Solved 2021 (Sem-5/CBCS) ENG-HE ENGLISH(Honours Elective )Paper: ENG-HE-5056(Literary Criticism and Literary Theory)Full Marks: 80

1. Answer the following as directed :

(1×10 = 10) 

a)Who, according to Wordsworth, has a greater knowledge of human nature? 

a) Wordsworth believes that poets, particularly those from humble and rustic backgrounds, have a greater knowledge of human nature.

b) What, according to Coleridge, is the body of poetic genius? 

b) According to Coleridge, the body of poetic genius is the "esemplastic power," the ability to shape and unify various elements into a harmonious whole.

c) Who does Virginia Woolf consider to be the worst culprit among the novelists she attacks?

c) Virginia Woolf considers George Eliot (Mary Ann Evans) to be the worst culprit among the novelists she criticizes in "Middlebrow.”

d) In which year did I.A. Richards publish his Principles of Literary Criticism

d) I.A. Richards published his "Principles of Literary Criticism" in the year 1924.

e) Which is the language appropriate and inevitable to poetry? 

e) The language appropriate and inevitable to poetry, according to T.S. Eliot, is a "depersonalized language.”

f) At which university did Jacques Derrida present his lecture 'Structure, sign and play in the discourse of the human sciences'?

f) Jacques Derrida presented his lecture 'Structure, Sign, and Play in the Discourse of the Human Sciences' at Johns Hopkins University in 1966.

g) Who is the author of The Elementary Structures of Kinship?

g) The author of "The Elementary Structures of Kinship" is Claude Lévi-Strauss.

h)"England knows Egypt; Egypt is what England knows;" Who said this? 

h) The quote "England knows Egypt; Egypt is what England knows" is by Edward Said.

i) In English writing do we seldom speak of _________, though we occasionally apply its name in deploring its absence 

i) In English writing, we seldom speak of "mixed modes," though we occasionally apply its name in deploring its absence.

j) Honest criticism and sensitive appreciation is directed upon the poet. (State True or False) 

j) False. Honest criticism and sensitive appreciation are directed upon the poem, not the poet, according to T.S. Eliot.

2. Answer the following as directed:

(2×5 = 10)

a) The end of poetry is to produce ________ in co-existence with an overbalance of __________.

a) The end of poetry is to produce pleasure in co-existence with an overbalance of emotion.

b) Name the three writers who are according to Virginia Woolf, materialists.

b) Virginia Woolf identified the materialist writers as Thomas Hardy, George Gissing, and John Galsworthy.

c) What, according to I.A. Richards, are the two uses of language? 

c) According to I.A. Richards, the two uses of language are emotive and referential.

d) In what terms does Marxist criticism analyse literature?

d) Marxist criticism analyzes literature in terms of social class, economic systems, and power structures, emphasizing the role of ideology.

e)What is 'power' for Foucault? 

e) For Foucault, 'power' is a pervasive force that operates in various social structures, shaping and controlling individuals and societies.

3. Write short notes on/ Answer the following (any four) : 

(5×4 = 20) 

a) Eliot's view on individual talent in relation to tradition.

a) In "Tradition and the Individual Talent," T.S. Eliot posits that true artistic creation involves a dynamic interaction between the individual artist and the historical literary tradition. He contends that the poet's work is not a mere personal outpouring of emotions but rather a conscious engagement with the collective wisdom of past writers.

Eliot introduces the concept of the "historical sense," urging poets to be acutely aware of the cultural and literary heritage that precedes them. According to Eliot, this historical consciousness allows the poet to transcend mere self-expression and contribute meaningfully to the ongoing tradition.

He argues that the poet's mind is a receptacle of past literary works, and through a process of assimilation and transformation, the poet creates something new. The individual talent, in Eliot's view, is most fruitful when it is in dialogue with and responsive to the larger cultural and literary context.

Eliot's emphasis on tradition does not imply a rigid adherence to the past but rather a selective and transformative engagement. The poet, as a part of the tradition, contributes to its evolution by reinterpreting and revitalizing existing forms and ideas.

In essence, Eliot's view on the individual talent in relation to tradition advocates for a synthesis of the personal and the collective, where the artist's creativity is enriched by a deep understanding of and responsiveness to the cultural and literary heritage.

b)"A more serious defect in aesthetics is the avoidance of considerations as to value." Explain briefly. 

b) The statement underscores the idea that aesthetics, the study of beauty and artistic expression, should not be confined solely to formal or technical aspects but should extend its inquiry to include ethical and moral considerations. In traditional aesthetics, the focus often revolves around the formal qualities of art, such as composition, color, balance, and other elements that contribute to its visual or auditory appeal.

However, the statement argues that a more serious flaw in aesthetics arises when the examination of art lacks a thoughtful exploration of the values and ethical dimensions embedded in the artistic work. Art is not only about aesthetic pleasure but can also carry profound messages, social commentary, or reflections on morality. Neglecting these aspects can lead to an incomplete understanding of the artwork.

Considerations as to value encompass a range of ethical and moral questions. These might involve exploring the cultural or societal implications of an artwork, evaluating its impact on individuals or communities, or analyzing the ethical choices made by the artist in its creation. For instance, a painting, a piece of literature, or a musical composition may tackle issues such as justice, equality, or human rights, and a thorough aesthetic analysis should take these thematic elements into account.

In essence, the statement advocates for a more holistic approach to aesthetics—one that recognizes art not only for its formal beauty but also for its potential to engage with and contribute to important ethical and moral discussions. This broader perspective enriches the study of aesthetics by acknowledging the profound and multifaceted nature of artistic expression.

c)Plot and Setting 

Plot and Setting:

Plot:

The plot of a story is the sequence of events that make up the narrative. It includes the arrangement and interrelation of incidents that engage the reader's or viewer's interest. The plot typically involves the exposition, rising action, climax, falling action, and resolution. Characters navigate through conflicts, challenges, or developments that drive the story forward. A well-crafted plot captivates the audience and provides a structure for the unfolding events.

Setting:

The setting of a story refers to the time and place in which the events occur. It encompasses the physical and social environment, including the geographical location, historical period, cultural context, and even the weather. The setting contributes to the atmosphere and mood of the narrative, influencing the characters and their actions. A vivid and well-described setting not only establishes the backdrop for the plot but can also become a significant element in shaping the overall tone and meaning of the story.

In summary, while the plot involves the unfolding events and narrative structure, the setting provides the context and environment in which these events take place. Together, they form essential components of storytelling, creating a rich and immersive experience for the audience.

d)Gandhi's views on 'Passive Resistance' 

d)Mahatma Gandhi's views on 'Passive Resistance,' also known as 'Satyagraha,' were central to his philosophy of nonviolent civil disobedience as a means of resisting oppression and injustice. Here are key aspects of Gandhi's views on 'Passive Resistance':

1. **Nonviolent Resistance:** Gandhi's 'Passive Resistance' advocated for nonviolent resistance to unjust laws and actions. He believed that individuals could confront oppression and injustice through peaceful means without resorting to violence.

2. **Satyagraha - Holding onto Truth:** The term 'Satyagraha' combines the Sanskrit words 'satya' (truth) and 'agraha' (insistence or holding onto). Gandhi emphasized the pursuit of truth and the commitment to nonviolence as essential components of 'Satyagraha.'

3. **Resistance Through Soul Force:** Gandhi believed in the power of soul force or the force of truth and morality. He argued that individuals, by aligning themselves with truth and refusing to cooperate with injustice, could bring about change through the sheer strength of their convictions.

4. **Appeal to Conscience:** 'Passive Resistance' involved appealing to the conscience of the oppressor. Instead of physical confrontation, Gandhi's approach aimed at transforming the hearts and minds of those in power through the moral high ground occupied by the resisters.

5. **Self-Suffering and Sacrifice:** Practitioners of 'Passive Resistance' willingly accepted suffering and sacrifices as a form of protest. This willingness to endure hardships demonstrated the resisters' commitment to their cause and often evoked sympathy, both nationally and internationally.

6. **Constructive Programme:** Gandhi coupled 'Passive Resistance' with a constructive program aimed at building alternative institutions and practices that reflected the values of truth and nonviolence. This included initiatives such as spinning cloth (Khadi) and promoting self-reliance.

Gandhi's philosophy of 'Passive Resistance' played a pivotal role in India's struggle for independence and has left a lasting legacy in the global understanding of nonviolent resistance and civil disobedience. His approach has inspired various civil rights movements and leaders around the world.

e) Coleridge's idea of a poem 

e) Coleridge's idea of a poem: Samuel Taylor Coleridge, a prominent Romantic poet and critic, expressed his views on poetry in various writings, including his lectures on literature. Coleridge believed that a poem should be a harmonious fusion of emotion and intellect. He emphasized the concept of "organic form," where every part of the poem contributes to the whole, creating a unified and cohesive work of art.

According to Coleridge, a poem should possess an intrinsic unity, with each element serving a purpose in conveying the poet's intended meaning. He also highlighted the importance of imagination and the creative process, considering poetry as a product of the poet's imaginative and emotional engagement with the world. Coleridge's ideas on poetry have had a lasting influence, particularly in the Romantic tradition, and his emphasis on the organic unity of a poem continues to be a subject of study and discussion in literary criticism.

f)Wordsworth's Preface to the Lyrical Ballads (1802) as a manifesto of the Romantic movement in English Literature.

Answer:- Wordsworth's Preface to the Lyrical Ballads (1802) is considered a foundational document and manifesto of the Romantic movement in English literature. In this preface, co-authored by William Wordsworth and Samuel Taylor Coleridge, Wordsworth outlined key principles that characterized the Romantic literary ethos:

1. **Focus on Ordinary Life:** Wordsworth advocated for a shift in poetic subject matter from grand themes to the everyday experiences of ordinary people. He believed that common life and rural settings could evoke profound emotions and reflections.

2. **Use of Ordinary Language:** Wordsworth championed the use of language spoken by ordinary people, emphasizing simplicity and natural expression. This departure from the ornate diction of the 18th century marked a significant break with poetic conventions of the time.

3. **Imagination and Emotion:** The preface emphasized the role of the poet's imagination and the power of emotion in creating poetry. Wordsworth celebrated the spontaneous overflow of powerful feelings as essential to poetic expression.

4. **Nature as a Source of Inspiration:** Nature held a central place in Romantic poetry. Wordsworth believed that direct contact with nature could have a transformative effect on the individual, fostering a sense of awe and spiritual connection.

5. **Rejection of Classical Poetic Forms:** The Romantics, including Wordsworth, rejected the rigid rules of classical poetic forms and favored more flexible structures. They sought to create poetry that reflected the organic and emotional nature of human experience.

Wordsworth's preface, therefore, serves as a manifesto for the Romantic movement, signaling a departure from neoclassical ideals and influencing subsequent generations of poets. It laid the groundwork for a new way of approaching literature, one that celebrated individual expression, emotion, and a deep connection with the natural world.

4. Answer any four of the following questions: 

(10×4 = 40) 

a) Discuss Eliot's theory of impersonality.

 

Eliot's theory of impersonality is an extremely significant concept in literary criticism. It is based on the belief that the author's self-expression in literature should be suppressed or eliminated, and the author should withdraw himself from his creation and adopt an objective and impersonal approach in his writing. In other words, Eliot advocates the suppression of individual emotions, opinions, and personal experience of the author in favour of an objective and impersonal style of writing that reveals universal truths about human experience.

The concept of impersonality in literature is closely related to the modernist movement, of which Eliot was a key representative. Modernism emphasised a rejection of traditional literary forms, a focus on inner experiences and consciousness, and a concern for the tension between the individual and society.

Eliot argued that by adopting an impersonal approach in literary creation, the writer can better access a more profound part of the human experience that is universal and timeless. He believed that individual emotions, opinions, and experiences could cloud the writer's judgment and prevent him from achieving objectivity.

Eliot's model of impersonality was closely aligned with the philosophical and aesthetic principles of the ancient Greeks. He believed that the Greeks' theatre emphasised the role of impersonality, objectivity, and rationality, and he hoped to revive these principles in his own work.

Eliot's theory of impersonality shifted the focus of literary criticism from the author's personality to the work itself. Critics began to examine the text in isolation from the author, looking for universal themes, formal structures, and linguistic devices that reveal the universality of human experience.

In conclusion, Eliot's theory of impersonality had a profound impact on modernist literature and literary criticism. It prescribed an objective and impersonal approach to writing that aimed to reveal universal truth and human experience and has left a lasting legacy in literature and literary criticism.

b)Write an essay on I.A. Richards as a critic with special reference to the prescribed chapters of Principles of Literary Criticism

c) "Feminist criticism and women's literary history" says Elaine Showalter, "do not depend on the discovery of a great unique genius, but on the establishment of the continuity and legitimacy of women's writing as a form of art." Comment on the significance of this statement. 

Ans: Elaine Showalter's statement highlights the significance of feminist criticism and women's literary history in challenging the traditional canon of literature that has predominantly focused on male authors. Showalter asserts that feminist criticism does not require the identification of a single exceptional female genius to validate women's writing as art. Instead, the emphasis is placed on recognizing and valuing the continuous and legitimate contributions of women writers throughout history.

This statement is significant for several reasons. Firstly, it challenges the patriarchal narrative that has historically dominated literary discourse, often relegating women's writing to the margins or dismissing it entirely. By asserting the continuity and legitimacy of women's writing, feminist criticism aims to give women authors their rightful place in the literary canon and reshape the understanding of literature as a whole.

Secondly, Showalter's statement suggests that feminist criticism seeks to uncover and promote the hidden or overlooked works of women writers. Women have historically faced numerous barriers to entry, including limited educational opportunities, social expectations, and systemic discrimination. By establishing the continuity of women's writing, feminist criticism aims to recover and celebrate these voices that have been historically silenced or marginalized.

Additionally, Showalter's statement emphasizes the importance of recognizing women's writing as a distinct form of art, rather than simply comparing it to or evaluating it against the works of male authors. This perspective challenges the notion that women must conform to male-dominated standards to be considered legitimate writers. By focusing on the unique experiences and perspectives of women, feminist criticism aims to broaden the understanding and appreciation of literary art.

Furthermore, Showalter's statement has broader implications beyond the realm of literature. By establishing the continuity and legitimacy of women's writing, feminist criticism also contributes to the overall recognition and validation of women's experiences, perspectives, and voices in society. It sheds light on the value of diverse viewpoints and challenges the notion that male authors should be considered the default or norm in the literary world.

In conclusion, Showalter's statement underscores the importance of feminist criticism and women's literary history in challenging traditional notions of literature, recognizing the contributions of women writers, and promoting diversity and inclusivity in the literary canon. It highlights the significance of honoring women's writing as a distinct and valuable form of art, independent of the patriarchal framework that has historically shaped literary discourse.

d) Do you think that Marxist criticism is part of a larger body of theoretical analysis which aims to understand ideologies? Give a reasoned answer.

Ans: Yes, Marxist criticism is indeed part of a broader body of theoretical analysis aimed at understanding ideologies. Marxist criticism, rooted in the ideas of Karl Marx and Friedrich Engels, focuses on the relationship between literature and the socioeconomic structures of society. It seeks to uncover how literature reflects and perpetuates class struggles, ideologies, and power dynamics.

In the context of understanding ideologies, Marxist criticism specifically examines how literature reinforces or challenges dominant ideologies, often concentrating on issues such as class exploitation, alienation, and the role of literature in shaping consciousness. It provides a lens through which one can analyze how cultural products, including literature, contribute to the dissemination and maintenance of certain ideological beliefs.

However, it's important to note that Marxist criticism is just one among many theoretical approaches within the larger field of literary theory. Other perspectives, such as feminist, postcolonial, psychoanalytic, and structuralist theories, also contribute to the comprehensive study of ideologies in literature. Each theoretical framework offers unique insights into how ideologies operate and are represented in literary works.

In essence, Marxist criticism is a valuable component of the broader theoretical landscape that collectively seeks to unravel the intricate connections between literature, ideology, and societal structures.

e) How does Derrida deconstruct Lévi Strauss's idea of binaries? 

Ans: Derrida deconstructs Lévi-Strauss's idea of binaries by challenging the notion of binary oppositions themselves. Lévi-Strauss supported the idea that binary oppositions were fundamental to organizing human thought and language, and that these pairs of oppositions were the building blocks of cultural meaning and identity.

Derrida, however, argues that these binary oppositions are not fixed, and that they are not simply oppositions, but hierarchies of power and privilege. He believes that Western thought has a tendency to privilege one term over the other in these binaries, and that this creates a system of exclusion and marginalization of certain groups.

For example, Lévi-Strauss identified the binary opposition of "culture" and "nature" as a fundamental organizing principle of human thought and language. Derrida, on the other hand, argues that this binary opposition is not a fixed and natural concept, but rather a product of Western social and cultural values. He also suggests that this binary opposition privileges "culture" as superior to "nature," making it a hierarchal binary that marginalizes certain groups, such as women and indigenous peoples, who are often associated with "nature" and therefore considered less evolved or civilized.

Derrida's deconstruction of Lévi-Strauss's idea of binaries ultimately challenges the fixed and hierarchical nature of binary oppositions, implying that any attempt to understand human culture and identity within such rigid parameters is inherently exclusionary and limiting. By unveiling the power dynamics in binary oppositions, Derrida seeks to disrupt traditional assumptions about the nature of language, thought, and culture, pointing to the need for a more inclusive, fluid, and flexible approach to understanding these complex and interconnected systems.

f) “The choice of 'Oriental' was canonical; it had been employed by Chaucer and Mandeville, by Shakespeare, Dryden, Pope and Byron.” How would you react to this statement of Said? Explain.

Ans: Edward Said's critique in "Orientalism" revolves around the concept of Orientalism as a Western lens through which the East is perceived. The term 'Oriental' has a historical legacy, as mentioned in the quote, being employed by notable literary figures. However, Said argues that this usage contributes to a distorted Western portrayal of the East as mysterious, backward, and inferior.

Said contends that the repeated use of such terminology creates a power dynamic where the West assumes a position of authority and knowledge over the East. This, he argues, leads to a misrepresentation of Eastern cultures and peoples. The canonical use of 'Oriental' by influential writers further solidifies these stereotypes, shaping Western attitudes and policies toward the East.

In urging a reevaluation of language, Said encourages a more nuanced understanding of diverse cultures, emphasizing the need to move away from essentialist and reductive portrayals. The goal is to foster a discourse that respects the complexity and individuality of each culture rather than perpetuating oversimplified and biased views rooted in historical terminology.

 

g) Write a note on the psychological experiences of black men and women in societies dominated by white people on the basis of your reading of Frantz Fanon's Black Skin, White Masks.

Frantz Fanon's "Black Skin, White Masks" explores the psychological impact of colonialism and racism on the experiences of black individuals in societies dominated by white people. Fanon delves into the internalized effects of racial oppression, focusing on the psychological struggles faced by black men and women.

One key aspect is the concept of racial inferiority and the internalization of a white-dominated societal gaze. Fanon argues that black individuals may develop a sense of inadequacy and self-rejection due to the pervasive influence of colonial ideologies. The desire for acceptance within a white-centric framework can lead to internal conflicts and identity crises.

Fanon also addresses the phenomenon of "double consciousness," where black individuals navigate their self-perception alongside the imposed white perspective. This dual awareness can create a constant internal tension and a struggle for self-affirmation.

Moreover, Fanon examines the impact on relationships and the construction of identity in interpersonal interactions. The quest for recognition and validation within a predominantly white society can shape the dynamics of personal relationships, reinforcing stereotypes and limiting genuine connection.

In summary, "Black Skin, White Masks" offers profound insights into the psychological complexities faced by black individuals in societies dominated by white people. It highlights the internal struggles, identity conflicts, and challenges in establishing authentic relationships within the context of racial oppression. Fanon's work remains a seminal exploration of the psychological dimensions of racism and colonialism.

h) How does Toril Moi examine negative feminist responses to Woolf in her 'Introduction' to Sexual/Textual Politics? 

Ans: Toril Moi, in the introduction to "Sexual/Textual Politics," critically engages with negative feminist responses to Virginia Woolf. Moi acknowledges that some feminists have expressed reservations about Woolf, particularly questioning her relevance to feminist discourse. One aspect of criticism revolves around Woolf's class background and her associations with elitist intellectual circles. Some feminists argue that her perspective might not be representative of the broader experiences of women.

Moi also discusses how some feminists perceive Woolf's emphasis on an androgynous mind and her focus on an elite literary tradition as potentially excluding or neglecting the concerns of marginalized women. Critics suggest that Woolf's vision of gender equality may not adequately address the diverse struggles faced by women of different backgrounds and social classes.

Moreover, Moi examines the criticism of Woolf's writing style, which some feminists find overly complex and detached. This criticism is often linked to concerns about accessibility, as some argue that Woolf's work may not resonate with a wider audience.

Despite these negative responses, Moi contends that it is essential to engage with Woolf's ideas critically, recognizing both her contributions and limitations. Moi advocates for a nuanced understanding of Woolf within the feminist canon, acknowledging the diversity of feminist perspectives and the ongoing dialogue around issues of class, accessibility, and intersectionality within feminist discourse.