Thursday, 12 March 2020
Tuesday, 10 March 2020
Assignment :- 15 History and Evolution of Indian film Industry
Assignment :- 15 History and Evolution of Indian film Industry
Name :- Rathod Nikita p.
Roll No :- 21
Enrolment no :- 2060108420190038
Semester :- M. A. Semester - 4
Paper no :- 15 (Mass Communication and Media Studies)
Assignment Topic :- History and Evolution of Indian film Industry
Year :- 2018-2020
Email-id :- nikitarathod0101@gmail.com
Words :- 1786
Submitted to :- Smt. S.B.Gardi Department of English. Maharaja krishnakumarsinhji Bhavnagar University.
(1) History and Evaluation of Indian Film IIIIndustry.
=> Indian film Industry consists of motion pictures made all over India, including the regional industries in Andhra Pradesh, Assam, Karnataka, Kerala, Maharashtra, Orrissa, Panjab, TamilNadu and West Bengal. These movies are widely viewed across the world especially in South Asia and Middle East due to cultural and linguistic proximities. Indian Cinema was emerged as the global enterprise in the 20th century.
One of the most flourishing cinema industries found today is in India. But the pioneers of the industry were actually foreigners. In 1896, the Lumiere brothers demonstrated the art of cinema when they screened Cinematography consisting of six short films an enthusiastic audience in Bombay. The success of these films led to the screening of films by James B. Stewart and Ted Hughes. In 1897, Save Dada made two short films. But the fathers of Indian cinema were Dada Saheb Phalke who in 1913 made the first feature length silent film and Ardeshir Irani who in 1931 made India's first talking film. With the demise of the silent era and the advent of the talkies, the main source for inspiration for films came from mythological texts. Films were produced in Hindi, Tamil, Telugu and Bengali. Mythology flourished more in South India where its social Conservative moral equated film acting to prostitution. But by the 1930's,word had spread around the world about the vibrant film industry in India and foreigners with stars in their eyes landed upon Bombay Shores. One of these was Marry Evans, a young Australian girl who could do stunts. She could, with no effort, lift a man and throw him across the room. She wore zorro like masks and used a whip when necessary. She changed her name to Nadia and was affectionately known by the audience as fearless nadia and that name stuck with her through the ages. Even though she did not speak any of the native tongues, her career spanned from the 1930's to 1959. She had a huge cult following. The press and critics did not appreciate her, however, the audiences could not get enough of her stunt theatrics. Following on Nadia 's heels in 1940, Florence Esekiel, a teenager from Baghdad, arrived in Bombay and was soon given the screen name of Nadira. She played the love interest in a Dilip kumar film who at the time was a leading heartthrob. She moved on to playing bitchy parts and was forever type cast as a 'Vamp'. The temptress, the bad girl. She gradually slipped into mother roles. One of her last appearances in Ismail Merchant film cotton Mary. There were also one of them was Bob Christo, who was another Australian. He came to India because he had seen a picture of the actress parveen Babi and ended up actually being in a film with her. He specialised in villian and henchman roles. Another Notable actor is Tom Alter who does not speak the language, although he is fluent in Hindi and Urdu, even reciting poems in Urdu on the stag. He was raised in Mussourie, India. And then we must not forget Helen. A Franco-Burmese refuge who broke all norms, she embodied sexuality and filled the roles that other actresses with Conservative views shunned. She was widely sought after for her dance or item numbers as they are called today. However she stayed within the code of decency wearing body stockings all the times. She did venture out of this zone by doing a few serious roles. In the 1920's Franz Austen, a German from Munich who could not utter one word of Hindi, came to Bombay and directed 57 blockbuster films. His films were on the scale of those made by Cecil B. Demile. He drew his inspiration from episodes of the Mahabharata and Ramayana, his early silent films were richer than most that were made at the time. In 1947, when India gained its independence, Mythological and historical stories were being replaced by social reformist films focusing on the lives of the lower classes, the dowry system and prostitution. This brought a new wave of filmmakers to the forefront such as Bimal Roy and Satyajit Ray among others. In the 1960's inspired by social and cinematic changes in the Us and Europe, India 's new wave was founded, offering a greater sense of realism to the public and getting recognition abroad, but the industry at large churned out' Masala' films with a mesh of genres including action, comedy, Melodrama punctuated with songs and dances and relying on the songs and the stars to sell their films.
In past time there is no more facilities or techniques are there. At that drama, play performed by people. It becomes too of enjoyment. And slowly slowly technology develops and then Silent films came. In this sound system is not there. Because at that time sound system does not developes. But later on sound system came, Movie came in Black and White frame. And later on more techniques developes and then movie came in Colourful frame. In now a days Movie came in 3D frame. So technology develops and new invention came, and things becomes easy in comparison of past time.
Today there is a growing movement to make Indian cinema more real - a group of young filmmakers like Anurag Kashyap, Anand Gandhi and Gyan Correa, whose film The Good Road is this year’s contender for the Oscars. There are new more large investments from corporate houses and a more structured industry funding independent cinema and making it a viable and profitable business there has never been a more favorable time for Indian cinema than today. With a vibrant creative community, new technology and investment interest, we are on the verge of seeing Indian cinema transcend its national borders to project India’s socio-political and economical influence around the world.
India cinema was emerged as the global enterprise in the 20th century. Indian films exhibited in more than 90 countries through dynamic and fast modern media. An increasing participation in the international film festivals and cultural delegations to foreign countries strategically contributed to effective branding and promotion of Indian films in the international market. Besides the possibility of 100 percent foreign venture has turned the Indian film Industry lucrative for overseas investors and production houses such as the 20th century, Fox, Sony pictures and Warner Bros. Simultaneously, prominent native investors such as Zee, UTV, Suresh productions, Ad labs and Sun Networks, Sun Pictures engaged enthusiastically in filmmaking and distribution business. Tax benefits to picture houses have also led to the mushroomed growth of multiscreen cinemas known as Multiplexers all across India. Around 30 movie making enterprises had been officially registered in India by the year 2003, highlighting the commercial existence and standing of the film Industry in the region.
India cinema witnessed revolutionary changes both in technology and style of film production in thirties. A major milestone in this era was India's first talkie, 'Alam Ara' that was directed and released by Ardeshir Irani in 1931. The film released in Hindi and Urdu, was an instant hit on box office and set a fresh trend in the history of Indian Cinema several Talking, singing and dancing films were produced following Alam Ara that marked the lunch of the Talkies era in South Indian film industries well. The first talkie flims in Bengali (Jumai Shasthi), Telugu (Bhakra Prahlad) and Tamil (Kalidas) were released in the same year. Thirties was also known as the decade of social protest. In the historical decade three leading film hubs were developed in Bombay (Mumbai), Calcutta(Kolkata), and Madras(Chennai). Bombay used to be the centre of mainstream productions distributed nationally whereas Madras and Calcutta were famous for their local productions.
The decades of thirties and forties were turbulent period for India. The sub- contient was badly hit by Great Depression, World War second, Freedom movement and Indo-Pak partition calamities. During that era, majority of Indian movies were highly escapists with a few filmmakers who focused pertinent socio-political topics in their productions. The period from late forties to fifties was viewed as the Golden Age of Indian cinema by most film historians. Fifties was especially the most valued period in Hindi film industry glittered with brilliant directors and artists with their individual signature craft and style.
In the two decades, production of mega-budget movies alongside art films increased. The evergreen movies of 60S and 70S include Kamal Amrohi's pakeeza, Raj Kapoor's Bobby, Ramesh Sippy's Sholay, Kabhi Kabhi, Amar Akbar Anthony, Hum Kisise Kum Nahin, and Muqaddar Ka Sikandar. This action plus Romantic era had its own galaxy including stars such as Rajesh Khanna and Dharmendra, Sharmila Tagore, Mumtaz and Helen.
By the mid of seventies love stories gave way to the violent action themes about gangsters. Amitabh Bachchan is the ironic star known for his angry young man roles. He dominated the silver screen with other male leads like Mithun Chajraborty and Anil Kapoor and female actresses including Hema Malini, Jaya Bachchan and Rekha for several years.
In the late eighties and early nineties, once again trend changed in Indian cinema and there was a marked shift from gangster movies to romantic musicals. Family - oriented films such as Mr. India, Tezaab, Qayamat se Qayamat Tak, Maine Pyar kiya, Hum Apke Hain Kaun, Dilwale Dulhania Le Jayenge etc. And In The decade of 2000S witnessed persistent rise of Indian cinema in the world. And Director also experiments and made film on real story, real incident. In fact modern technology took Bollywood to novel peaks in reference to Cinematography and storylines alongside mechanical advantages in terms of special effects and animation. Indian cinema is now competing globally with advanced digital projectors, converting digital format and latest production techniques.
=> Conclusion :-
Due to timely changes in cinema, cinema has become more popular among the people. Over the last years of the twentieth century and beyond, Bollywood progressed in its popularity as it entered the consciousness of Western audiences and producers. Bollywood movies have reached almost all the continents including Europe, North America, Oceania & Pacific Islands, and South America and Africa.
* Work Cited :-
* Souza, Noel De. A Brief History of Indian Cinema. 2 January 2014. 09 March 2020 <https://www.goldenglobes.com/articles/brief-history-indian-cinema>.
* Erum, Hafeez. History and Evolution of Indian Film Industry. 31 December 2016. 09 March 2020 <https://www.researchgate.net/publication/332751636_History_and_Evolution_of_Indian_Film_Industry>.
Name :- Rathod Nikita p.
Roll No :- 21
Enrolment no :- 2060108420190038
Semester :- M. A. Semester - 4
Paper no :- 15 (Mass Communication and Media Studies)
Assignment Topic :- History and Evolution of Indian film Industry
Year :- 2018-2020
Email-id :- nikitarathod0101@gmail.com
Words :- 1786
Submitted to :- Smt. S.B.Gardi Department of English. Maharaja krishnakumarsinhji Bhavnagar University.
(1) History and Evaluation of Indian Film IIIIndustry.
=> Indian film Industry consists of motion pictures made all over India, including the regional industries in Andhra Pradesh, Assam, Karnataka, Kerala, Maharashtra, Orrissa, Panjab, TamilNadu and West Bengal. These movies are widely viewed across the world especially in South Asia and Middle East due to cultural and linguistic proximities. Indian Cinema was emerged as the global enterprise in the 20th century.
One of the most flourishing cinema industries found today is in India. But the pioneers of the industry were actually foreigners. In 1896, the Lumiere brothers demonstrated the art of cinema when they screened Cinematography consisting of six short films an enthusiastic audience in Bombay. The success of these films led to the screening of films by James B. Stewart and Ted Hughes. In 1897, Save Dada made two short films. But the fathers of Indian cinema were Dada Saheb Phalke who in 1913 made the first feature length silent film and Ardeshir Irani who in 1931 made India's first talking film. With the demise of the silent era and the advent of the talkies, the main source for inspiration for films came from mythological texts. Films were produced in Hindi, Tamil, Telugu and Bengali. Mythology flourished more in South India where its social Conservative moral equated film acting to prostitution. But by the 1930's,word had spread around the world about the vibrant film industry in India and foreigners with stars in their eyes landed upon Bombay Shores. One of these was Marry Evans, a young Australian girl who could do stunts. She could, with no effort, lift a man and throw him across the room. She wore zorro like masks and used a whip when necessary. She changed her name to Nadia and was affectionately known by the audience as fearless nadia and that name stuck with her through the ages. Even though she did not speak any of the native tongues, her career spanned from the 1930's to 1959. She had a huge cult following. The press and critics did not appreciate her, however, the audiences could not get enough of her stunt theatrics. Following on Nadia 's heels in 1940, Florence Esekiel, a teenager from Baghdad, arrived in Bombay and was soon given the screen name of Nadira. She played the love interest in a Dilip kumar film who at the time was a leading heartthrob. She moved on to playing bitchy parts and was forever type cast as a 'Vamp'. The temptress, the bad girl. She gradually slipped into mother roles. One of her last appearances in Ismail Merchant film cotton Mary. There were also one of them was Bob Christo, who was another Australian. He came to India because he had seen a picture of the actress parveen Babi and ended up actually being in a film with her. He specialised in villian and henchman roles. Another Notable actor is Tom Alter who does not speak the language, although he is fluent in Hindi and Urdu, even reciting poems in Urdu on the stag. He was raised in Mussourie, India. And then we must not forget Helen. A Franco-Burmese refuge who broke all norms, she embodied sexuality and filled the roles that other actresses with Conservative views shunned. She was widely sought after for her dance or item numbers as they are called today. However she stayed within the code of decency wearing body stockings all the times. She did venture out of this zone by doing a few serious roles. In the 1920's Franz Austen, a German from Munich who could not utter one word of Hindi, came to Bombay and directed 57 blockbuster films. His films were on the scale of those made by Cecil B. Demile. He drew his inspiration from episodes of the Mahabharata and Ramayana, his early silent films were richer than most that were made at the time. In 1947, when India gained its independence, Mythological and historical stories were being replaced by social reformist films focusing on the lives of the lower classes, the dowry system and prostitution. This brought a new wave of filmmakers to the forefront such as Bimal Roy and Satyajit Ray among others. In the 1960's inspired by social and cinematic changes in the Us and Europe, India 's new wave was founded, offering a greater sense of realism to the public and getting recognition abroad, but the industry at large churned out' Masala' films with a mesh of genres including action, comedy, Melodrama punctuated with songs and dances and relying on the songs and the stars to sell their films.
In past time there is no more facilities or techniques are there. At that drama, play performed by people. It becomes too of enjoyment. And slowly slowly technology develops and then Silent films came. In this sound system is not there. Because at that time sound system does not developes. But later on sound system came, Movie came in Black and White frame. And later on more techniques developes and then movie came in Colourful frame. In now a days Movie came in 3D frame. So technology develops and new invention came, and things becomes easy in comparison of past time.
Today there is a growing movement to make Indian cinema more real - a group of young filmmakers like Anurag Kashyap, Anand Gandhi and Gyan Correa, whose film The Good Road is this year’s contender for the Oscars. There are new more large investments from corporate houses and a more structured industry funding independent cinema and making it a viable and profitable business there has never been a more favorable time for Indian cinema than today. With a vibrant creative community, new technology and investment interest, we are on the verge of seeing Indian cinema transcend its national borders to project India’s socio-political and economical influence around the world.
India cinema was emerged as the global enterprise in the 20th century. Indian films exhibited in more than 90 countries through dynamic and fast modern media. An increasing participation in the international film festivals and cultural delegations to foreign countries strategically contributed to effective branding and promotion of Indian films in the international market. Besides the possibility of 100 percent foreign venture has turned the Indian film Industry lucrative for overseas investors and production houses such as the 20th century, Fox, Sony pictures and Warner Bros. Simultaneously, prominent native investors such as Zee, UTV, Suresh productions, Ad labs and Sun Networks, Sun Pictures engaged enthusiastically in filmmaking and distribution business. Tax benefits to picture houses have also led to the mushroomed growth of multiscreen cinemas known as Multiplexers all across India. Around 30 movie making enterprises had been officially registered in India by the year 2003, highlighting the commercial existence and standing of the film Industry in the region.
India cinema witnessed revolutionary changes both in technology and style of film production in thirties. A major milestone in this era was India's first talkie, 'Alam Ara' that was directed and released by Ardeshir Irani in 1931. The film released in Hindi and Urdu, was an instant hit on box office and set a fresh trend in the history of Indian Cinema several Talking, singing and dancing films were produced following Alam Ara that marked the lunch of the Talkies era in South Indian film industries well. The first talkie flims in Bengali (Jumai Shasthi), Telugu (Bhakra Prahlad) and Tamil (Kalidas) were released in the same year. Thirties was also known as the decade of social protest. In the historical decade three leading film hubs were developed in Bombay (Mumbai), Calcutta(Kolkata), and Madras(Chennai). Bombay used to be the centre of mainstream productions distributed nationally whereas Madras and Calcutta were famous for their local productions.
The decades of thirties and forties were turbulent period for India. The sub- contient was badly hit by Great Depression, World War second, Freedom movement and Indo-Pak partition calamities. During that era, majority of Indian movies were highly escapists with a few filmmakers who focused pertinent socio-political topics in their productions. The period from late forties to fifties was viewed as the Golden Age of Indian cinema by most film historians. Fifties was especially the most valued period in Hindi film industry glittered with brilliant directors and artists with their individual signature craft and style.
In the two decades, production of mega-budget movies alongside art films increased. The evergreen movies of 60S and 70S include Kamal Amrohi's pakeeza, Raj Kapoor's Bobby, Ramesh Sippy's Sholay, Kabhi Kabhi, Amar Akbar Anthony, Hum Kisise Kum Nahin, and Muqaddar Ka Sikandar. This action plus Romantic era had its own galaxy including stars such as Rajesh Khanna and Dharmendra, Sharmila Tagore, Mumtaz and Helen.
By the mid of seventies love stories gave way to the violent action themes about gangsters. Amitabh Bachchan is the ironic star known for his angry young man roles. He dominated the silver screen with other male leads like Mithun Chajraborty and Anil Kapoor and female actresses including Hema Malini, Jaya Bachchan and Rekha for several years.
In the late eighties and early nineties, once again trend changed in Indian cinema and there was a marked shift from gangster movies to romantic musicals. Family - oriented films such as Mr. India, Tezaab, Qayamat se Qayamat Tak, Maine Pyar kiya, Hum Apke Hain Kaun, Dilwale Dulhania Le Jayenge etc. And In The decade of 2000S witnessed persistent rise of Indian cinema in the world. And Director also experiments and made film on real story, real incident. In fact modern technology took Bollywood to novel peaks in reference to Cinematography and storylines alongside mechanical advantages in terms of special effects and animation. Indian cinema is now competing globally with advanced digital projectors, converting digital format and latest production techniques.
=> Conclusion :-
Due to timely changes in cinema, cinema has become more popular among the people. Over the last years of the twentieth century and beyond, Bollywood progressed in its popularity as it entered the consciousness of Western audiences and producers. Bollywood movies have reached almost all the continents including Europe, North America, Oceania & Pacific Islands, and South America and Africa.
* Work Cited :-
* Souza, Noel De. A Brief History of Indian Cinema. 2 January 2014. 09 March 2020 <https://www.goldenglobes.com/articles/brief-history-indian-cinema>.
* Erum, Hafeez. History and Evolution of Indian Film Industry. 31 December 2016. 09 March 2020 <https://www.researchgate.net/publication/332751636_History_and_Evolution_of_Indian_Film_Industry>.
Assignment :- 14 Human relationships in Wole Soyinka's The Swamp Dweller
Assignment :- 14 Human relationships in Wole Soyinka's The Swamp Dweller
Name :- Rathod Nikita p.
Roll No :- 21
Enrolment no :- 2060108420190038
Semester :- M. A. Semester - 4
Paper no :- 14 (The African Literature)
Assignment Topic :- Human relationships in Wole Soyinka's The Swamp Dweller
Year :- 2018-2020
Email-id :- nikitarathod0101@gmail.com
Words :- 1623
Submitted to :- Smt. S.B.Gardi Department of English. Maharaja krishnakumarsinhji Bhavnagar University.
(1) Human relationships in Wole Soyinka's The Swamp Dwellers
=> The characters in The Swamp Dwellers fell into three groups: the parents Makuri and Alo-conservative, the corrupt priest Kadiye, who beguiles his superstitious followers; and the two positive individuals Igwezu and the Beggar, moving, wondering, seeking and then uncertain what they have found. It is a play of mood and atmosphere, constructed so as to provide the audience with ample opportunity to make comparisons and reach judgment. Soyinka makes his points through implied contrasts and comparisons. In the play, there is contrast between twin brothers, father and son, between mother- in law and daughter- in- law, between the Beggar and host, comparison between Igwezu and the Beggar and the final contrast between the Beggar and the Priest Kadiye.
Two Brothers
The most obvious contrast is that between the twins brothers, who look alike but behave differently Awuchike has left home for ten years and lives in town. There he deals in timbers and thrives fast. But he never thinks of his poor old parents. Besides, he does not even communicate with his parents, as a result his mother thinks that, he died in swamp drowning, though his father knows that he is still alive in town and earning money there. He is dead to his parents and family responsibility/ whereas, Igwezu is quite opposite to him. He also goes to town with his wife to seek his fortune. He promised that, with first earned money, he will send a swivel chair for his father and he fulfils his promise. He communicates with his parents and looks after them. After all, Awuchike is callous, self centered, egoster, nonchalant, unmindful, undutiful ad disobedient towards parents but Igwezu is obedient, dutiful towards his parents.
Contrast between mother- in law and daughter- in- law
There is a contrast between the women in the family. Igwezus mother Alu is faithful and loyal to his father Makuri. Alu and Makuri lead their conjugal life in subsistence level. Makuri makes basket with rushes and Alu works at her adire cloth. Makuri is also an occasional barer. After all, they live from hand to mouth. In youth, Alu was very beautiful. A group of crocodile traders visited the Swamp and offered Alu to leave for city with them but Alu checked the temptation and rejected their offers. Throughout her life, she shares the well and woe of her husband and remains faithful. Makuri never feels tension for her sake. Besides, she loves the swamp region and never expresses any wish to leave for city. But Igwezus wife is reversed to Alu. Her condition before wedding was that, she must have to be taken to town after marriage. She does not like rustic life, careless about Igwezus parens. Besides, whenever he begins their urban life, Igwezus wife leaves him for wealthy Awuchike. The contrasting point between these two women is that, one is faithful and consistent to husband and another is inconsistent and unfaithful, one is materialistic, another is simple and honest.
Beggar in comparison to Igwezu
The blind beggar offers a comparison to Igwezu. The beggar loses his crops to locust and leaves his home in Bukanji, walks to the south passing through the city, searching for land to cultivate. Igwezu also loses his crops to flood leaves his home in Swamp and takes shelter in town. That is both experience misfortune but both are resolved to earn their livelihood by labor. They are unlike Awchike and Kadiye.
Contrast between Makuri and the beggar
There is a contrast between Makuri and the beggar. Though Makuri has eyesight, he cannot detect the mystery that his family is being beguiled, deceived by the corrupt Priest. But though the beggar is deprived of eyesight, his spiritual light is so powerful and penetrative that, he can detect the bulk of the Priest out of his voice. This means that, he can guess that the Priest is consuming their fresh crops by means of false rituals.
Beggar contrasts to the Priest Kadiye
The blind beggar also offers a contrast to the Priest Kadiye. Though he is regarded as beggar, actually, he does not believe in begging. Rather he believes in the virtue of diligence- this is how he leaves his home and gets out in search of a cultivable land. When the servant of the priest gives a coin, the beggar keeps his bowl upside down. The beggar is not superstitious. He can not believe that, there is any supernatural being in the name a serpent God, who possesses land. But, the priest whose head is bold, skin-tender, looks like greasy porpoises begs his in sophisticated form. He takes goats, ores and other sacrifices offered by the simple minded villagers. They offer the sacrifice to appease the God and want protection at their lives and crops. But the priest consumes when Igwezu asks, Why are you so fat? He leaves Makuris house. After all, the beggar wants to earn his livelihood by labor while the priest earns his livelihood by false bait and deception. The Beggar deceives none rather raises optimistic views in Igwezu but he priest deceives all.
Contrast between town and country
Finally there is a contrast between town and country. Life in town is source of pain, disappointment and frustration. It is a greed dominated place and only hard- hearted people prosper. But life in country is blend & sorrow and happiness. In village, the family is integrated, people are simple minded, hospitable, capable of being deceived very easily. Besides, the country people are the puppet at the hand of nature. Nature shatter their hope again offers the victim an optimism.
To conclude, through the typical characterization Wole Soyika brings to our notice the attitude, culture and life style of Nigerian people. Besides he shows how the overall economic growth affects the subsistence economy of Nigeria.
In The Swamp Dwellers Wole Soyinka shows that the arrival of modernity and industrialization in the Niger Delta region has a serious effect on the environment as well as on the family relationship and the relationship between the humans and their environment. The strong and respectful bond between the swamp dwellers and the swamp has been taken over by the arrival of the urban and capitalist forces. The Swamp Dwellers focuses on the conflict between the rural and the urban forces, the former being the symbol of honest living and honest thinking and the latter being the symbol of corruption, materialism and dishonesty. The swamp dwellers have lived in close contact with nature and have deep respect for their dwelling place and their environs until this rural, innocent forces are thwarted by the hard-hearted, materialistic urban forces. Traditionally, the swamp dwellers hold a philosophy to life that is quitessentially nature sensetive and nature protective.
The Swamp Dwellers narrates the story of an old, poor couple and their two sons living in the remote area of the Niger Delta region. The play opens with the old couple Makuri and Alu awaiting for their son Igwezu, who has returned from the city and gone to the swamp in order to calculate the damage done to his crops by the floods. It is from the conversation between Alu and Makuri we come to know that Igwezu is their younger son and they have another son named Awuchicke who went missing after he had gone to the city some ten years ago.
In The Swamp Dwellers, we see two different attitudes to the swamp by Igwezu and Awuchike, the twin brothers of the Makuri family. Igwezu shows the sign of a strong bond to his community. He has gone to the city, but still keeps his good connection with the swamp and his family. The swamp is the source of comfort as well as frustration for him. He has bought a barbers chair for his father with the first income in the city. The swamp waits for him with crop failure and starvation , but still he returns to the swamp. His return towards the swamp must be read, then, as an active, positive choice and not a retreat to the relative safety of his village. His negotiations with land and his decision to return to the swamp constitute his attitude to it. He has a strong attachment to the swamp, which offers him nothing but frustration. Awuchike, on the 10 other hand, shows a negative attitude to the social bond and his community. After he has gone to the city, he cuts off all his relationships not only with his community but also with his own parents. His parents wait for his return to the swamp or at least the news about his whereabouts. But he totally cuts off his relationship with his community. He even breaks the family tie by snatching away Igwezus wife Desala from his brother Igwezu.
Conclusion :-
In story both brother creates different example. One believes in change and another brother is not accepts change and he fails in the city, and in the story tradition and modernity is there. And Igwezu get failure in the city. Awuchike get success the city and because he accepts change. And he never returns in his village. And he becomes part of city. And Igwezu losts everything in his city. He losts his wife in the city. His wife is goes with Awuchike. So bothers but both are completely different.
Work- Cited :-
Articles, Literary. Wole Soyinkas Art of Characterization in the Play The Swamp Dwellers. 14 October 2012. 09 March 2020 <https://literacle.com/wole-soyinkas-art-of-characterization-in-the-play-the-swamp-dwellers/>.
Nuri, Mohammad Ataullah. The Human-environment Relationship in Wole Soyinka's The Swamp Dwellers. 2018. 09 March 2020 <https://www.academia.edu/40688330/The_Human-environment_Relationship_in_Wole_Soyinkas_The_Swamp_Dwellers>.
Name :- Rathod Nikita p.
Roll No :- 21
Enrolment no :- 2060108420190038
Semester :- M. A. Semester - 4
Paper no :- 14 (The African Literature)
Assignment Topic :- Human relationships in Wole Soyinka's The Swamp Dweller
Year :- 2018-2020
Email-id :- nikitarathod0101@gmail.com
Words :- 1623
Submitted to :- Smt. S.B.Gardi Department of English. Maharaja krishnakumarsinhji Bhavnagar University.
(1) Human relationships in Wole Soyinka's The Swamp Dwellers
=> The characters in The Swamp Dwellers fell into three groups: the parents Makuri and Alo-conservative, the corrupt priest Kadiye, who beguiles his superstitious followers; and the two positive individuals Igwezu and the Beggar, moving, wondering, seeking and then uncertain what they have found. It is a play of mood and atmosphere, constructed so as to provide the audience with ample opportunity to make comparisons and reach judgment. Soyinka makes his points through implied contrasts and comparisons. In the play, there is contrast between twin brothers, father and son, between mother- in law and daughter- in- law, between the Beggar and host, comparison between Igwezu and the Beggar and the final contrast between the Beggar and the Priest Kadiye.
Two Brothers
The most obvious contrast is that between the twins brothers, who look alike but behave differently Awuchike has left home for ten years and lives in town. There he deals in timbers and thrives fast. But he never thinks of his poor old parents. Besides, he does not even communicate with his parents, as a result his mother thinks that, he died in swamp drowning, though his father knows that he is still alive in town and earning money there. He is dead to his parents and family responsibility/ whereas, Igwezu is quite opposite to him. He also goes to town with his wife to seek his fortune. He promised that, with first earned money, he will send a swivel chair for his father and he fulfils his promise. He communicates with his parents and looks after them. After all, Awuchike is callous, self centered, egoster, nonchalant, unmindful, undutiful ad disobedient towards parents but Igwezu is obedient, dutiful towards his parents.
Contrast between mother- in law and daughter- in- law
There is a contrast between the women in the family. Igwezus mother Alu is faithful and loyal to his father Makuri. Alu and Makuri lead their conjugal life in subsistence level. Makuri makes basket with rushes and Alu works at her adire cloth. Makuri is also an occasional barer. After all, they live from hand to mouth. In youth, Alu was very beautiful. A group of crocodile traders visited the Swamp and offered Alu to leave for city with them but Alu checked the temptation and rejected their offers. Throughout her life, she shares the well and woe of her husband and remains faithful. Makuri never feels tension for her sake. Besides, she loves the swamp region and never expresses any wish to leave for city. But Igwezus wife is reversed to Alu. Her condition before wedding was that, she must have to be taken to town after marriage. She does not like rustic life, careless about Igwezus parens. Besides, whenever he begins their urban life, Igwezus wife leaves him for wealthy Awuchike. The contrasting point between these two women is that, one is faithful and consistent to husband and another is inconsistent and unfaithful, one is materialistic, another is simple and honest.
Beggar in comparison to Igwezu
The blind beggar offers a comparison to Igwezu. The beggar loses his crops to locust and leaves his home in Bukanji, walks to the south passing through the city, searching for land to cultivate. Igwezu also loses his crops to flood leaves his home in Swamp and takes shelter in town. That is both experience misfortune but both are resolved to earn their livelihood by labor. They are unlike Awchike and Kadiye.
Contrast between Makuri and the beggar
There is a contrast between Makuri and the beggar. Though Makuri has eyesight, he cannot detect the mystery that his family is being beguiled, deceived by the corrupt Priest. But though the beggar is deprived of eyesight, his spiritual light is so powerful and penetrative that, he can detect the bulk of the Priest out of his voice. This means that, he can guess that the Priest is consuming their fresh crops by means of false rituals.
Beggar contrasts to the Priest Kadiye
The blind beggar also offers a contrast to the Priest Kadiye. Though he is regarded as beggar, actually, he does not believe in begging. Rather he believes in the virtue of diligence- this is how he leaves his home and gets out in search of a cultivable land. When the servant of the priest gives a coin, the beggar keeps his bowl upside down. The beggar is not superstitious. He can not believe that, there is any supernatural being in the name a serpent God, who possesses land. But, the priest whose head is bold, skin-tender, looks like greasy porpoises begs his in sophisticated form. He takes goats, ores and other sacrifices offered by the simple minded villagers. They offer the sacrifice to appease the God and want protection at their lives and crops. But the priest consumes when Igwezu asks, Why are you so fat? He leaves Makuris house. After all, the beggar wants to earn his livelihood by labor while the priest earns his livelihood by false bait and deception. The Beggar deceives none rather raises optimistic views in Igwezu but he priest deceives all.
Contrast between town and country
Finally there is a contrast between town and country. Life in town is source of pain, disappointment and frustration. It is a greed dominated place and only hard- hearted people prosper. But life in country is blend & sorrow and happiness. In village, the family is integrated, people are simple minded, hospitable, capable of being deceived very easily. Besides, the country people are the puppet at the hand of nature. Nature shatter their hope again offers the victim an optimism.
To conclude, through the typical characterization Wole Soyika brings to our notice the attitude, culture and life style of Nigerian people. Besides he shows how the overall economic growth affects the subsistence economy of Nigeria.
In The Swamp Dwellers Wole Soyinka shows that the arrival of modernity and industrialization in the Niger Delta region has a serious effect on the environment as well as on the family relationship and the relationship between the humans and their environment. The strong and respectful bond between the swamp dwellers and the swamp has been taken over by the arrival of the urban and capitalist forces. The Swamp Dwellers focuses on the conflict between the rural and the urban forces, the former being the symbol of honest living and honest thinking and the latter being the symbol of corruption, materialism and dishonesty. The swamp dwellers have lived in close contact with nature and have deep respect for their dwelling place and their environs until this rural, innocent forces are thwarted by the hard-hearted, materialistic urban forces. Traditionally, the swamp dwellers hold a philosophy to life that is quitessentially nature sensetive and nature protective.
The Swamp Dwellers narrates the story of an old, poor couple and their two sons living in the remote area of the Niger Delta region. The play opens with the old couple Makuri and Alu awaiting for their son Igwezu, who has returned from the city and gone to the swamp in order to calculate the damage done to his crops by the floods. It is from the conversation between Alu and Makuri we come to know that Igwezu is their younger son and they have another son named Awuchicke who went missing after he had gone to the city some ten years ago.
In The Swamp Dwellers, we see two different attitudes to the swamp by Igwezu and Awuchike, the twin brothers of the Makuri family. Igwezu shows the sign of a strong bond to his community. He has gone to the city, but still keeps his good connection with the swamp and his family. The swamp is the source of comfort as well as frustration for him. He has bought a barbers chair for his father with the first income in the city. The swamp waits for him with crop failure and starvation , but still he returns to the swamp. His return towards the swamp must be read, then, as an active, positive choice and not a retreat to the relative safety of his village. His negotiations with land and his decision to return to the swamp constitute his attitude to it. He has a strong attachment to the swamp, which offers him nothing but frustration. Awuchike, on the 10 other hand, shows a negative attitude to the social bond and his community. After he has gone to the city, he cuts off all his relationships not only with his community but also with his own parents. His parents wait for his return to the swamp or at least the news about his whereabouts. But he totally cuts off his relationship with his community. He even breaks the family tie by snatching away Igwezus wife Desala from his brother Igwezu.
Conclusion :-
In story both brother creates different example. One believes in change and another brother is not accepts change and he fails in the city, and in the story tradition and modernity is there. And Igwezu get failure in the city. Awuchike get success the city and because he accepts change. And he never returns in his village. And he becomes part of city. And Igwezu losts everything in his city. He losts his wife in the city. His wife is goes with Awuchike. So bothers but both are completely different.
Work- Cited :-
Articles, Literary. Wole Soyinkas Art of Characterization in the Play The Swamp Dwellers. 14 October 2012. 09 March 2020 <https://literacle.com/wole-soyinkas-art-of-characterization-in-the-play-the-swamp-dwellers/>.
Nuri, Mohammad Ataullah. The Human-environment Relationship in Wole Soyinka's The Swamp Dwellers. 2018. 09 March 2020 <https://www.academia.edu/40688330/The_Human-environment_Relationship_in_Wole_Soyinkas_The_Swamp_Dwellers>.
Assignment :- 13 Class difference in The White Tiger
Assignment :- 13 Class difference in The White Tiger
Name :- Rathod Nikita p.
Roll No :- 21
Enrolment no :- 2060108420190038
Semester :- M. A. Semester - 4
Assignment Topic :- Class difference in The White Tiger
Paper no :- 13 (The New Literature)
Year :- 2018-2020
Email-id :- nikitarathod0101@gmail.com
Words :- 1517
Submitted to :- Smt. S.B.Gardi Department of English. Maharaja krishnakumarsinhji Bhavnagar University.
(1) Class difference in The White Tiger.
=> The White Tiger is novel written by Arvind Adiga. First published in India in 2008 and also win the Man Booker Prize in 2008. In the story Balram Halwai is main character. He is the center in the story. The struggle among social classes has become prominent to a grea extent and the upper class society has been subjugating the middle and lower classes to suit their own needs. The White Tiger explores the controversial issues of Indian poverty and corruption vividly in a setting of 1990S economically booming Modern India.
The writer broadly discusses that the existence of neo-imperialism and the economical domination which were created under the colonial rule, still control the postcolonial nations like India, by their own elite groups. Only the authorities have been changed from the colonial masters to the upper class landlord's and Industrial magnates.
The white Tiger revolves around Balram Halwai, the Self-made entrepreneur who had once been a rickshaw puller's son. Rural India is shown to be dominated by economy. Balram belongs to the working class of rural Laxmangarh small village located in Bihar State in India. His family was very large and father is rickshaw puller who left his soul on the steps of government hospital. Balram is worked with his brother in tea canteen but cannot earn bread and butter for running family. So he determined to seek out new job of driving for better proppects. Balram has initial become aware about his ability, when school inspector asked questions, and he offers brilliant answers. He was named as "The White Tiger" by the school inspector. But poverty forces him to leave his school.
One working class exploits other class. And with the help of one village person he learns to drive. Poverty was the prime cause behind this entire predicament so for money he moves Dhanbad to Delhi in search for work. In Delhi, he got job as driver in a royal family having connections with political leaders in Delhi. He got job because he is from their village thus here we have tendency to see that class has sympathy about their village people. Balram takes support of religion to achieve first post in working class. He has struggled alot to achieve the faith of his owner and becomes successful as faithful servant.
Adiga has shown how poverty has usurped the whole society where the poor people are deprived of the basic rights of free citizens, like education and health. They exploited by rich people. Because of their poor condition. Such exploration leads the chracter like Balram Halwai to indulge in betrayal, Murder.
Example :- Ashok asks some questions to Balram.
"Mr. Ashok asked, 'How many planets are there in the sky?'
" Balram, who was the first prime minister of India? "
" And then : 'Balram, what is the difference between a Hindu and a Muslim?' "
And then : 'What is the name of our Continent?'
Mr. Ashok leaned back and asked pinky madam, Did you hear his answers? '
' Was he joking?', she asked.
So In this conversation Ashok asks some questions to Balram. Balram does not give any right answer of questions. Balram leaves his school because of poor condition. He works for his family in very early age. And Pinky Madam is a wife of Mr. Ashok. She does not like India. Balram does not English. That's why whenever Balram is there, at that time pinky Madam and Mr. Ashok speaks English language. So Language also becomes one reason of difference.
Then Balram said,
"Me, and thousands of others in this country like me, are half-baked, because we were never allowed to complete our schooling. Open our skulls, look in with a penlight, and you'll find an odd museum of ideas : sentences of history or mathematics remembered from school textbooks (no boy remembers his schooling like one who was taken out of school, let me assure you), sentences about politics read in a newspaper while waiting for someone to come to an office, triangles and pyramids seen on the torn pages of the old geometry textbooks which every tea shop in this country uses to wrap its snacks in, bits of All India Radio news bulletins, things that drop into your mind, like lizards from the ceiling, in the half-hour before falling asleep - all these ideas, half formed and half digested and half Correct, mix up with other half - cooked ideas in your head, and I guess these half-formed ideas bugger one another, and make more half-formed ideas, and this is what you act on and live with."
So Balram goes school but he does not complete his schooling because of poor condition. His father also died and that's why Balram and his brother get responsibility of his family. That's why he wants to complete his schooling but situations forces him that's why he leaves his school. He sacrifice for his family. They lives in very bad condition. And then he joins drivers job at Ashok's home. He is good observer. He learns through his observations. That's why In his life's journey he learns many things through his observations. And he also learns through his experience.
Adiga presents two different sides of India. One is dark side and another side is light side. one is the dark side where people have been suffering from extreme poverty, diseases, class struggle and illiteracy; and the other side is the glorious city life after the economical libaralisation in 1991. Balrams father dies of tuberculosis because of the poor treatment in the hospital and the corruption among the workers in the public fields. Despite being a bright student and having the rarest talent like the rare creature the white tiger Balram turns up to be the driver of the sons of the Stork.
And Mr. Ashok and Pinky Madam mocks on him, using a English language. And once Pinky Madam does incident. And because of her mistake that person is died. And Later on blame goes on Balram. And Balram goes in the jail. He does not do anything. But he becomes the part of that incident. And he becomes victims, even he is not part of that incident. Pinky Madam runaway. He belongs to poor condition that'swhy blame goes on him. And Pinky Madam remains innocent. Rich people have power and position. But Poor people nothing else. That's why they becomes helpless.
Adiga narrates story with dark humour. Social and political canvas is there. Ashok, despite being the son of a corrupt landlord, trusts Balram wholeheartedly, but Balram sees it as the ladder of his progression. Balram knows how the upper caste/class Indians once exploited the lower class people like his forefathers under the colonial rule. Despite being born in a poor family, Balram has a strong sense of perception and he uses it to listen to others capturing the best to develop his status. According to him, people are still living their lives in misery as they have less or no desire to change their status. Only seeing the rotten things would not make any change, one has to accumulate the best from the rotten ones.
Balram learns many things from his master. And He also kills his master Ashok. And takes his identity and becomes rich. The relativity of the centre and marginality is also a concern in this novel. The post-structural analysis of the novel shows how the binary oppositions created on the basis of power structure are completely relative. Master/slave, occident/orient, good/evil, day/night are just easily breakable and reversible structures in Adigas novel. The Balram takes the position of Ashok exploiting him. Balram also becomes like Mr. Ashok, he becomes murderer and he does corruption. He becomes rich in wrong way. For him money becomes more important.
Conclusion :-
So people are divided in class. Because economy people divide in poor or rich category. One has power and another has no power. The major cause of class conflict is inequality in the society that created distinction among people. When person does not possess access to the basic resources like nutritious food, healthy life, basic education, a job and own a home. This suggests that person is not just poor, but he is inadequate classes turned into class conflict. Poor people suffers to fulfill for their basic need. In the story also Balram struggles to get money. And he becomes rich. But his path is wrong. Balram comes from dark side, poverty and he becomes the part of another side light, bright side of India. Starting of the novel is poor and helpless but at end he becomes successful entrepreneur. He is man of action. He changes his situation through his disicion. At the end of the novel he get power and position in the society.
Work Cited :-
Singh, Smriti and Biswas, Sanjib Kr. Portrayal of Poverty and Corruption Ridden Postcolonial India in Aravind Adigas The White Tiger. 05 2017. 9 March 2020 <https://www.researchgate.net/publication/317166161_Portrayal_of_Poverty_and_Corruption_Ridden_Postcolonial_India_in_Aravind_Adiga's_The_White_Tiger/citation/download>.
Mastud, Shahaji. From Class Consciousness to Individual Consciousness: The Contour of Inequality in Aravind Adigas The White Tiger. 10 2017. 8 March 2020 <https://www.researchgate.net/publication/320754289_From_Class_Consciousness_to_Individual_Consciousness_The_Contour_of_Inequality_in_Aravind_Adiga's_The_White_Tiger/citation/download>.
Adiga, Arvind. The White Tiger. HarperCollins Publisher India a Joint Venture with The India Today Grroup. New Delhi: HarperCollins Publisher India a Joint Venture with The India Today Grroup, 2008.
Monday, 2 March 2020
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