Cultural Studies in Practice

TOPIC OF THE BLOG:- 

This blog is a part of a thinking activity given by Dilip Barad Sir from The English Department, MKBU, Bhavnagar. Check out Dilip Barad sir's Blog Site (Click Here) for more information and knowledge about  works and writers. In this blog I am going to discuss which approach of CS is applied in the reading of the play 'Hamlet', poem 'Coy Mistress' and novel 'Frankenstein' according to my understanding of this. This whole blog is like a reflection of the book named 'A Handbook of Critical Approaches to Literature' by Wilfred Guerin. 

WHAT IS CULTURAL STUDIES?:-

Cultural Studies is an interdisciplinary field of academic study that explores and analyzes various aspects of culture, including popular culture, media, art, literature, language, and everyday life. It emerged in the mid-20th century and has since developed into a diverse and dynamic area of scholarship. Some key aspects of Cultural Studies include:

1. Interdisciplinarity: Cultural Studies draws on multiple academic disciplines, including sociology, anthropology, literature, history, media studies, and more, to examine how culture shapes and is shaped by society.

2. Focus on Power and Identity: Cultural Studies often scrutinizes issues of power, identity, and representation. It examines how cultural practices, texts, and artifacts can reinforce or challenge existing power structures and social norms.

3. Popular Culture: It pays particular attention to popular culture, such as music, television, film, fashion, and digital media, as these elements play a significant role in shaping contemporary societies and influencing individual and collective identities.

4. Critical Analysis: Cultural Studies scholars employ critical and theoretical approaches to dissect cultural phenomena, seeking to uncover underlying meanings and ideologies. This critical perspective can reveal hidden biases and assumptions within cultural artifacts.

5. Cultural Production and Consumption: It looks at both the production and consumption of culture, examining the creative processes involved in cultural production and how audiences interact with and interpret cultural products.

6. Global and Local Perspectives: Cultural Studies can adopt both global and local lenses to analyze how culture operates at various scales, from the global flow of information and media to the intricacies of local communities and subcultures.

7. Social Change: Cultural Studies often seeks to understand how culture influences and is influenced by social and political change, including issues related to social justice, gender, race, class, and more.

Overall, Cultural Studies provides a framework for understanding how culture is central to our lives and how it impacts our worldviews, behaviors, and interactions with others. It is a dynamic and evolving field, adapting to the changing cultural landscape and technological advancements of the modern era. (Chat GPT)

Here is a video available on YouTube by Kalyani Vallath Ma'am to understand Cultural Studies more deeply:-

Cultural Studies: 'HAMLET':- 

"Hamlet," written around 1600 by William Shakespeare, is a renowned tragedy featuring Prince Hamlet of Denmark. The play delves into themes of revenge, madness, political intrigue, and human nature. Hamlet grapples with avenging his father's murder by his uncle, King Claudius. This timeless work is celebrated for its poetic language and iconic soliloquies, particularly the "To be or not to be" speech. Hamlet's struggle and  wish to kill her father's killer somewhere are the reasons which make this work more interesting to read.

Little different from the original plot and idea executed here in Cultural Studies in 'Hamlet'. In this part there are two Characters are discussed named Rosencrantz and Guildenstern with the view to seeing power in its cultural context. And as a Marginalized Characters. 

In the next Paragraph there is a description that These two Characters play which role in Hamlet. Here is one scene in which Claudius is talking with Rosencrantz and Guildenstern - these both are Hamlet's Friends and fellow students from Wittenberg. 

Here this speech by Rosencrantz 'response to Claudius's plan to send Hamlet to England is considered as a good speech and with an excellent set of metaphors. 

The singular and peculiar life is bound

With all the strength and armor of the mind

To keep itselfrom noyance, but much more

That spirit upon whose weal depends and rests

The lives of many. The cease of majesty

Dies not alone, but like a gulf doth draw

What's near it with it. lt is a massy wheel

Fixed on the summit of the highest mount,

To whose huge spokes ten thousand lesser things

Are mortised and adjoined; which, when it falls,

Each small annexment, petty consequence,

Attends the boisterous ruin. Never alone

Did the King sigh but with a general troun........ (Guerin)

In this speech we may find something like this that  the concept of the singular and peculiar life of a ruler or king and the significant responsibility they bear for the well-being of many people

Further here is an argument to readers about how many readers consider this passage among the best - known lines of the play. Why is this passage not well known? It is said that Rosencrantz and Guildenstern are among the jellyfish of Shakespeare's Characters. Means easy to forget.

Murray J. Levith wrote that Rosencrantz and Guildenstern are from the Dutch - German: literally, 'Garland of Rose's and Golden Star. Their names together sound like a song and have jingling in it. 

Then here is a mention of the characters Solanio and Salarino from William Shakespeare's play "The Merchant of Venice." Granville-Barker mentions that actors often find these two roles to be particularly uninteresting or dull. In his view, they are considered by actors as "the two worst bores in the whole Shakespearean canon," he even compares them to another pair of characters, Rosencrantz and Guildenstern, from Shakespeare's play "Hamlet," whom he also considers unremarkable or lacking in depth. 

The next Paragraph is highlighting that the names Rosencrantz and Guildenstern in "Hamlet" may not accurately represent the social status or historical significance to individuals with the same names in real life, but Shakespeare likely used them for their grand and Danish-sounding qualities and because they sound grand and are associated with Denmark. 

Next paragraph explores what these two Characters do and what is done to them. Their primary mission is to gather information from Hamlet. But Hamlet foils them means he sees through their motives and realizes that they are being used as pawns by Claudius to spy on him. Later in the play, Claudius sends Rosencrantz and Guildenstern on an embassy to England, carrying a letter that orders Hamlet's execution. Although they may not have been aware of the letter's contents, Hamlet suspects them of being involved in this plot against him.

They must sweep my way,

And marshal me to knavery. Let it work,

For 'tis the sport to have the engineer

Hoist with his own petard. And 't shall go hard

But I will delve one yard below their mines

And blow them to the moon: Oh, 'tis most sweet

When in one line two crafts directly meet. (Guerin)

In the passage there is one line - Hoist with own petard - says about Rosencrantz, Guildenstern and Claudius caught in one's own trap. 

Further, Hamlet explains to Horatio that he is not guilty for what he did to Rosencrantz and Guildenstern, because it is the result of their own actions. 

With the next Paragraph one can say that Hamlet may well see himself as righting the moral order, not as a murderer. He says that too that, once Claudius uses someone he discards them and these two are just pawns to him and Hamlet calls Rosencrantz a sponge. 

Hamlet: . . . Besides, to be demanded of a sponge! What replication should be made by the son of a king? Rosencrantz: Take you me for a sponge, my lord? Hamlet: Aye, sir, that soaks up the King's countenance, his rewards, his authorities. But such officers do the King best service in the end. He keeps them, like an ape, in the corner of his jaw, first mouthed, to be last swallowed. When he needs what you have gleaned, it is but squeezing you and, sponge, you shall be dry again. (Guerin)

Further, it is said that they are considered as pawn sponges even as monkey food. They both school fellows may have some good intentions toward Hamlet but the main or more important motive is to please the king.

These above paragraphs discussed power and how it works in the life of a king and some pawn. In the next Paragraph there are some examples to describe the Power served Policy.

Further he talked about contemporary time's the Rosencrantz and Guildenstern are dead by Tom Stoppard. In that work these two are like ineffectual pawns, seeking constantly to know who they are, why they are here, where they are going. Rosencrantz and Guildenstern are Archetypal human beings caught up on a ship and are like a person who is already dead. 

If Shakespeare marginalized the powerless, Stoppard has marginalized us all in his version of Rosencrantz and Guildenstern. Whether in Shakespeare's version or Stoppard's Rosencrantz and Guildenstern are no more than what Rosencrantz called a Small annexment a petty consequence mere nothings for the massy wheel of kings.

Cultural Studies: 'TO HIS COY MISTRESS':-

• In "To His Coy Mistress," the speaker reveals a lot about himself through the poem. Traditional analyses suggest he's familiar with various literary traditions like Greek and Roman classics, medieval courtly love, Biblical references, and even concepts from philosophers like Aquinas. He seems aware of different literary conventions, like the Provencal love tradition and neo-Petrarchan styles. The first stanza is said to emphasize its exaggerated literary style. 
• The second stanza contains references to Horace's "carpe diem" theme and echoes from Ovid, the Book of Common Prayer, Greek Anthology, and Renaissance poets. It's suggested that the speaker imagines an implied audience that would recognize and understand the various kinds of love poems he echoes. The speaker is knowledgeable enough to playfully imitate or mock these traditions, not expecting the lady to take his exaggerated comments seriously. He's aware that she, being part of the same cultural background, would understand his playful references and not take his proposal literally.
• The speaker, much like Marvell himself, appears to be highly educated and well-versed. He effortlessly uses various references and ideas that show what kind of person he is. He hopes that the person he's talking to or the one reading his poem will get these ideas and respond in a similar way, creating a connection. His mind is filled with thoughts of valuable things, faraway lands, and a life full of fun.
• Other than what we directly learn from what he says, it's reasonable to think that the shy lady he's addressing is educated too and understands the jokes and literary tools he's using. He believes she gets the playful side of his words because by involving her in the jokes, he's trying to catch her interest and distract from his physical desires. If they share the same understanding and humor, they might end up getting closer in a more personal way. This gives us a peek into the time and culture of the speaker, the lady he's talking to, and the presumed reader of the poem.
• The speaker in the poem doesn't talk about some important things in life. He doesn't mention how tough life was for many people, dealing with being poor or having illnesses, like the common sexually transmitted disease of his time, syphilis. Even though he talks a bit about death in the future, his main focus is on enjoying wealth, free time, and having fun in the present. He completely ignores the serious problems of diseases, poverty, and the big, history-changing events like the devastating Black Death that affected Europe.
• If we look at what was really happening in history, the poem doesn't talk about the diseases that were widespread during that time. For instance, it doesn't mention the Great Plague that hit London in the 1660s, even though it was a major and scary event that caused many deaths. Although diseases were a big deal in the 17th century, the poem doesn't pay any attention to these harsh realities. The speaker and the lady might have known about these problems. It's possible that they deliberately avoided talking about these hard things and instead focused on more pleasant parts of life.
• To see any poem or work through the lens of Cultural Studies, it mostly sees the parts which are suppressed by the readers and Cultural Studies unlocks that door. 

Cultural Studies: 'FRANKENSTEIN':- 

'Frankenstein' by Mary Shelley, through the lens of Cultural Studies can be seen in so many parts:-

1) Revolutionary Births:-

Frankenstein, made during a time of many changes, questioned the ideas of its time. Maybe the way it keeps changing shows it's still a rebellious story at its core. Today, Frankenstein is a strong symbol, especially in a world all about buying things and trying to be real while feeling worried about it. You can see Frankenstein's influence everywhere, like calling Saddam Hussein an "American-made Frankenstein" or cautioning about genetically changed foods, test-tube babies, and cloning. This story talks about big political and scientific topics and has gone into popular culture through books, plays, movies, and TV shows. It's not common for one story to deal with current scientific and political matters while also entertaining many generations of people.

• The Creature as Proletarian:- Mary Shelley lived in a time of big changes in Britain, and her family knew radical thinkers like Thomas Paine and William Blake. Her husband, Percy Shelley, also wanted big changes and was watched by the government. In "Frankenstein," the author's worries about revolution and feelings for the poor reflect her own struggles. The Creature in the story is a mix of good and bad, much like Mary Shelley. Monsters like the Creature are complex. They challenge the way things are, often created by that same order. When they survive, even if they look strange, it's like winning against the odds. But society feels safer when these monsters are caught. That's why there were many Frankenstein-like movies during the Cold War. The Creature's rebellious nature is deep-rooted. It reads books that inspire change, yet even with good ideas, it can't fit in or be accepted by society. Its education from these books doesn't help it belong in a society that doesn't want it, even if it knows a lot about freedom.
• 'A Race of Devils':- In "Frankenstein," the Creature's yellow skin represents the fear of outsiders or those seen as different, reflecting prejudices against various groups, including Africans, prevalent in Mary Shelley's time. The depiction of Africans was influenced by the anti-slavery movement, showing them as pitiable and childlike. Interestingly, there was a reference to Frankenstein in Parliament, comparing setting a slave free to the novel's creature. The story also reflects ideas from German race theorists about different racial origins. Gayatri Chakravorty Spivak views "Frankenstein" as criticizing empire and racism. It highlights that social decisions shouldn’t rely only on theories or science. The novel's racism connects with concerns about male dominance and a retreat from sexual reproduction. It's considered a story told from an underprivileged perspective.
• From Natural Philosophy to Cyborg:- Today, in a time focused on genetic engineering and cloning, "Frankenstein" stays important. During the Romantic era, science shifted from natural philosophy to biology, which is a key part of the book. Mary Shelley saw demonstrations showing electricity's effect on bodies, inspiring her story. Luigi Galvani's experiments moving muscles with electricity influenced talks among Percy Shelley, Byron, and Polidori in Geneva, discussing contrasting views on life. Now, with fertility science advances like genetic engineering and in vitro fertilization, tough decisions arise for couples about handling multiple births and premature babies. There's a debate if science is going too far. "Frankenstein" links with present ideas such as sperm banks and artificial wombs, reflecting a desire to control reproduction. The book's warning about ambitious science remains relevant as it explores the limits between life and death, selective reduction, and life support.

2) The Frankenpheme in Popular Culture: Fiction, Drama, Film, Television:-

In the Routledge Literary Sourcebook on Frankenstein, Timothy Morton talks about "Frankenphemes," elements from language sounds and visuals, drawn from Mary Shelley's novel. These elements appear in different cultural works inspired by "Frankenstein," seen in discussions about race, class, debates on genetically engineered foods, and in various forms of fiction, drama, film, and TV.

• "The Greatest Horror Story Novel Ever Written":- "Frankenstein's Fictions" talks about how many authors used Mary Shelley's story as inspiration for new tales. Peter Haining, from the "Frankenstein Omnibus," thinks it's the greatest horror novel ever. Herman Melville's "The Bell-Tower" was the first short story inspired by "Frankenstein," showing a scientist creating a mechanical man that turns against him in Italy. Villiers de L'Isle Adam's "The Future Eve" was the first story about a female monster, and other writers, like W.C. Morrow and Jack London, also wrote stories about bringing the dead back to life. H.P. Lovecraft wrote "The Reanimator," later made into a movie, where experiments are done on dead bodies. There are also versions for children and other diverse interpretations.
• Frankenstein on the Stage:- Stage and screen adaptations often make the Creature scarier and blame Victor less, focusing on dramatic scenes and leaving out the novel's complexities. They usually highlight specific moments like the Creature's creation and destruction, skipping smaller characters and the novel's structure. The first play, "Presumption, or, The Fate of Frankenstein," in 1823 was okayed by Mary Shelley, but it led to parodies. Later, "The Rocky Horror Show" and "The Rocky Horror Picture Show" took a more modern, sometimes funny approach, altering the story with new characters. These adaptations are quite different from the original.
• Film Adaptations:- In the Frankenstein Omnibus, there's the screenplay for the famous 1931 film, where James Whale added new elements, like using a criminal brain for the monster. Thomas Edison's 1910 film was the first, breaking from the melodrama of stage shows to focus on more dreamlike episodes. Whale's film and Boris Karloff's role had a big influence on later portrayals. The changes made by Whale stuck, like the grunting Creature, Victor called "Henry," an assistant named Fritz, and a happy ending. Whale's movie reflected an American idea about biology determining behavior and crime. In "Bride of Frankenstein," there's a mix of comedy and horror. It focuses on new characters, Dr. Pretorius and a female Creature, showing the Creature as more innocent and society as the real danger. The 1994 film by Kenneth Branagh tries to stick to the novel but changes the story towards a love plot between Victor and Elizabeth.
• Television Adaptations:- Frankenstein has appeared in many TV shows, like The Addams Family, The Munsters, and The Simpsons. There have been various actors portraying the Creature, such as Bo Svenson, Randy Quaid, and David Warner. A notable TV adaptation was "Frankenstein: The True Story" from 1972, featuring a great cast and a script by Christopher Isherwood. The show had actors like James Mason, Jane Seymour, Michael Sarrazin, and even Tom Baker from Doctor Who - as described in the book named 'A Handbook of Critical Approaches to Literature'.

Here is video available on YouTube which described how the monster Frankenstein is made for the good impact in movie:-

WORKS CITED:-

• Guerin, Wilfred L. A Handbook of Critical Approaches to Literature. 5 ed., Oxford University Press, 2005.
• Open AI. "Chat GPT-3.5". https://chat.openai.com/c/ce1ce977-7be9-4a15-b547-45bca94a7137
• Open AI. "Chat GPT-3.5". https://chat.openai.com/c/b378f218-27d1-4b3e-a5a3-3e030c6aeafc

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Note:- I took help from the Chat GPT for certain points and mostly to make my blog Grammar error free and If you have any questions or doubts comment it down or contact me on my Social Media.