Assignment - 5 - New Historicism: Contemporary Fictional Representations in Films of Indian Historical Figures

TOPIC OF THE BLOG:-

This blog is part of an assignment for the Paper 205A - Cultural Studies - Sem - 3, 2023.

NEW HISTORICISM: CONTEMPORARY FICTIONAL REPRESENTATIONS IN FILMS OF INDIAN HISTORICAL FIGURES

Table of Contents:-

• Personal Information
• Assignment Details
• Abstract
• Keywords
• Introduction
• What is New Historicism?
• How can we apply New Historicism to Film?
• Historical Figures and Film
• Ashoka - Film: ‘Asoka’ (2001)
• Rani Padmini (Padmavati) - Padmavati (2018)
• Mangal Pandey - ‘Mangal Pandey: The Rising’ (2005)
• Rani Lakshmi Bai - Manikarnika (2019)
• Strength and Limitation of applying New Historicism to Film
• Strengths
• Limitations
• Conclusion
• Works Cited

Personal Information:-

• Name:- Pooja Anilbhai Bhuva
• Batch:- M.A. Sem 3 (2022-2024)
• Enrollment Number:- 4069206420220005
• E-mail Address:- poojabhuva2002@gmail.com
• Roll Number:- 15

Assignment Details:-

• Topic:- New Historicism: Contemporary Fictional Representations in Films of Indian Historical Figures
• Subject Code & Paper:- 22410 - Paper 205A - Cultural Studies
• Submitted to:- Smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar
• Date of Submission:- 27th November, 2023
• About Assignment:- In this assignment, I am going to discuss how we apply the idea of New Historicism to Indian historical figures represented in films.

Abstract:-

In this exploration of New Historicism in films, we discover how it acts as special glasses, revealing the connection between movies and the times they depict. Using this approach, we delve into the social, political, economic, and cultural vibes of the historical settings in films. Filmmakers become cultural historians, contributing to conversations about history through cinematic representations. Examining films like 'Asoka,' 'Padmavati,' 'Mangal Pandey: The Rising,' and 'Manikarnika,' we see how historical figures are portrayed with creative liberties. While New Historicism offers a rich understanding of films within their historical contexts, it also presents challenges. Filmmakers' choices impact how history is perceived, raising questions about accuracy and sensitivity. In conclusion, New Historicism serves as a valuable tool, providing insight into the past through the lens of cinema, yet caution is needed to navigate the balance between entertainment and historical truth in filmmaking.

Key Words:-

New Historicism, Film, Ashoka, Rani Lakshmi Bai, Mangal Pandey, Rani Padmini, Limitations

Introduction:-

New Historicism is like a special pair of glasses we use to look at stories in movies. It helps us see that movies aren't just fun stories; they're also connected to the time when they were made. Imagine you're watching a movie about a brave queen or a strong king from the past. New Historicism lets us peek into the clothes they wear, the words they speak, and the places they live, showing us what life was like back then. It's like a time machine for our minds, helping us understand not only the story but also the world it comes from. But, we need to be careful, because sometimes movies can change the true story to make it more exciting or interesting. So, when we use New Historicism, we're like detectives looking for clues about the real past in the make-believe world of movies.

What is New Historicism?

New Historicism is a theory about stories and history that emerged in the late 1900s, greatly influenced by Stephen Greenblatt. (Mikics) It differs from the usual way people look at stories and history because it asserts that stories are connected to the time and culture they originate from. Instead of considering stories as separate and enduring forever, New Historicism views them as a product of specific historical and cultural situations.When we look at stories through the lens of New Historicism, we're diving into the social, political, economic, and cultural vibes of the time they were created. This approach helps us connect literature to the real-world conditions it emerged from. Social conditions include how people interact, the rules they follow, and who holds power – all shaping characters and storylines. Political factors involve the big governing ideas and events that influence what a story is about. Economic conditions show us the money side – class differences, financial landscapes, and how characters live. Cultural conditions bring in the beliefs, values, and artistic trends of the time, affecting the language, symbols, and themes in stories.

New Historicism was mostly a way to understand power, and it took a lot of ideas from the studies of Clifford Geertz in anthropology, Michel Foucault's descriptions of torture and punishment, and Louis Althusser's ideas about how control of thoughts and beliefs happens. (Parvini) Stories are seen as clues about what people believed in, what they valued, and what conflicts were happening during a certain time. New Historicism says that stories are not just by themselves; they're linked to the society they come from. New Historicism doesn't believe there's just one true history. It accepts that different people and groups can have different views of what happened. Let’s see how this idea of New Historicism can be applied in the Film.

How can we apply New Historicism to Film?

If we are using New Historicism to study Contemporary Fictional Representations of Indian Historical Figures it means looking at the films as more than just art. It means seeing them as important pieces of culture that add to the conversations about history during the time they were made. The films become not just stories on their own but contributors to the bigger discussions about culture and history. Filmmakers play a crucial role to explore this and give justification to the particular idea. Through their films, they contribute to the ongoing dialogue about the past, offering their perspectives on how history is remembered, interpreted, or revised. (GRINDON) Filmmakers can be viewed as cultural historians because, through their cinematic representations, they engage with and interpret historical events, figures, and the broader cultural enviornmen. Movies are like time capsules, capturing and reflecting the world. Filmmakers, as storytellers, create cultural artifactsfilms that go beyond entertainment. Shaped by and shaping society, movies interpret the spirit of their time, known as "zeitgeist." Characters, settings, and plots mirror the attitudes and concerns of the era. Watching movies is like viewing a snapshot of history, understanding how people felt and what mattered to them.

In which ways filmmakers may represent historical figures in films? The visual elements in films, such as costumes, architecture, and landscapes, can provide visual cues about the historical period. For example, a film set in the 1920s might use Art Deco design and flapper fashion. Filmmaker also uses language as a tool to represent particular time through the nobel words they are using. 

Historical Figures and Film:-

When applying New Historicism to a film, the filmmaker typically takes liberties to portray the entire story of a particular character, or only the character is present while the entire story is changed.

ASHOKA - FILM: ‘ASOKA’ (2001)

In ancient India, Ashoka, a powerful king born around 304 BCE, initially sought power through conquest. However, the Kalinga War changed him. Witnessing the devastating aftermath, he felt deep remorse and embraced Buddhism's teachings of peace and compassion. Ashoka transformed, dedicating himself to non-violence and ethical rule. His empire, the Mauryan Empire, became a symbol of tolerance and compassion. Through pillars and edicts, he spread messages of respect and non-violence. Ashoka's story teaches that even mighty rulers can change, emphasizing the importance of compassion and peace for a just society.

‘Asoka’ is a historical drama that portrays the life of Emperor Ashoka, who ruled the Indian subcontinent during the Maurya dynasty. The film, starring Shah Rukh Khan, blends historical events with creative elements to narrate the story of Ashoka's transformation from a conqueror to a follower of Buddhism. Analyzing Ashoka's character in the 2001 film with Shah Rukh Khan using New Historicism involves checking historical accuracy and understanding changes made for storytelling or audience engagement. It explores how the movie reflects the cultural and political landscape of the early 2000s in India, examining if it aligns with societal norms or challenges them. The narrative, visual elements, and audience reception are considered to grasp the movie's impact and connections to broader contexts. Also, the intentional changes to historical events are investigated to uncover the film's underlying messages and their alignment with contemporary beliefs. In short, examining Ashoka through New Historicism reveals how the film interprets and communicates history and culture from its time of creation. (Sivan)

RANI PADMINI (PADMAVATI) - PADMAAVAT (2018):-

Rani Padmavati, a legendary queen of 13th-century Mewar, was known for her unparalleled beauty. Intrigued by tales of King Ratan Singh's valor, she visited Chittor, where their union formed an unbreakable bond. However, their peaceful reign faced a threat from Sultan Alauddin Khilji, determined to claim Padmavati. To protect their kingdom, Padmavati and Ratan Singh devised a plan. The story unfolds with diplomacy, strategy, and sacrifice, as Padmavati's beauty draws Khilji into a relentless pursuit. In the face of a larger army, Rani Padmavati and Chittor's people made the heartbreaking decision to defend their honor, creating a tale of love, sacrifice, and resilience celebrated in art and storytelling.

"Padmaavat," directed by Sanjay Leela Bhansali, is a period drama rooted in the epic poem "Padmavat." It explores the legendary tale of Rani Padmini, the queen of Mewar, providing a cinematic interpretation set in a historical context. Despite artistic merits, the film has faced controversies over historical accuracy, prompting discussions on the balance between creativity and fidelity. Bhansali takes a fictionalized approach, allowing creative liberties while acknowledging dramatization. The movie showcases Bhansali's grand visual storytelling, incorporating elaborate sets and costumes. The controversy adds allure, sparking debates on filmmakers' responsibilities and cinematic narratives' impact on historical perceptions. "Padmaavat" blends fact and fiction, serving as an artistic exploration of history, evoking emotions, and provoking discussions about the life and legend of Rani Padmini. (Bhansali)

MANGAL PANDEY - ‘MANGAL PANDEY: THE RISING’ (2005):-

Mangal Pandey, a sepoy in the British East India Company's army, played a crucial role in the 1857 uprising against British rule. His refusal to use rifle cartridges greased with animal fat sparked a rebellion. Pandey's courage inspired fellow soldiers, leading to his arrest and trial. Despite facing the death penalty, he remained defiant. On April 8, 1857, before his execution, Pandey expressed his love for his country and refusal to bow to oppression. His sacrifice fueled rebellion across India, symbolizing the indomitable spirit in the fight for independence. Mangal Pandey's story became integral to India's struggle against colonial rule.

This film depicts the life of Mangal Pandey, a soldier in the British East India Company's army who played a key role in the events leading up to the Indian Rebellion of 1857. Aamir Khan portrays the titular character in this historical drama. The 2005 film "Mangal Pandey: The Rising" portrays the life of Mangal Pandey, a key figure in the lead-up to the Indian Rebellion of 1857. Directed by Ketan Mehta and starring Aamir Khan, the movie depicts Pandey's internal conflict as a sepoy in the British East India Company's army. Set in colonial India, it explores cultural clashes, religious tensions, and the introduction of the Enfield rifle, leading to Pandey's transformation from a loyal soldier to a central figure in the 1857 uprising. Aamir Khan's portrayal captures Pandey's internal struggles and rebellion, symbolizing broader sentiments of resistance. While taking creative liberties, the film delves into themes of identity, patriotism, and the fight for freedom, contributing to the cinematic representation of India's struggle against colonial rule. (Mehta)

RANI LAKSHMI BAI - MANIKARNIKA (2019):-

Rani Lakshmi Bai, also called the Rani of Jhansi, was a brave queen in India during the old times. She was born in 1828 and became famous for standing up against the British rulers when they tried to take control. Even though her husband, Maharaja Raja Gangadhar Rao, had passed away, she didn't let the British take over Jhansi using their Doctrine of Lapse. Rani Lakshmi Bai fought very bravely in the Siege of Jhansi in 1858, where her city was under attack. She dressed like a warrior and showed excellent military skills. Even though Jhansi was eventually captured by the British, Rani Lakshmi Bai's story lives on as a symbol of India's fight against the British. People still admire her for her courage, love for her country, and strength in tough times.

"Manikarnika: The Queen of Jhansi" is a historical film released in 2019, depicting the extraordinary life of Rani Lakshmibai, the Queen of Jhansi, during the Indian Rebellion of 1857. Kangana Ranaut portrays the iconic queen, showcasing her resilience, courage, and commitment to defending her kingdom against the British East India Company. Directed by Kangana Ranaut and Radha Krishna Jagarlamudi, the film explores Lakshmibai's journey, emphasizing her military prowess and dedication to Indian independence. While creatively dramatized, "Manikarnika" serves as a tribute to the Queen of Jhansi, contributing to the cinematic portrayal of key figures in India's fight against colonial rule. (Jagarlamudi)

Strength and Limitation of applying New Historicism to Film:-

STRENGTHS:-

New Historicism encourages a comprehensive examination of films within their historical and cultural contexts. This approach enables a richer understanding of the intricate connections between cinematic narratives and the broader societal landscape. By integrating historical, cultural, and literary perspectives, New Historicism allows for a more interdisciplinary analysis of films. New Historicism's emphasis on power dynamics is particularly relevant in film analysis. It allows scholars to dissect how films represent power structures, social hierarchies, and political ideologies, shedding light on the complexities of historical narratives. New Historicism is like looking closely at movies and understanding that they are made in a specific time. This helps us analyze why filmmakers make movies and how these movies can change or support the stories we know about history. (Palmer)

LIMITATIONS:-

Using New Historicism to understand movies can be tricky because filmmakers often decide what parts of the story to show and what to leave out. They make these choices thinking about what the audience will like, how the story fits together, and how long the movie should be. People might have different ideas about what they watched, making it challenging to agree on just one meaning. Even though New Historicism looks at the culture and context in movies, the hard part is figuring out how much of the story is true and how much is just for making the movie more exciting. Filmmakers might change some facts to make the movie more interesting, but this could mean the story is not completely accurate. When movies show things in a way that's not quite true, it can affect how people think about history. The way characters and events are shown in films can shape what people remember collectively, making it important for movies to be careful about how they tell historical stories. When making movies about historical events, it's important to be aware that some things might still be sensitive and make people feel strong emotions or remember difficult experiences. Filmmakers need to be careful in showing these events in a way that doesn't hurt or repeat stereotypes.

Conclusion:-

In conclusion, New Historicism is like a special tool that helps us understand movies not just as stories but as reflections of the time they were made. It's like magic glasses that reveal the hidden connections between films and the real world. While it lets us explore history in a fun way, we need to be detectives and remember that movies sometimes change the true stories to be more exciting. Understanding these strengths and limitations of New Historicism in films helps us appreciate the colorful tapestry of stories while being aware of the balance between entertainment and historical truth. So, let's keep watching movies with our magic glasses on and enjoy the journey through time!

Works Cited:-

• Bhansali, Sanjay Leela, director. Padmaavat. Bhansali Productions, 2018.
• GRINDON, LEGER. Shadows on the Past: Studies in the Historical Fiction Film. Temple University Press, 1994. JSTOR, http://www.jstor.org/stable/j.ctt14bs6kx.
• Jagarlamudi, Krish, and Kangana Ranaut, directors. Manikarnika: The Queen of Jhansi. Zee Studios, Kairos Kontent Studios, 2019.
• Mehta, Ketan, director. Mangal Pandey: The Rising. Kaleidoscope Entertainment, Tfk Films, INOX Leisure Limited, Yash Raj Films, 2005.
• Mikics, David, and Internet Archive. A New Handbook of Literary Terms. New Haven: Yale University Press, 2007. Internet Archive, https://archive.org/details/newhandbookoflit0000miki/page/n1/mode/2up.
• Palmer, William J. “The New Historicist Films.” The Films of the Nineties, 2009. SPRINGER LINK, https://doi.org/10.1057/9780230619555_2.
• Parvini, Neema. “New Historicism - Literary and Critical Theory.” Oxford Bibliographies, 26 July 2017, https://www.oxfordbibliographies.com/display/document/obo-9780190221911/obo-9780190221911-0015.xml.
• Sivan, Santosh, director. Asoka. Dreamz Unlimited, Arclightz Films, 2001.

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Assignment - 4 - Unveiling the Veiled: Exploring Hidden Queer Representations in Ancient Literature

TOPIC OF THE BLOG:-

This blog is part of an assignment for the Paper 204 - Contemporary Western Theories and Film Studies - Sem - 3, 2023.

UNVEILING THE VEILED: EXPLORING HIDDEN QUEER REPRESENTATIONS IN ANCIENT LITERATURE

Table of Contents:-

• Personal Information
• Assignment Details
• Abstract
• Keywords
• Introduction
• What is Queer Theory?
• Queer Identities & Narrative in Ancient World
• Plato's Symposium
• Sappho’s Poetry
• 'Epic Of Gilgamesh'
• Literary Techniques and Symbolism
• Artistic Depictions
• Intense Friendship
• Mythological Figure
• Evolution of LGBTQ concept
• conclusion
• Works Cited

Personal Information:-

Name:- Pooja Anilbhai Bhuva

Batch:- M.A. Sem 3 (2022-2024)

Enrollment Number:- 4069206420220005

E-mail Address:- poojabhuva2002@gmail.com

Roll Number:- 15

Assignment Details:-

Topic:-Unveiling the Veiled: Exploring Hidden Queer Representations in Ancient Literature

Subject Code & Paper:- 22409 - Paper 204 - Contemporary Western Theories and Film Studies

Submitted to:- Smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar

Date of Submission:- 27th November, 2023

About Assignment:- In this Assignment I am going to discuss about the Queer representation in the Ancient era which may not be visible on the surface.

Abstract:-

In the 1990s, scholars like Gloria Anzaldúa introduced "queer theory" to challenge traditional ideas about sexuality and gender, inspired by French philosopher Michel Foucault. "Queer" transformed from a negative term to a positive one, embracing non-heteronormative identities. Michael Warner critiqued "heteronormativity," where society sees being straight as normal. Ancient texts like Plato's Symposium, Sappho's poetry, and the Epic of Gilgamesh offer glimpses of diverse relationships, with some suggesting homoerotic undertones. Literary techniques, such as symbolism, expressed queer themes in a time when discussing such relationships was challenging. The LGBTQ community's evolution, from the Stonewall riots in 1969 to legal advancements and increased visibility today, marks a journey toward acceptance. Despite progress, ongoing challenges like discrimination and legal struggles emphasize the need for continued efforts to protect LGBTQ rights globally.

Key Words:-

Queer Theory, LGBTQ, Gay, Lasbian, Homosexuality, Ancient era, Mythological Figures.

Introduction:-

Gilgamesh and Enkidu. They become best friends and go on adventures together. When Enkidu dies, Gilgamesh is super sad, and he talks about his feelings in a way that makes some people today wonder if their friendship might have been more than just a regular friendship. It's like when you see really close friends today and wonder if there's something more going on. But, we have to remember that the way people understood and talked about feelings back then was different from how we do it now. So, while some folks today might see hints of something more in Gilgamesh and Enkidu's friendship, we also have to respect that their story comes from a time when friendships were expressed in ways unique to that ancient culture.

What is Queer Theory?

The idea of "queer theory" started around the 1990s with scholars like Gloria Anzaldúa. They were inspired by the thoughts of a French philosopher named Michel Foucault, who talked about how society thinks about things. These scholars wanted to understand and challenge traditional ideas about sexuality and gender. So, "queer theory" began as a way to explore and question these topics. (Goldberg)

While exploring this idea we may have the question, Why the relation of Lasbian/Gay known as Queer Theory? . So, The word "queer" has a long history. It was first used around the 1500s to describe something strange or not normal. If something unusual happened, people might say it was "rather queer." But over time, especially in the late 1800s and early 1900s in the US, "queer" became a not-so-nice word to describe someone who was homosexual. In the 1980s, during the AIDS crisis, a group called Queer Nation, made up of members of the LGBT community, decided to take back the word. They wanted to use it in a positive way instead of feeling ashamed of it. Nowadays, "queer" is often used as a general term for anything that's not heterosexual. (Bull)

Michael Warner talked about something called 'heteronormativity.' Basically, he said that society often acts like being heterosexual is the normal or preferred way to be. He argued that queerness, or non-heterosexual perspectives, is unique in social theory because it challenges this idea. He explained that even though people had been talking about sexuality from different perspectives for a long time, queerness brought a special contribution by questioning the belief that heterosexuality is the default or normal way. In another essay with Lauren Berlant, called "Sex in Public," they continued to explore these ideas. (Berlant)

Queer Identities & Narrative in Ancient World:-

In this era, queer ideas are widely accepted worldwide, and everyone is supportive. However, even in times when the concepts of gay or lesbian relationships were not explicitly named, representations of such relationships can be found in ancient literature. So, Let's explore queer representations in ancient texts.

PLATO'S SYMPOSIUM:- 

In Plato's Symposium, the theme of love is explored through a series of speeches given by different characters during a banquet. One of the notable speeches is that of Phaedrus, who discusses the nature of love, particularly focusing on the love between men. Phaedrus praises the love between men, arguing that it is superior to the love between men and women. He suggests that the bond between two men, based on mutual respect and admiration, can lead to extraordinary feats of bravery and heroism. Phaedrus highlights the idea that a man in love with another man would be more willing to risk his life to protect and impress his beloved. (Plato) (Hamilton)

This perspective on love in the Symposium is often considered in the context of the ancient Greek concept of "pederasty," a socially acknowledged and culturally institutionalized romantic and sexual relationship between an adult male and a younger male. While the Symposium presents a nuanced view of love, including same-sex love, it's essential to recognize that the cultural and historical context of ancient Greece differed significantly from contemporary understandings of LGBTQ+ identities. The Symposium provides insight into how love and relationships were contemplated in ancient philosophical and cultural discussions, contributing to the broader understanding of attitudes towards same-sex love in that historical context.

SAPPHO’S POETRY:-

Sappho, an ancient Greek poet from the island of Lesbos, is known for her lyric poetry that often explores themes of love and desire. While her work doesn't explicitly fit contemporary LGBTQ+ categories, it has been the subject of much interpretation and analysis related to queer themes.

In Sappho's poetry, she often expresses intense emotions and affections, frequently directed towards other women. The term "Lesbian" actually derives from the island of Lesbos, where Sappho lived, and it is associated with female homosexuality due to her work. (Mendelsohn) Sappho's poems frequently depict close relationships and deep emotional connections between women. While the exact nature of these relationships is not explicitly stated, the passionate language and expressions of love in her poetry have led many readers and scholars to interpret them as having homoerotic undertones.

One of the challenges in interpreting Sappho's work lies in the fragmentary nature of the surviving texts. Many of her poems have been lost over time, and what remains are fragments and incomplete verses. Despite this, her poetry has had a lasting impact on literary and cultural history, and it continues to be celebrated for its emotional depth and exploration of intimate relationships, including those that are interpreted through a queer lens. 

'EPIC OF GILGAMESH':-

The "Epic of Gilgamesh," one of the earliest known works of literature from ancient Mesopotamia, does not explicitly address queer themes as understood in contemporary terms. However, some scholars have explored the close relationship between the two main characters, Gilgamesh and Enkidu, and have suggested homoerotic undertones. Gilgamesh and Enkidu share a deep and intense bond that is central to the narrative. Enkidu is created by the gods to be a companion for Gilgamesh, and their friendship plays a crucial role in the story. When Enkidu dies, Gilgamesh is grief-stricken, and his mourning is expressed in a way that some readers and scholars have interpreted as having elements of love or deep emotional connection. (Nissinen)

We can see the bond between them with these original lines from the Poem.

Take my hand, my friend, we will go on together.

Your heart should burn to do battle

Pay no heed to death, do not lose heart!

The one who watches from the side is a careful man,

But the one who walks in front protects himself and saves his comrade,

And through their fighting the establish fame’ (Kovacs)

While some interpretations may suggest homoerotic undertones in the relationship between Gilgamesh and Enkidu, it's important to acknowledge the challenges of applying modern LGBTQ+ categories to ancient texts. ‘The Epic of Gilgamesh’ provides an intriguing glimpse into ancient cultural attitudes toward friendship and companionship, but the specific nature of the relationship between the two characters remains open to interpretation.

Literary Techniques and Symbolism:-

In the ancient era, where understanding gay and lesbian relationships wasn't easy, writers and poets often employed symbols and unique ways of expressing their feelings. These expressions can be interpreted as forms of queer representation.

INTENSE FRIENDSHIP:-

As we already saw in ‘The Epic of Gilgamesh, which is a really old story from a long time ago, there's this special friendship between two guys, In the Epic of Gilgamesh, which is a really old story from a long time ago, there's this special friendship between two guys, Gilgamesh and Enkidu. They become best friends and go on adventures together. When Enkidu dies, Gilgamesh is super sad, and he talks about his feelings in a way that makes some people today wonder if their friendship might have been more than just a regular friendship. It's like when you see really close friends today and wonder if there's something more going on. But, we have to remember that the way people understood and talked about feelings back then was different from how we do it now. So, while some folks today might see hints of something more in Gilgamesh and Enkidu's friendship, we also have to respect that their story comes from a time when friendships were expressed in ways unique to that ancient culture.

ARTISTIC DEPICTIONS:-

In the olden days, pictures and artworks might show things that today's people see in a queer way. This means looking at things like pottery, sculptures, or paintings from the past and trying to find signs or symbols that could represent different kinds of love or relationships.

Apollo and Hyacinthus

Athena and Myrmex

Zeus and Europa

MYTHOLOGICAL FIGURE:-

In stories from a really long time ago, there were often special symbols and creative ways of talking that could carry hidden meanings. Imagine it like using secret codes or special pictures to say something without saying it directly. In these ancient tales, some of these symbols and codes might be hints about queer themes, even if the stories didn't talk about them openly. For example, in myths or stories, you might have gods or heroes who do things that could represent more than just the obvious. Maybe a character's journey or a magical object stands for something deeper about love or identity. It's like telling a story about friendship or bravery, but the hidden message could be about something else that people back then might not have been able to talk about openly. 

Apollo, who was the god of the sun and music, is thought of as a supporter of same-sex love. People believed he liked and blessed relationships between men, as he had many male lovers. (Reineke) The goddess of love, Aphrodite, and some gods who are with her, like the Erotes-Eros, Himeros, and Pothos-are sometimes considered patrons of homosexual love. (Conner)

Evolution of LGBTQ concept:-

Over time, the LGBTQ community has experienced significant changes and progress in terms of social acceptance, legal rights, and visibility. In the past, many societies had strict norms and expectations regarding gender roles and relationships, making it challenging for individuals with diverse sexual orientations and gender identities. In the mid-20th century, the LGBTQ rights movement emerged, seeking equality and recognition. The 1969 Stonewall riots in the United States marked a turning point, as LGBTQ individuals protested against police raids on gay bars. This event is often considered the catalyst for the modern LGBTQ rights movement.

Throughout the following decades, strides were made in legal recognition and societal acceptance. The removal of homosexuality from the Diagnostic and Statistical Manual of Mental Disorders (DSM) in 1973 was a crucial step in destigmatizing LGBTQ identities. Activism, awareness campaigns, and the fight against discrimination contributed to a growing understanding of LGBTQ issues. (Uyeda) The late 20th and early 21st centuries saw significant legal advancements, including the decriminalization of homosexuality in various countries and the legalization of same-sex marriage in several nations. These changes signaled a shift towards recognizing LGBTQ rights on a broader scale.

In recent years, increased visibility of LGBTQ individuals in media, politics, and everyday life has played a crucial role in challenging stereotypes and fostering acceptance. The rise of social media has provided a platform for LGBTQ voices to be heard, connecting communities globally and creating spaces for support and advocacy. However, challenges persist, including ongoing discrimination, mental health disparities, and legal struggles in certain regions. Continued efforts are necessary to ensure the full inclusion and protection of LGBTQ rights worldwide.

Conclusion:-

In conclusion, Queer Theory is like a flashlight that helps us see beyond what society thinks is normal about love and relationships. Scholars like Gloria Anzaldúa and Michel Foucault started this in the 1990s, questioning old ideas about who can love whom. The word "queer" used to be mean, but now it's a positive word for everyone who's not just into boys or girls. Michael Warner showed us how society always acts like being straight is the regular way, but queerness challenges that idea. Even in ancient stories like Plato's Symposium and Sappho's poetry, we can find hints of different kinds of love. The Epic of Gilgamesh has a special friendship that some people think might be more than just friends. People back then used creative ways, like symbols and intense friendships, to talk about love that wasn't considered normal. The LGBTQ community has come a long way, from being pushed aside to getting more rights. But there's still work to do to make sure everyone, everywhere, is treated the same.

Works Cited:-

• Berlant, Lauren, and Michael Warner. “Sex in Public.” Critical Inquiry, vol. 24, no. 2, 1998, pp. 547–66. JSTOR, http://www.jstor.org/stable/1344178.
• Bull, Chris, et al., editors. “What is queer theory & why is it important?” LGBTQ Nation, 4 October 2021, https://www.lgbtqnation.com/2021/10/queer-theory-101-matters/.
• Randy P., et al. Cassell's Encyclopedia of Queer Myth, Symbol, and Spirit: Gay, Lesbian, Bisexual, and Transgender Lore. Cassell, 1998.
• Goldberg, Abbie E., editor. The SAGE Encyclopedia of LGBTQ Studies. SAGE Publications, 2016.
• Hamilton, Walter, translator. The Symposium. Penguin Books, 1951.
• Kovacs, Maureen Gallery, translator. ‘The Epic of Gilgamesh’. Wolf Carnahan, 1998. https://uruk-warka.dk/Gilgamish/The%20Epic%20of%20Gilgamesh.pdf.
• Mendelsohn, Daniel. “How Gay Was Sappho?” The New Yorker, 9 March 2015, https://www.newyorker.com/magazine/2015/03/16/girl-interrupted.
• Nissinen, Martti. “Are There Homosexuals in Mesopotamian Literature?” Journal of the American Oriental Society, vol. 130, no. 1, 2010, pp. 73–77. JSTOR, http://www.jstor.org/stable/25766947.
• Plato, and Internet Archive. The Symposium ; and The Phaedrus : Plato's erotic dialogues. Albany: State University of New York Press, 1993. Internet Archive, https://archive.org/details/symposiumandphae0000plat/page/n3/mode/2up.
• Reineke, Martha, and Christine Downing. “Within the Shadow of the Herms: A Critique of ‘Myths and Mysteries of Same-Sex Love’ [with Reply].” Historical Reflections / Réflexions Historiques, vol. 19, no. 1, 1993, pp. 81–106. JSTOR, http://www.jstor.org/stable/41298960.
• Uyeda, Ray Levy. “How LGBTQ+ Activists Got “Homosexuality” out of the DSM.” JSTORE DAILY, 26 May 2021, https://daily.jstor.org/how-lgbtq-activists-got-homosexuality-out-of-the-dsm/.

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Assignment - 3 - 'Wide Sargasso Sea' as a Prequel of 'Jane Eyre'

TOPIC OF THE BLOG:-

This blog is part of an assignment for the Paper 203 - The Postcolonial Studies - Sem - 3, 2023.

‘WIDE SARGASSO SEA’ AS A PREQUEL OF ‘JANE EYRE’

Table of Contents:-

• Personal Information
• Assignment Details
• Abstract
• Keywords
• Introduction
• Jean Rhys and Charlotte Bronte
• ‘Wide Sargasso Sea’ and ‘Jane Eyre’
• Characters
• Antoinette Cosway (Bertha Mason)
• Mysterious Man, Mr. Rochester (Edward Fairfax Rochester)
• Annette Cosway
• Colonial/Postcolonial Context
• Setting
• Racialism
• Creole vs. English Culture
• Deconstruction of Stereotypes
• Narrative Structure
• Psychological Dimensions
• Conclusion
• Works Cited

Personal Information:-

Name:- Pooja Anilbhai Bhuva

Batch:- M.A. Sem 3 (2022-2024)

Enrollment Number:- 4069206420220005

E-mail Address:- poojabhuva2002@gmail.com

Roll Number:- 15

Assignment Details:-

Topic:- ‘Wide Sargasso Sea’ as a Prequel of ‘Jane Eyre’

Subject Code & Paper:- 22408 - Paper 203 - The Postcolonial Studies

Submitted to:- Smt. Sujata Binoy Gardi, Department of English, MKBU, Bhavnagar

Date of Submission:- 27th November, 2023

About Assignment:- In this Assignment I am going to discuss how and in what way we can find ‘Wide Sargasso Sea’ as a Prequel of ‘Jane Eyre’.

Abstract:-

In the literary landscape, Jean Rhys's "Wide Sargasso Sea" and Charlotte Brontë's "Jane Eyre" form a unique connection as prequel and sequel. Rhys, born in Dominica in 1890, brought a feminist and postcolonial perspective with her famous work in 1966. Focusing on Antoinette Cosway, who later becomes Bertha Mason, Rhys challenges stereotypes and colonial views presented in Brontë's classic. The contrasting settings of Victorian England and 19th-century Jamaica provide a backdrop for exploring cultural clashes, racialism, and the complexities of Creole vs. English identities. Characters like Antoinette, Mr. Rochester, and Annette Cosway are reimagined, shedding light on the psychological dimensions often overlooked in "Jane Eyre." Through a narrative structure that embraces multiple perspectives, "Wide Sargasso Sea" invites readers to question assumptions, deconstruct stereotypes, and empathize with the silenced voices of the past. This dynamic interplay between the two novels enriches our understanding of characters, societal norms, and the profound influence of history on women's lives.

Key Words:-

‘Wide Sargasso Sea’, ‘Jane Eyre’, Prequel, Colonial, Postcolonial, Racism, Creole, English Culture, Psychological View.

Introduction:-

"Jean Rhys wrote a book called 'Wide Sargasso Sea' in 1966. It's like a special story that happens before the famous book 'Jane Eyre' by Charlotte Brontë. In 'Jane Eyre,' there's a mysterious woman named Bertha locked up in an attic by Mr. Rochester. Rhys' book takes us to Jamaica and tells us about the life of Antoinette Cosway, who becomes Bertha. The book is important because it talks about the cultural and racial challenges that shaped Antoinette. It's like a response to the way 'Jane Eyre' showed colonial and male-dominated views. Rhys gives a voice to the people who were treated badly and ignored.

Rhys tells the story in a way that helps us understand what's happening in Bertha's mind and also criticizes the way people thought during that time. The Caribbean setting, especially the Sargasso Sea, is like a symbol of how trapped and alone Antoinette feels. 'Wide Sargasso Sea' makes us think differently about the usual story and shows us how women were treated and how history affected them. Because it comes before 'Jane Eyre,' it makes the characters and the main ideas in 'Jane Eyre' more interesting and complicated. Even after finishing the book, you keep thinking about the characters and what happened.

Jean Rhys and Charlotte Bronte:-

Jean Rhys, born in Dominica in 1890, became famous for her book "Wide Sargasso Sea," a special story that comes before "Jane Eyre." She started writing in the 1920s with books like "Postures" and "Quartet," but "Wide Sargasso Sea" in 1966 made her well-known. Rhys delved deep into her characters' minds, highlighting women's struggles in a male-dominated world. Other famous books by her include "Good Morning, Midnight" and "Voyage in the Dark." Despite facing challenges like money problems and alcohol issues, Rhys left a significant impact on literature, changing how we view classic stories with a feminist and postcolonial perspective. (Olubas)

Charlotte Brontë, born in Thornton, England, was a famous writer known for "Jane Eyre." The oldest of three sisters, including Emily and Anne, they were all important writers. Growing up, the Brontë sisters enjoyed creating stories. In 1847, Charlotte published "Jane Eyre" under the name Currer Bell, telling the story of Jane, an orphan who becomes a strong woman. The book discusses social class, morality, and women's roles in the 1800s. Charlotte also wrote notable books like "Shirley" in 1849 and "Villette" in 1853, exploring social and gender issues. Despite her short life, dying at 38 due to pregnancy complications, Charlotte's books, especially "Jane Eyre," remain significant globally. (Smith)

‘Wide Sargasso Sea’ and ‘Jane Eyre’:-

"Wide Sargasso Sea" by Jean Rhys, published in 1966, serves as a prequel to "Jane Eyre," offering the backstory of Bertha Mason. Set in 19th-century Jamaica, the novel follows Antoinette Cosway, later known as Bertha. Divided into three parts, it explores her childhood, marriage to Mr. Rochester, and descent into madness. Rhys addresses themes of identity, displacement, and the impact of colonialism. The novel challenges the colonial perspective in "Jane Eyre," giving a voice to marginalized characters. (Rhys)

"Jane Eyre" by Charlotte Brontë, published in 1847 under the name Currer Bell, tells the story of an orphaned girl, Jane Eyre. It's written in the first person, giving insight into Jane's thoughts and feelings. The book covers key moments in her life, from struggles at Lowood School to working as a governess at Thornfield Hall, where she meets the mysterious Mr. Rochester. The novel blends romance, societal issues, and women's rights. It emphasizes Jane's desire for independence and respect despite societal challenges. The complex relationship with Mr. Rochester adds intrigue. Addressing social class, gender roles, and morality, it's significant in Victorian literature. The character Bertha Mason, Mr. Rochester's first wife, is explored differently in the prequel "Wide Sargasso Sea" by Jean Rhys. "Jane Eyre" remains beloved for its compelling characters and timeless themes, resonating with readers across generations. (Brontë)

Characters:-

Two works connected by some factors can be considered a prequel. The bridge which connects these novels is the characters of these both. Jean Rhys reimagines and expands upon the characters, particularly focusing on Bertha Mason, who is confined as the 'madwoman in the attic' in "Jane Eyre." Let’s see some of the main Characters who are connected between these two novels.

ANTOINETTE COSWAY (BERTHA MASON):-

"Wide Sargasso Sea" centers on Antoinette Cosway, delving into her challenging early life in Jamaica and her eventual marriage to Mr. Rochester. Author Jean Rhys gives Antoinette a strong voice, allowing us to understand her perspective beyond the 'madwoman in the attic' stereotype from "Jane Eyre." Unlike Bertha Mason in "Jane Eyre," who is seen from the outside with little background, Rhys explores Antoinette's life in detail. This unique perspective adds depth to Bertha's character, challenging traditional views and providing a more sympathetic understanding of her descent into madness.

MYSTERIOUS MAN, MR. ROCHESTER (EDWARD FAIRFAX ROCHESTER):-

In "Wide Sargasso Sea," Mr. Rochester is known as Edward, a significant character involved with and marrying Antoinette. The novel explores Edward's thoughts and emotions, portraying him as mysterious and confused in the unfamiliar setting of Jamaica. Unlike the portrayal in "Jane Eyre," where he locks Bertha in the attic, Rhys presents a more complicated picture of Edward. By showing his side of the story, the author adds layers to his character, making him more human and challenging our perceptions from "Jane Eyre." Rhys provides a backstage pass to Edward's thoughts, fostering a better understanding of his complexities.

ANNETTE COSWAY:-

Through Annette Cosway in "Wide Sargasso Sea," Jean Rhys explores the factors shaping Bertha Mason's character in "Jane Eyre." Annette's struggles, influenced by colonialism, offer insights into the complex circumstances affecting Bertha's fate in Brontë's novel. Annette's mental challenges help us understand Bertha's state in "Jane Eyre," highlighting the impact of societal rules and financial difficulties on women like them. Rhys portrays Annette as an influencing factor, explaining Bertha's mental health in "Jane Eyre."

Colonial/Postcolonial Context:-

SETTING:- 

"Jane Eyre" is mainly set in Victorian England, a period during the 19th century known for its specific rules and beliefs. The novel takes us into a world where there are strict differences between social classes, clear expectations for how men and women should behave, and specific ideas about what is considered morally right. A significant part of the story happens at Thornfield Hall, which is the estate owned by Mr. Rochester. The place reflects the typical architecture of England during that time, showing how society was organized in a way where certain people held higher positions than others. (Thomas) The characters in the novel, like Jane Eyre, working as a governess, and Mr. Rochester, a wealthy landowner, is influenced by these social hierarchies, shaping how they interact and form relationships.

RACIALISM:-

"Wide Sargasso Sea" takes place in Jamaica during the early 19th century when it was a colony. The story explores the complicated culture and racial issues shaped by the history of slavery and colonial rule. At the start, we see Antoinette in Coulibri, her childhood home, and later, the story moves to Granbois, an estate she inherits. These Jamaican settings have beautiful landscapes, but they also show how some people were rich while others were poor, and there were tensions between different races. Jamaica is depicted as a place with a mix of cultures, such as Antoinette's Creole culture and the Afro-Caribbean culture represented by characters like Christophine. The presence of these different cultures makes the story more intricate and interesting. (Cappello)

CREOLE VS. ENGLISH CULTURE:-

When we try to find the word Creole means, we come across the world of Creole which is a totally different atmosphere we are living in. Creole is not merely known as these single words but it has other words tagging behind it like Creole People, Creole Society, Creole Language and also the meaning of this is changing from country to country, from group to group. But we can understand a little of what Thomas Hylland Eriksen, a famous Anthropologist, said about Creole Society.

“A creole society, in my understanding, is based wholly or partly on the mass displacement of people who were, often involuntarily, uprooted from their original home, shedding the main features of their social and political organizations on the way, brought into sustained contact with people from other linguistic and cultural areas and obliged to develop, in creative and improvisational ways, new social and cultural forms in the new land, drawing simultaneously on traditions from their respective places of origin and on impulses resulting from the encounter. It can be argued that this delineation of the creole society fits well with some of the super-diverse cities in contemporary Europe, which I will pay a visit to later.” (Eriksen)

In "Wide Sargasso Sea," Antoinette's Creole identity clashes with Mr. Rochester's English culture, leading to misunderstandings and conflicts. Being a white Creole from Jamaica, Antoinette's background reflects a mix of European and local influences, shaping her language, food, and customs. Mr. Rochester, representing English society, sees himself as culturally and economically superior as we can see by what he said about Antoinette,

“Creole of pure English descent she may be,

 but they are not English or European either”. (Rhys)

Their cultural differences create a communication barrier, reflected in their contrasting languages and values. This clash contributes to the tragic breakdown of their relationship in the novel.

Deconstruction of Stereotypes:-

Author Jean Rhys, who herself was a white Creole, felt upset about how Charlotte Brontë portrayed Bertha. Rhys was bothered by the stereotypical image of Bertha as a "paper tiger" lunatic and found fault in Brontë's depiction of Creole scenes. Most notably, she took issue with the perceived cruelty of Mr. Rochester in Brontë's portrayal. (Thomas) In "Wide Sargasso Sea," the book changes the way we think about Bertha, who's usually seen as the "madwoman in the attic" in "Jane Eyre." Instead of just seeing her as mysterious and troubled, this novel tells us more about her life in Jamaica before she ends up locked away. It asks us to look at Bertha in a new way, to understand her past, feelings, and challenges. The story is set in a time when colonialism and the effects of slavery still linger, which makes Bertha's life more complicated. It explores her family background and how she feels being part of the Creole culture. The book also looks at her relationships, especially with Mr. Rochester, showing how cultural differences and misunderstandings lead to her sad fate. "Wide Sargasso Sea" wants us to feel for Bertha, to question what we thought we knew about her, and to see her as a real person with a difficult story.

Narrative Structure:-

In "Wide Sargasso Sea," the story is told from different points of view, and the way it's put together is a bit like a puzzle with missing pieces. This mix of perspectives and the jumbled-up way of telling the story helps us see the characters and events in a more complicated and interesting way. It's like getting different angles on the same picture, making everything more intricate. Now, in "Jane Eyre," things are a bit different. The story mostly comes from one person's view, which is Jane's. This makes it more like looking through one lens, seeing everything from her perspective. It's a bit like having only one piece to a puzzle. This way of telling the story affects how we understand the characters and what's happening because we only get Jane's side of things.

Comparing the two, "Wide Sargasso Sea" gives us a richer and more diverse look at the characters and events because we hear from different people. On the other hand, "Jane Eyre" is more focused on one viewpoint, and that affects how we see the complexity of the story. Both ways of telling the tale have their own charm and impact how we connect with the characters.

Psychological Dimensions:-

In "Wide Sargasso Sea," the book takes a deep dive into how the characters, especially Antoinette, think and feel. It explores the emotional and mental sides of Bertha Mason, showing us what's going on inside her head. We get a better understanding of her as a person, not just the "madwoman in the attic." Jean Rhys shows us the psychological aspects of the characters, making them more real and relatable.

In "Jane Eyre," things are a bit different. The story talks about Bertha being "mad," but it doesn't really get into why or what she's going through emotionally. This lack of digging into the mental side of things gives us a simpler view of Bertha in "Jane Eyre." It's like seeing her from the outside without understanding what's happening inside her mind.

Conclusion:-

In conclusion, these all are the contrasting standpoints which make these both novels different and prequel to each other. In conclusion, ‘Wide Sargasso Sea’' and ‘Jane Eyre’ are connected tales that offer a before-and-after perspective. Jean Rhys, through her exploration of characters like Antoinette and Mr. Rochester, challenges stereotypes and gives voice to those marginalized in "Jane Eyre." Set in Jamaica, Rhys delves into the complexities of colonialism, racialism, and cultural clashes, adding depth to the characters and their relationships. The novel deconstructs the simplistic view of Bertha as the 'madwoman in the attic,' urging readers to empathize with her struggles. The contrast in narrative structure and psychological exploration sets ‘Wide Sargasso Sea' apart, providing a richer, more diverse understanding of characters and events. Ultimately, these interconnected works encourage a reevaluation of classic literature, prompting readers to question assumptions, empathize with the silenced, and appreciate the multidimensional nature of storytelling.

Works Cited:-

• Brontë, Charlotte. Jane Eyre. Carleton, 1864.
• Cappello, Silvia. “Postcolonial Discourse in ‘Wide Sargasso Sea’: Creole Discourse vs. European Discourse, Periphery vs. Center, and Marginalized People vs. White Supremacy.” Journal of Caribbean Literatures, vol. 6, no. 1, 2009, pp. 47–54. JSTOR, http://www.jstor.org/stable/40986298.
• Eriksen, Thomas Hylland. “Creolisation as a Recipe for Conviviality.” Conviviality at the Crossroads The Poetics and Politics of Everyday Encounters, 2020, pp. 43-63. Springer Link, https://doi.org/10.1007/978-3-030-28979-9_3.
• Olubas, Brigitta. “Woman, modernist, West Indian: the haunted life of Jean Rhys.” The Conversation, 15 January 2023, https://theconversation.com/woman-modernist-west-indian-the-haunted-life-of-jean-rhys-187171.
• Rhys, Jean. Wide Sargasso Sea. Norton, 1992.
• Smith, Vanessa. “Why Charlotte Brontë still speaks to us – 200 years after her birth.” The Conversation, 19 April 2016, https://theconversation.com/why-charlotte-bronte-still-speaks-to-us-200-years-after-her-birth-57802.
• Thomas, Sue. “The Classics: Wide Sargasso Sea, News.” La Trobe University, 2019, https://www.latrobe.edu.au/news/articles/2019/opinion/the-classics-wide-sargasso-sea.

Words:- 2755

Sem - 3 About Presentation (2023)

 TOPIC OF THIS BLOG:- 

In this Blog I described our (English Department, MKBU, Bhavnagar, Sem 3, Batch 2022 - 2024) Season 3 Presentations details and related links. 

PRESENTATION:-

From Date 16 October 2023 to 23 October 2023, we had our (English Department, MKBU, Bhavnagar, Sem 3, Batch 2022 - 2024) Season 3 Presentation. This presentation was held by Dilip Barad HOD of the English Department, MKBU, Bhavnagar.

In this Presentation we 20 students done our best. Of course we have more potential than this and we are on the path to search that out. For the Presentation we were divided in two groups, First one in Morning Session, 11:00 AM to 01:30 PM and Second was in Evening Session 02:00 PM to 04:30 PM. Here is a list of 20 students and their Blog Site:-

1.  Aarti Sarvaiya (Click here)
2. Anjali Rathod (Click here)
3. Avni Jani (Click here)
4. Bhavyata Kukadiya (Click here)
5. Drashti Joshi (Click here)
6. Gayatri Nimavat (Click here)
7. Ghanshyam Katariya (Click here)
8. Gopi Dervaliya (Click here)
9. Hetal Pathak (Click here)
10. Hina Parmar (Click here)
11. Insiyafatema Alvani (Click here)
12. Mansi Gujdiya (Click here)
13. Nirali Dabhi (Click here)
14. Payal Bambhaniya (Click here)
15. Pooja Bhuva (Click here)
16. Rajeshvariba Rana (Click here)
17. Riddhi Rathod (Click here)
18. Rinkal Dangar (Click here)
19. Trushali Dodiya (Click here)
20. Upasna Goswami (Click here)

DAY 1 - PRESENTATION

First day (16 October, 2023) of Presentation was on Paper 201: Indian English Literature – Pre-Independence.

In the Morning Session there were 10 students from Roll number 1 to 10 including Aarti, Anjali, Avni, Bhavyta, Drashti, Gayatri, Ghanshyam, Gopi and Hetal and Hina.

My turn was in the Evening Session and including me there were 10 students from Roll number 11 to 20 - Insiyafatema, Mansi, Nirali, Payal, Rajeshwari, Riddhi, Rinkal, Trushali and Upasana.

Here is a YouTube live Streaming on Dilip Barad sir's YouTube Channel of First day Presentation Morning Session:- 

Here is a YouTube live Streaming on Dilip Barad sir's YouTube Channel of First day Presentation Evening Session:-

DAY 2 - PRESENTATION

Second day (17 October, 2023) of Presentation was on Paper 202: Indian English Literature – Post-Independence on Second day of Presentation was in reverse order of roll number, Morning Session has 10 students from Roll number 10 to 1 and in evening Session also has 10 students in reverse order of roll number from 20 to 11.

Here is a YouTube live Streaming on Dilip Barad sir's YouTube Channel of Second day Presentation Morning Session:- 

Here is a YouTube live Streaming on Dilip Barad sir's YouTube Channel of Second day Presentation Evening Session:-

DAY 3 - PRESENTATION 

Third day (18 October, 2023) of Presentation was on Paper 203: Postcolonial-Studies on the third day time slot was changed, means in the Morning Session there were 10 students including me from Roll number 11 to 20 - Insiyafatema, Mansi, Nirali, Payal, Rajeshwari, Riddhi, Rinkal, Trushali and Upasana. 

In the Evening Session there were 10 students from Roll number 1 to 10 - Aarti, Anjali, Avni, Bhavyta, Drashti, Gayatri, Ghanshyam, Gopi, Hetal and Hina.

Here is a YouTube live Streaming on Dilip Barad sir's YouTube Channel of Third day Presentation Morning Session:-

Here is a YouTube live Streaming on Dilip Barad sir's YouTube Channel of Third day Presentation Evening Session:-

DAY 4 - PRESENTATION

Fourth day (21 October, 2023) of Presentation was on Paper 204: Contemporary Western Theories and Film Studies. Fourth day of Presentation was in reverse order of roll number, Morning Session has 10 students from Roll number 20 to 11 and in evening Session also has 10 students in reverse order of roll number from 10 to 1.

Here is a YouTube live Streaming on Dilip Barad sir's YouTube Channel of Fourth day Presentation Morning Session:-

Here is a YouTube live Streaming on Dilip Barad sir's YouTube Channel of Fourth day Presentation Evening Session:-

DAY 5 - PRESENTATION

Fifth and last day (23 October, 2023) of Presentation was on Paper 205A: Cultural Studies. Fifth day of Presentation was in reverse order of roll number, Morning Session has 10 students from Roll number 20 to 11 and in evening Session also has 10 students in reverse order of roll number from 10 to 1.

Here is a YouTube live Streaming on Dilip Barad sir's YouTube Channel of Fifth day Presentation Morning Session:-

Here is a YouTube live Streaming on Dilip Barad sir's YouTube Channel of Fifth day Presentation Evening Session:-

If You have any suggestions, doubts or complaints please do contact on my Social Media or comment it down.