted." Hemingway intentionally left out something in "Indian Camp" and "Big Two-Hearted River"—two stories he considered to be good.
Baker explains that Hemingway's stories about sports are often about the athletes themselves and that the sport is incidental to the story. Moreover, the story "A Clean Well-Lighted Place" which on the surface is about nothing more than men drinking in a cafe late at night, is in fact about that which brings the men to the cafe to drink, and the reasons they seek light in the night—none of which is available in the surface of the plot, but lurks in the iceberg below. Hemingway's story "Big Two-Hearted River" is ostensibly about nothing, as is "A Clean Well-Lighted Place", but within nothing lies the crux of the story. Novels
Benson believes that the omission Hemingway applies functions as a sort of buffer between himself as the creator of a character and the character. He explains that as an author creates a "distance" between himself and the character he "becomes more practiced, it would seem." Benson says in Hemingway's fiction the distance is necessary, and successful in early fiction such as in The Sun Also Rises, but if he as "the author does not deliberately create such distance the fiction fails," as in the later works such as Across the River and into the Trees.
Baker calls Hemingway's Across the River and into the Trees a "lyric-poetical novel" in which each scene has an underlying truth presented via symbolism. According to Meyers an example of omission is that Renata, like other heroines in Hemingway's fiction, suffers a major "shock"—the murder of her father and the subsequent loss of her home—to which Hemingway alludes only briefly. Hemingway's pared down narrative forces the reader to solve connections. As Stoltzfus remarks: "Hemingway walks the reader to the bridge that he must cross alone without the narrator's help."
Hemingway believed that if context or background had been written about by another, and written about well, then it could be left out of his writing. Of The Old Man and the Sea he explains: "In writing you are limited to by what has already been done satisfactorily. So I have tried to do something else. First I have tried to eliminate everything unnecessary to conveying experience to the reader so that after he has read something it will become part of his experience and seem actually to have happened." Paul Smith, author of Hemingway's Early Manuscript: The Theory and Practice of Omission, believes Hemingway applied the theory of omission in effort to "strengthen [the] iceberg.
Technically speaking, it is perhaps Hemingway's most conventional fiction. None of the modernist— indirection, implication, allusion, omission, unexplained juxtaposition — that Hemingway so elaborately deploys in In Our Time (1925; see separate entry) and other works are used in this parable like tale, which helps to explain why it reaches the widest audience of any Hemingway work.
Consider, for example, his use of symbolism to suggest that Santiago is a Christ-figure or, at the very least, that Santiago's suffering is analogous to Christ's suffering. After the sharks attack his marlin, Santiago cries out "Ay"; then Hemingway writes that "there is no translation for this word and perhaps it is just a noise such as a man might make, involuntarily, feeling the nail go through his hands and into the wood”
http://www.ccsenet.org/journal/index.php/elt/article/viewFile/470/479
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Friday 11 November 2016
The Birthday Party as comedy of Menace
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Name: Zarna Bhatti
Roll no: 5
Email Id: zarnabhatti10@gmail.com
Topic name: The Birthday as comedy of Menace
Submitted by: S.B.Gardy Department of English MKBU
Introduction:
The Birthday Party (1957) is the second full-length play by Harold Pinter and one of Pinter’s best-known and most frequently performed plays. The Birthday Party has been described by Irving Wardle and later critics as a “Comedy of Menace” and by Martin Esslin as an example of the “Theatre of the Absurd” It also includes such features as the fluidity and ambiguity of time, place and identity and the disintegration of language.
About Harold Pinter and his writing style: He has presented the characteristics of the Absurd theatre in the background of the English ethos. The essence of the European Absurd theatre finds a new dimension in the plays of Pinter. He has shown the inherent drawbacks and tension in the social life of today. His dramatic style and techniques have certainly given a novel direction to the drama today. The theatre with which are associated Samuel Beckett, Edward Albee, Jean Genet and Harold Pinter, the stage is invariably occupied by a few characters and each one of them expresses his ideas vehemently. The modern stage has taken many turns the main being the Poetic theatre, the Angry theatre and the Absurd theatre.
Pinter has maintained that his plays are not intricate and are easy to grasp. He has denied the presence of any allegorical meaning in his plays. Brevity is the hallmark of Pinter’s dialogue which naturally gives rise to many shades of meaning. The reader of Pinter’s plays cannot always arrive at the exact meaning of the cryptic sentences, and one can draw many alternative ideas from them. Pinter’s plays have a suggestive power which is missing in the works of many contemporary dramatists. Following the traditions of the Absurd theatre Pinter has debunked the excessive stress on language and logic.
Pinter’s famous play The Birthday Party shows the attempts of Stanley to evade all the connections of his past life and begin a new life. But Stanley does not succeed in this attempt and he is literally dragged away by his erstwhile partners from whom he tried to escape. Stanley loses his will-power and becomes a pathetic figure, an embodiment of the anxiety and fear felt by the individual in the modern world. (Haroldpinterand the absurd theatre)
What is Comedy of Menace? Literal meaning of menace means person or thing likely to cause serious harm. Here we deeply understand that what is the meaning of comedy of menace and how it is related with the play.
Menace (a threat or the act of threatening)
A ‘menace’ is something which threatens to cause harm, evil or injury; which doesn’t seem like a logical idea to fit with comedy.
Violence and menace are mostly below the surface of the play. Mick moves swiftly and silently and is an unpredictable character.
The playwright’s objective in mixing comedy & the threat of menace is to produce certain effects (like set up dramatic tension or make the audience think a character is a weasel because they are acting nice or funny, but planning to do something evil) or to convey certain social or political ideas to the audience. (eliteratysociety.com, 2011)
The phrase comedy of menace as a standalone description inspires both positive and negative feelings. Title “comedy of menace” immediately brings contradictions to mind because comedy is generally something that makes people laugh. The word menace implies something threatening; this phrase involves laughing at an ominous situation.
Comedy of menace is the body of plays written by David Compton, Nigel Dennis, N.F. Simpson and Harold Pinter.
The term was coined by drama critic Irving Wardle; who borrowed it from the subtitle of Compton play: The Lunatic View: A Comedy of Menace, in reviewing Pinter’s and Campton’s plays in Encore in 1958.
Irving Wardle used ‘comedy of menace’ in a review of several of Pinter’s work.
Comedy of Menace and the play:
Pinter’s comedies of menace have a rather simplistic setting he might focus on one or two powerful image and usually are set in just one room The Birthday Party is one of them.
A powerful force that isn’t specifically defined to the audience threatens characters in the play. The dramatist exploits the kind of menace as a source of comedy. Harold Pinter exploited the positions of the kind of situation in his early plays like; “The Room”, “The Birthday Party”, and “A Slight Ache” where both the character and the audience face an atmosphere apparently funny but actually having suggestiveness of some impending threat from outside.
Pinter himself explained the situation thus; “more often than not the search only seems to be funny- the man in question is actually fighting a battle for his life”. He also said; “Everything is funny until the horror of the human situation rises to the surface! Life is funny because it is based on illusions and self-deceptions like Stanley’s dream of a world tour s a pianist, because it is built out of pretence”.
Some plays are able to successfully mingle; drama with comedy. One specific example from The Birthday Party is a character joking around about being in a menacing situation while cleaning his gun to deal with the threat.
Pinter himself has been quoted as saying that he is never been able to write a happy play and that situation can be both true and false.
However as The Birthday Party shows it is quite possible for a playwright to create both humour and menace in the same play, and even at a same time in order to produce certain effects and to transmit ideas to the audience.
Comedy is present in The Birthday Party from the very first scene; it is a way of gently introducing the audience to the world which Pinter is trying to create the humour is quite suitable at first for example the exchange between Petey and Meg about whether Stanley is up or not plays on the words up and down.
Meg: Is Stanley up yet?
Petey: I don’t know. Is he?
Meg: I don’t know. I haven’t seen him down
Petey: Well then he can’t be up
Meg: Haven’t you seen him down?
(Conversation between Meg and Stanley)
This type of dialogue creates humour at situation. Although the repetitions in this short exchange will not make the audience burst out with laughter they can make them smile and the humour also lulls them into a sense of comfort.
Pinter’s absurdist style has been called comedy of menace, some productions of his work concentrate primarily on the menace.
Comedy of menace in relation to the dramatic content of the play:
The comedy of menace – is a tragedy with a number of comic elements. Some elements of comedy of menace; it is a comedy which also produces an overwhelming tragic effect.
Throughout the play we are kept amused and yet throughout the play we find over selves also on the brink of terror. We feel uneasy all the time even when we are laughing or smiling with amusement. That all things or elements which we feel are the effect of comedy of menace.
The menace evolves from actual violence in the play or from an underlying sense of violence throughout the play. It may develop from a feeling of uncertain and insecurity.
This feeling of menace establishes a strong connection between character’s predicament and audience’s personal anxieties.
The atmosphere of menace: It also created by Pinter’s ability to drop suddenly from a high comic level into deep seriousness. By this technique the audience is made aware that the comedy is only at surface layer. The sudden outbreaks of violence (verbal/physical?) in the play confirm this and leave the audience unsure of what will come next.
There are so many questions arise in mind while reading of the play but there is no certain answer of this. May be because of that Pinter’s own comment like this; “more often than not the speech only seems to be funny- the man in question is actually fighting a battle for his life.”
While we are talking about atmosphere there is some kind of fear in the play but that – fear for what? – By whom? But this type of question is remaining unanswered. Just as Stanley or Meg is the main vehicle for comedy in the play; so one more question arises that is he the main vehicle for the presentation of fear? Or is any other character frightened?
Answer of this question is yes because tone of the play is tragic or fearful but fear of what? It isn’t clear here. All the characters are suffering from the fear of unknown, may be possible that characters are laugh to forget their fear; they live in a past or avoid seeing in mirror because of fear. Means some unknowingly fear is here and that is the atmosphere of menace.
(Conversation between Goldberg- McCann and Stanley represent menacing effect)
The room or house represents security from the outside world but sadly it is impossible to sustain. The menace in the form of Goldberg and McCann represents a hostile outside world, they are the exception to the rule where life is normal and pleasant outside. The general setting of the play is naturalistic and mundane, involving no menace. However on of Pinter’s greatest skill is his ability to make an apparently normal and trivial object like a toy drum, appear strange and threatening.
In the plays of Pinter the atmosphere is charged with fear and threat to the natural harmony of life. Though Pinter depends on the form of comedy than that of tragedy, this does not decrease the hidden menace against the characters who want to escape from the forces of evil. Pinter likes to show the inevitable contradicions faced by people in today’s world. The tentacles of evil forces drag the individual into the mire of corruption and nefarious activitese. Pinter’s plays have been rightly called the comedies of menace. (Haroldpinterand the absurd theatre)
Pinter can summon forth an atmosphere of menace from ordinary everyday objects and events and one way in which this is done by combining two apparently opposed moods, such as terror and amusement.
Stanley is destroyed by ‘a torrent of words’ but mingled in with the serious accusations so Birthday Party is for both freighting and funny. For example: Stanley’s behaviour during the game- funny but terrifying because the audience is aware that much more is at stakes than appears on the surface. This is one source of menace, namely the audience’s awareness that trivial actions are often concealing thoughts and events of much larger significance. It may be that the audience feels a sense of guilt at their own laughter.
However Pinter makes sure that some things like the threatening ambience is leased by the use of humour. Pinter also makes sure that menacing atmosphere is elevated at times which actually emphasize how strong this atmosphere is. Whole length of the play was filled with menacing atmosphere we would know that Stanley will lose the power struggle from the beginning. The humour also brings a certain level of normality the menacing atmosphere can increase slowly and it is again creating more suspense. Here Pinter says that he completely agree the description of the Birthday Party as a Comedy of Menace. While comedy and menace both appear separately in the play it is together that they affect the audience most.
The association two seemingly in the play it is together that one play allows the audience to realize some of Pinter’s preoccupations conquering the inadequacy of language but also its power. As well as, the fact that we can associate these two terms; finding something menacing yet humorous at the same time could also be a way for Pinter to show the paradoxical nature of human beings.
Another technique that Pinter uses to create an atmosphere of menace to cast doubt on almost everything in the play. The play nature of reality here is confused the audience no longer knows what is true or what is not true and out of this comes an atmosphere of mystery and uncertainty.
Conclusion: Thus to conclude we may say that absurdity of the play which is represents through menacing effect has its own symbolic significance. It tries to explain the human predicament in this indifferent and hostile world. Means Pinter shows us reality of life, one of the major points of view about the play is;
Meaninglessness and nothingness of human existence.
Life under constant shadow of fear and menace.
These are similarity between both the plays which are very famous in modern time; one is waiting for Godot and another Birthday Party because they both are very much related and depended on human life. In Waiting for Godot Beckett often reduced character, plot and dialogue to a minimum in an effort to highlight fundamental question of human existence. The same characteristic in Birthday Party as well.
Because it is also unpleasant truth about human existence. At the end of the play in Act-3, Petey is tongue-tied and silent his emotions and thoughts remain unexpressed.
Pinter says: “Everything is funny until the horror of the human situation rises to the surface! Life is funny because it is based on illusions and self-deceptions like Stanley’s dream of a world tour as a pianist, because it is built out of pretence. In our present day world everything is uncertain there is no fixed point and we are surrounded by the unknown.”
This unknown occurs in many plays, there is no kind of horror about and I think that this horror and absurdity go together. (From his interview: Wikipedia)
Pinter’s statement also shows hostile reality of life. One more thing is that here we are shown how nothingness is important for human predicament. “Nothing” means “Something” it is the main base of the play. Pinter has delicately deployed the theatre of absurd and his idiosyncratic theatre of comedy of menace so that he could forward solutions for the dominating existential problems of man entrapped in his era. Pinter was a leader in the theatre of menace.
Work Cite: http://drashtidave1315.blogspot.in/2014/10/paper-no-09-modernist-lit.html
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Wednesday 26 October 2016
The Roll of Institutional Context and Time In Teacher Education.
Roll No.: 5
Enrollment No:
PG15101005
Email Id:
zarnabhatti10@gmail.com
Assignment Topic:
The Roll of Institutional Context and time in Teacher
Education.
Submitted: Smt S.B
Gardi Department of English Maharaja Krishnakumarsinhji
Bhavnagar
University.
Year: 2015-2017
Introduction:
Second Language
Teacher Education: Unit:4, ch:10- by Freeman. Freeman's
view about
Second Language(L2), the gap between teacher education and
knowledge
construction, different strategies of teacher education and role of
Institute and time.
What is Second
Language Teacher Education?
Second Language(L2)
Teacher Education describes the Field of Professional
activity
through which individuals learn to teacher L2. (As per Freeman's
view)
Second Language teacher education (SLTE) is book by C.Richards
and David
Nunan. In this text they provides a detailed about current
approaches to the
education of second language. Teacher education is
also connected with
teacher development.
Formal Activities
are generally referred to as teacher training. Experienced
teacher,
individual basis are referred to as teacher development. The shifting
ground of terminology has plagued L2 teacher education for at least
the past 30
years. The four-word concept has tended to be an awkward
integration; as per
relative emphasis has shifted the focus among
these four words has migrated
from thus capturing the evaluation in
the concept of L2 teacher education in the field.
Here content is
second language, person is the teacher and process of learning
means
ultimate goal of the learning process is education.(Freeman's view)
The field of teacher
education is a relatively under-explored one in both Second
and
Foreign language teaching. The Literature on teacher education in
language
teaching is slight compared with the literature on issues
such as methods and
techniques for classroom teaching.- Richards and
Nunan 1990.
In teacher education
role of time and place are very important tools. These are
basic
things in teacher education they are necessary part of any
educational
field.
Institution is very
important and basic step of education because from the very
beginning institution plays a vital role for learner as well as teacher. Time
is also
another important step; because of time teacher and learner
both learn
something.
They three are
connected with each other, now we deeply understand that how
institution and time are imortant in teacher education.
The
Role of Institutional Context:
Firstof
all what is institute?
Institute is a kind
of organization having a particular purpose; another meaning
is place
for advanced learning. (Encarta Dictionary)
Prior knowledge in
teacher education has lead directly to serious
reconsideration of the
role of institutional context in learning to teach clearly
teacher-learners's idea about teaching stem from their expeiences as
students in
the context of schools; similarly their new practices as
teachers are also shaped
by these institutional environments. One big
question is;
What is the role of
schools in learning to teach?
What is the role of
institute in education system?
Answer of these
question is – institutional environments can shape impede,
encourage, or discourage new teachers. Classrooms, Students and
Schools have
been seen as seating practice in which teacher-learner
can implement what they
are learning or have learned in formal
teacher education.In
teacher education
teacher-learner learn how to teach; in
institutional context teacher learn and teach both
the things
together. Role of the institution has been much more central.
As
researchers have looked at schools are more effective than others.
Institute is
organized within a defined set of formal and informal
beliefs, values, roles, and
behaviors. Institute is mixture of so
many things main is sociocultural forces and values
are also a part
of institutions.
An
institution therefore refers to:
1) The setting of the activity-
design, location and
anything that is removed from that many
influence.
2) The structure of the activity- the various restrictions
that are added to or removed to activity is organized.
3) An attitude
of the members- the various policies, rules, roles, hierarchies of
the members.
4) In role of institutional context teacher education
inplace Freeman and other thinkers gave examples and exemplified the
things;
For
example: in the late 1980s drawing on work in the sociology of
education,
researchers began to investigate the notion of schools as
‘technical cultures’ (Rosenholtz 1989) Kleinsasser and Sauvignon
1992: 293 define these cultures as;
“the
processes designed to accomplish an organization’s goals and
determine how work
is to be carried out”. This
research as well as
other work in teacher cognition has helped
to establish that learning
to teach is not simplified a matter of translating ideas
encountered
in teacher education setting into the classroom. (Freeman and other
researchers’ idea)
Clark
and Peterson 1986 they talk about TESOL
TESOL:
Teaching English to Speaker of Other Language.
Main
two types of institutes I) Formal institute and II) Informal
institute.
1.
Formal institutions: Are defined by the agenda,
mission, statement, objectives,
values and behaviors of the business,
service or organization. These are generally set out
by a code of
ethics and behaviors that can be used to measure the outcome of the
institution; these institutions….
Provides
the role of the business, service or organization within society for
this
information questions are also related with this that what is
its role?
-Defines
the way business, service or organization functions within society
when how
does it doThird is about business that is boundaries of the
organization when does it do
it?
-
Defines the role of the members in institute who does what?
This
all factors are related with context of place in education. Process
of
institutionalization starts within our family, we can plan and
work toward future and
those institutions are a part of the
background. The amount of restrictions in the person’s
life depends
on the institutional care as well as the skills and resources of the
service or
educational institute.
Goff
man acknowledge that the concept of a “ total institution”
is a concept only that
institutions can never be total but can be
positioned on a continuous from open to closed.
Goff man uses the
term “institution” to describe the building, the idea of
institutionalized context is observed by Goff man and other
researchers as well.
‘It
is also interesting that a person is not considered institutionalized
where the
experiences and outcomes of the institutionalized care are
positively valued.’
2.
Informal
institutions:
It
allows the members or groups to function within the organization.
These kind of
institutions may according what the members do within
the organization. These
institutions are informal because they are
more about the way these members and the
groups interact with each
other rather any formal policies, rules or regulations.
These
informal institutions could also be described as the social systems
of organization
or community.
-
Departments
-
Divisions
-Policies
The
institutions of each layer also determine the way community functions
within
society. Institutional project which engage an entire school
or academic department in
rethinking and reworking
all aspects of its work or once which link schools tend to adopt
a
systemic approach to schools tend to territory teacher education
institutions in
professional development and educational change.
(Fullan-1991-93)
These
initiatives are predicated on the notion that teacher educational
change, because of
this education field achieves their goals.
This
change holds that no single, discrete entity can be fully understood
apart from
complex whole of which it is an integral part.
The
whole concept provides the context without which ourknowledge of the
part is
necessarily limited, (Clark-1998:64) concept of school and
social process of schooling
this entire process, and idea given by
(Freeman and Johnson. 1998)
The
Role of Time:
In
second Language Teacher Education role of time is another important
tool.
Appropriate time for teacher learner is three year. In this
time teacher-learner
learns so many things. This three are basic year
of teacher education. Freeman and
other scholars idea are presented
here; If school as institutions provide teacher
education with a
context in space, teacher-learners’ personal and professional lives
offer a similar context in and through time. Here researchers’ talk
about prior to
the work of Lortie(1975) and others, the nation of
teachers’ professional life spans
was not a major concerns. Major
research and conceptualizations by Berliner
(1986), Huber man (1993)
and others served to establish the concept of professional
development throughout a teacher’s career. This concept definite
stage in the
development of knowledge and practice. It is clear that
at different stages in their
For
example: this research shows novice teacher
Novice
teacher means
those who have less than three year classroom experience. Those
classroom and controlling student.
On
these concerns another expert teachers tend to concern themselves
with the purpose
and objectives of their teaching and how they may be
accomplishing them.Expert teacher
means those who have five or more
than five year’s experienced in classroom. One of
the basic
contexts of teacher education is time also, in that many things are
necessary in
the role of time; strategies of reflection,
self-assessment, inquiry, and particular research
may be more suited
for these learners of teaching.
Conclusion:
In
time between specific needs and broad professional development. In
place between
the school and teacher education institution here main
point in knowledge between what
teacher learners believe and what
should they know. That will always be central in the
provision of
teacher education providers of teacher education can account of time,
place
and prior knowledge in their programme designed so in teacher
education context of
time and place both are very important steps.
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Works cites :-
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"A Tempest as a Postcolonial Text" - By Aime Cesaire
Name:
Zarna Bhatti
Roll
No.: 5
Sem:
3
Email
Id: zarnabhatti10@gmail.com
Paper
Name: Postcolonial Literature
Assignment
Topic: “A Tempest” as a Postcolonial Text.
Year:
2015 to 1017
Enrollment
No.: PG15101005
Submitted
: S.B.Gardi Department of English MKBU.
Introduction
about Author:
Aime
Cesaire was born in 26th June, 1913. Aime Cesaire was a
Francophone and French poet. He was “One of the founders of the
negritude movement in works as Une Tempete, a response to
Shakespeare's play The Tempest, and Discours sur le colonialism
an
essay descring the strife between the colonized. His works have
been
translated into many languages.
First
of all let's we will understand Introduction of Colonialism.
Colonialism means The policy or practice of equiring full or partial
political control over another country, exploding it economically.
Colonialism:
Conquest + Control.
Postcolonial
Literature:
Is
a study on the effect of colonialism on cultures and societies.
Concerned with both how European nations conquered and
controlled.
“Third
Word” Culture and how these Europeans have since
responded to
resisted those encroachments.
The
Meaning of The Third World:
Third
World: The countries of Africa, Asia and South America are
some
times reffered to all together as The Third World, especially
those
parts that are poor do not have much power and are not
considered to
be highly development compare First World.
Defination
of post colonialism:
Post colonialism is the study of the legacy
of the era of European, and sometimes
American, direct global
domination, which ended roughly in the mid-20th century, and
the
residual political, socio-economic, and psychological effects of that
colonial history.
Post colonialism examines the manner in which
emerging societies grapple with the
challenges of self-determination
and how they incorporate or reject the Western norms
and conventions,
such as legal or political systems, left in place after direct
administration by colonial powers ended. Ironically, much early post colonial theory,
with its emphasis on overt rejection of imposed
Western norms, was tied to Marxist
theory, which also originated in
Europe. Contemporary studies focus more on the effects
of
postcolonial globalization and the development of indigenous
solutions to local needs.
The
rise of modernism in the late nine-tenth century concided with
the
dawn of what way called the “New Imperialism” from the
1880s
onwards.
We
cannot dismiss either the importance of formal decolonisation or
the
fact that unequal relations of colonial rule are renscribed in the
contemporary imbalances between 'first' and 'third' word nations.
The
new global order does not depend upon direct rule. However, it
does
allow the economic, cultural and political penetration of some
countries by others. This makes it debatable whether once-
colonised
countries can be seen as properly 'Postcolonial'.
“A
Tempest as a Postcolonial Text”
A
Tempest by Aime Cesaire was originally
published in 1969 in French by
editions du seuil in Paris. A Tempest
is the third play in a trilogy
aimed at advancing the tenets of the
negritude movement.
It
is written as a postcolonial response to The Tempest by William
Shakespeare. The Tempest by William Shakespeare. The story is
the
same:
-
a big storm,
-
an angry Duke who has been usurped by his brother.
-
all the devoted courtesans,
-
and the natives.
This
play deals mostly with the natives, Ariel and Caliban.
It
is Cesair's common on the colonization of the “New World”. He
has
many of the same ideas are C.L.R. James and Franz Fanon, and
he has
inspired newer Caribbean writing like Michelle Cliff.
A
Tempest is a postcolonial revision of Shakespeare's The Tempest
and
it draws heavily on original play:The cost of character is for the
most part, the same , and the foundation of the plot follows the
same basic premise.
- Prospero has been exiled and lives on a secluded island, and hedrumsup a violent storm to drive his daughter's shipashore.The island,however is some where in the caribbean ,Ariel is Mulatto slave and Caliban is a black slave.A Tempest focuses on the plight of Ariel and caliban-the neverending quest to gain freedom from prospero and his rule overthe island.Ariel, dutiful to prospero, follows all orders given to him andsincerlly believes emancipation. Caliban, on the other hand,slights prospero at every opportunity.
In
the first act:
“ Caliban
greets prospero by saying “Uhuru!”, the Swahili word for
“Freedom”. Prospero complains that Caliban often speaks in his
native language which prospero has forbidden.
- Caliban, generally viewed as an almost archetypalrepresntation of the third world colonized subject originated inShakespeare's The Tempest.
Despite
the character's minor role in the play, Caliban has gained
critics
interest due to his subsequent re- contextualize within
interest due to his subsequent re- contextualize within
postcolonial contexts.
Initially,
the figure of Caliban was read as the symbol of primitive
humanity, a
degenerated character exhibiting greed, lawlessness
and lust. In his
development up to mid 20th century, Caliban
symbolized the
Third world as imagined by Europe to justify
colonialism.
Conversely,
in third world countries, this character has developed
into a
positive symbol of the Third World a view that high lights the
implacable spirit of Caliban against Prospero's subjugation.
The
reiterations of Caliban as a symbol of the Third World can be
found
not only in a dramatic work, such as in Aime Cesare's A
Tempest but
also in psychological and political treatises, such as
those written
by Octavio Mannoni and Fernando Retamar. It is
interesting to situate
the proces of Caliban's surrogation within the
realm of postcolonial
theory.
- Postcolonial theory has raised some problematical definitionsand articutions due to the ambiguities of the term itself.
Taken
literally, the term may mean theory after colonialism,
culterally
and economically varous forms of neocolonialism
.
Secondly, if
postcolonial theory is understood as theory written
after
colonialism, it contradicts the fact that many postcolonial
works
were written during the colonial period.
- Bill Ashcroft defines postcolonial theory as; “That dynamic ofopposition, the discourse of resistance to colonialism whichbegins from the first moment of colonization.
I
most definitely do not mean after colonialism because that would
be
to suppose an end to the imperial process”.(163)
Ashcroft's
definition of postcolonial theory anticipates the above
reductive
meaning and generally accepted since it denotes that
colonialism is
still at work and that postcolonial theory has been
written in
resistance to colonialism. One key postcolonial issue
concerns the
matter of identity. These various concepts of identity
indicate that,
like the Caliban figure, the formulation of identity in
postcolonial
theory cannot escape from the process of surrogation.
During
their argument, (between Caliban and Prospero), Caliban
tells
Prospero that he no longer wants to be called Caliban;
Caliban:
Put it this way: I'm telling you that from now on I won't
answer to
the name Caliban.
Prospero:
What put that notion into your head?
Caliban:
Well, Caliban isn't my name. It's as simple as that.
Prospero:
It's mine, I suppose!
Caliban:
It's the name give me by hatred and every time it's spoken
it's an
insult.
Prospero:
My, how sensitive we're getting to be! All right, suggest
something
else, I've got to call you something what will it be?
Cannibal would
suit you, but I'm sure you would not like that,
would you?
Let's
see, what about Hannibal? That fits. And why not.......they all
seem
to like historical names.
These
conversaton between Caliban and Prospero is very important
for
postcolonial aspect,also shows postcolonial issue of identity,
Caliban's character which also shows relationship between master
slave almost same way like in; Colonialism: Colonizers and
Colonized.
Cesaire
very beautifully described colonial-postcolonial situation
through
text. Especially conversation between Caliban and
Prospero; through
them Cesaire gave us point of view about
colonial- postcolonial
situation. Here, these dialogue shows us that
type of situation which
accrue in that prove this point.
Caliban:
And that's why you will stay just like those guys who
founded the
colonies and now can't live anywhere else.
You're
just an old colonial addict, that's what you are!
Near
the end of the play, Prospero sends all the lieutenants off the
island to procure a place in Naples for his daughter Miranda and
her
husband Ferdinand. When the fleet begs him to Prospero
refuses and
claims that the island cannot stand without him; in the
end, only he
and Caliban remain.
Conclusion:
We would
critically analyze Caliban as a character not as a class of
slaves,
we therefore argue that who feel marginalized the play from
Feminist
critics the character of Miranda and from the perspective
of
postcolonial critics the character of Caliban. But the loophole is
that just to quote Miranda and her speeches or a faulty perception
of
Caliban’s character in order to acclimatize with the feminist or
post-colonial theory kills the beauty of totality of the play.
“The real tragedy of our postcolonial world is not that the majority
of
people had no say in whether or not they wanted this new world
rather
it is that the majority have not been given the tools to
negotiate
this new world”.
Thank You...
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