Assignment 202:- Examining Postcolonial and Postmodern Features in Salman Rushdie's Midnight's Children

 

This Blog is an Assignment of paper no:202 Indian English Literature (Post-Independence). In this assignment I am dealing with the topic of Examining Postcolonial and Postmodern Features in Salman Rushdie's Midnight's Children.

Examining Postcolonial and Postmodern Features in Salman Rushdie's Midnight's Children

Personal Details:-

Name: Akshay Nimbark

Batch: M.A. Sem.3 (2023-2025) 

Enrollment N/o.: 5108230029

Roll N/o.: 02

E-mail Address: akshay7043598292@gmail.com

Assignment Details:-

Topic:- Examining Postcolonial and Postmodern Features in Salman Rushdie's Midnight's Children

Paper: 202

Subject code & Paper N/o.: 22407  

Paper Name:- Indian English Literature (Post-Independence)

Submitted to: Smt. S.B. Gardi Department of English M.K.B.U. 

Date of submission: 20 November 2023

Points to Ponder:- 

• Abstract
• Key words
• Introduction
• Postcolonialism
• Postmodernism
• Salman Rushdie as a Postcolonial and Postmodern Writer
• Postmodernism in ‘Midnight’s Children’
• Midnight’s Children as Postcolonial work
• Conclusion 

Abstract:-

This assignment examines the postcolonial and postmodern elements in Salman Rushdie’s novel Midnight’s Children. Set against the backdrop of post-independence India, Rushdie’s work merges historical narrative with postmodern storytelling techniques such as parody, magical realism, and fragmented narratives. This analysis explores how the novel reflects the complex and layered identity of postcolonial India, integrating mythical, historical, and political elements to represent the nation's diversity and hybridity. By intertwining postcolonial themes with postmodern narrative styles, Midnight’s Children becomes a multidimensional portrayal of the postcolonial experience, challenging traditional notions of truth and identity. Through its blend of genres and themes, the novel underscores the fluidity and hybridity that mark both individual and collective identities in postcolonial contexts.

Key words:-

Salman Rushdie,

Midnight’s Children,

Postcolonialism,

Postmodernism,

Hybridity,

Magical realism,

Historiographic

Metafiction,

Identity,

Indian independence

Introduction:-

In the later part of the 20th century, literary analysis saw a shift with the rise of postcolonialism and postmodernism as major frameworks. Postcolonialism looks at the lasting cultural effects of colonial rule and how it influences societies and identities even after independence. Salman Rushdie, a well-known British-Indian writer, skillfully weaves both postcolonial and postmodern elements into his famous novel, Midnight’s Children. Postmodernism, which often questions traditional ideas about truth and reality, is marked by unique storytelling styles, including unusual structures and self-aware language. Rushdie’s novel captures the complex realities of postcolonial India while showcasing postmodern features like parody, magical realism, and a fragmented narrative style. These themes are bound together by the concept of hybridity, highlighting the ongoing blending and reshaping of identities in a world marked by both postcolonial and postmodern influences. This blend encourages fresh perspectives on literature, identity, and the interconnected nature of history and storytelling.

Postcolonialism:-

Postcolonialism is the academic study of the lasting cultural impacts of colonialism and imperialism. This approach examines how colonial rule has shaped societies, cultures, and identities over time. Quayson defines postcolonialism as an engaged study of the experiences and effects of colonialism, both in former colonies and on a global scale, where imperial influence still lingers. Postcolonial scholars focus on understanding power structures, resistance efforts, and the ongoing impact of colonial histories. Their goal is to break down colonial narratives, question Eurocentric perspectives, and uplift the voices of marginalized groups. Quayson emphasizes that postcolonialism covers both the conditions during colonial rule and those that have emerged since its end.

Postmodernism:-

Postmodernism is a complex intellectual movement that began in the mid-20th century, questioning traditional ideas of truth, reality, and identity. Lyotard, a major thinker in postmodernism, describes it as a blend of both the future and the past, creating a unique perspective. Rather than following universal principles or grand narratives, postmodern works are free from strict structures (Brann). In literature, as Connor points out, postmodernism mainly influences narrative fiction, focusing on the subjective nature of viewpoints and the fragmented nature of knowledge. Postmodern literature often uses nontraditional narrative forms, intertextual references, and an awareness of language’s role in shaping reality. Unlike modernism, which emphasized the concept of time, postmodernism sees literature as an inherently narrative form that unfolds within time itself. (Connor)

Salman Rushdie as a Postcolonial and Postmodern Writer:-

Salman Rushdie, a well-regarded British author born in India, is often seen as someone who writes in both postcolonial and postmodern styles. His most famous book, "Midnight's Children," is like a vibrant blend of these two approaches. “He is immensely influenced by the political and cultural milieu of post independent India Cultural fragmentation,colonial and neo-colonial power structure,matterialistic off-shoots of modern civilization,dying of human relationship,social injustice,blending of facts and fantasy,- search for love and security are the major preoccupations in the writings of Salman Rushdie.” (Barman)

In Midnight's Children, Rushdie delves into India’s journey following its independence in 1947. The novel unpacks the complex layers of identity, the blending of various cultures, and the impact of major historical moments on individual lives. Rushdie’s storytelling style in this novel shows a strong influence from postmodern ideas, as he blends magical elements with reality, uses a nonlinear narrative, and experiments creatively with language.

By examining Midnight's Children through the perspectives of postcolonialism and postmodernism, we can see how Rushdie intertwines themes of history, identity, and narrative. The novel serves as a space where colonial histories are re-examined, established beliefs are challenged, and a chorus of voices comes together to portray life in the postcolonial era.

Postmodernism in ‘Midnight’s Children’:-

Rita Joshi highlights in her analysis, what Hutcheon in his ‘Poetics of Postmodernism’ stated “When modernist aesthetic autonomy and self reflexivity come up against a counterforce in the form of a grounding in the historical, social and political world …what would characterise postmodernism in fiction would be what I here call ‘historiographic metafiction’”. (Joshi)

"Midnight's Children" by Salman Rushdie stands as a notable example of postmodern fiction, weaving together elements of fantasy, history, and mythology to create a narrative that challenges traditional storytelling norms.” Historiographic metafiction is one of the preoccupation of postmodernism. Actual historic characters and events serve as background of postmodern novels. Like Amitav Ghosh Rushdie utilizes history. Through the story of Sinai family the history of Indian subcontinent found expression. All the major events of Indian history---from the independence to declaration of emergency by Indira Gandhi have been eloquently expressed in Midnight’s Children. Thus from the above examination we can say that Midnight’s Children is the best example of a postmodern novel. All the important traits known to be postmodern have been found expressed in this novel. (Barman)

A key trait of postmodern novels is their departure from strict realism, and this is clearly seen in Rushdie's work. The narrator openly doubts his own perspective, asking, “Am I so desperate for meaning that I’m willing to twist everything?” This self-questioning and readiness to distort reality reflect the postmodern urge to break from traditional narrative norms.

Salman Rushdie’s Midnight’s Children embodies postmodern fiction through its mix of fantasy, history, and mythology, forming a richly layered story. The "midnight’s children" represent India’s birth at the exact moment of independence on August 15, 1947. These children, each with magical abilities that slowly fade over time, metaphorically reflect India’s dwindling potential in the following years. This analysis explores the distinct elements of postmodernism within the novel.

In Midnight’s Children, different texts blend to form a fictional world, showcasing the postmodern focus on variety and multiplicity. The narrative, influenced by Hindu mythology, intertwines real historical events with timeless myths, blurring the line between reality and fantasy. Characters like Saleem and Major Shiva embody mythical figures, echoing deities like Ganesha. The story also includes the myth of Shiva and Parvati, with Shiva symbolizing destruction and war. Aadam, Saleem’s adoptive father, mirrors the elephant-headed god Ganesh, representing the complex mix of mythology and reality within the story. This intricate blend highlights the novel’s use of postmodern storytelling.

Parody, an important postmodern feature, is used throughout Midnight’s Children to humorously critique historical events. Partition, for instance, is humorously illustrated through a divided woman, emphasizing the absurdity of splitting both her body and the subcontinent. Another parody involves Indira Gandhi and the Emergency, portraying the Prime Minister as a jealous Widow, taking drastic steps to suppress the Midnight’s Children. Magic realism also appears, such as in the character Mian Abdullah, a magician-politician using a “conjuring trick” to unite Muslim groups. These elements of parody add a critical and humorous angle to the historical and political themes presented in Rushdie’s postmodern narrative.

Midnight’s Children as Postcolonial work:-

Saleem uses magical realism, with its blending of mythology, realism, fantastic elements, and history, to tell his story, and this remains the most effective way for him to continue his story and to express his position as a postcolonial Indian citizen. (Abdullah)

The Indian sub-continent is associated with concepts of multiplicity, hybridity, and plurality. It is quite difficult and, to some extent, impossible to define a diverse country like India by a homogeneous and authentic national identity. Having people from different cultures and languages, India is defined by its diversity, and people from different religions further pluralize the identity of the nation. (Abdullah)

Midnight’s Children captures the rich blend of cultures, languages, and religions that shape the Indian subcontinent, reflecting the diverse nature of its people. This mixture isn’t just a cultural or linguistic aspect; it also includes the varied religious identities within India. Abdullah’s insights about the challenge of defining India by a single national identity resonate with this idea.

What makes Midnight’s Children stand out is its use of this mix of elements, not only as a form of creative storytelling but also as a way to explore the struggles of postcolonial India. Through the lens of hybridity, readers gain a deeper understanding of the complex issues tied to India’s postcolonial identity. This narrative style allows the novel to go beyond a straightforward historical recount, offering a layered and insightful view of India’s history and its unique postcolonial challenges.

Saleem, who struggles for personal identity, becomes a symbolic counterpart to India, which struggles to reunite its multiple nationhoods in the post-independence period; his life becomes a microcosm of post-independent India. After the loss of telepathic power, Saleem gains another as his huge nose starts smelling emotions and intentions. From these events and ideas emerge fantasy so complex, and the novel remains a constant investigation of the relations between order, reality, and fantasy.(Abdullah)

Conclusion:-

In Midnight's Children, Salman Rushdie combines postcolonial and postmodern elements, delving into India’s journey after British rule while using creative narrative techniques. Hybridity serves as a core theme, highlighting the varied influences that shape both the characters' identities and the storytelling style. This mix encourages readers to rethink ideas about literature, identity, and the postcolonial experience, showing it as an evolving and adaptable concept influenced by culture, history, and personal experiences. Rushdie’s skillful blend adds depth to the novel, offering a fresh perspective on the layered complexities of postcolonial life and the ever-changing nature of both storytelling and identity.

(Words:- 1800)

Resources :

Abdullah, Md. Abu Shahid. “International Journal of English and Education.” International Journal of English and Education, October 2014, https://ijee.org/assets/docs/27_L.265144232.pdf.  Accessed 13 November 2024.

Brann, Eva TH. "What is postmodernism?." The Harvard Review of Philosophy 2.1 (1992): 4-7.

https://www.pdcnet.org/8525737F00588A37/file/6EF2AE9BDE8660AE852577CA00 476C3/$FILE/harvardreview_1992_0002_0001_0003_0006.pdf  Accessed 13 November 2024.

Barman, Kalyan Kishor. “Post-modern traits in the novel of Salman Rushdie's Midnight's Children. Kalyan Kishor.” Worldwidejournals.com, GJRA - GLOBAL JOURNAL FOR RESEARCH ANALYSIS, August 2015, https://www.worldwidejournals.com/global-journal-for-research-analysis-GJRA/recent_issues_pdf/2015/August/August_2015_1438858313__21.pdf . Accessed 13 November 2024.

Chetia, Janardan. “A Postcolonial Analysis of Salman Rushdie's Midnight's Children and V.S. Naipaul's A House for Mr Biswas.” Journal of Emerging Technologies and Innovative Research, 2021, https://www.jetir.org/papers/JETIR2103242.pdf . Accessed 13 November 2024.

Connor, Steven. "Postmodernism and literature." The Cambridge companion to postmodernism (2004): 62-81.

https://books.google.co.in/books?hl=en&lr=&id=dfpJqgYC7x8C&oi=fnd&pg=PA62&dq=what+is+postmodernism+in+literature&ots=UGREelhgbh&sig=qnpfVYyBI2XnqaawVs6bmB4Nrfg&redir_esc=y#v=onepage&q=what%20is%20postmodernism%20in%20literature&f=false  Accessed 13 November 2024.

Joshi, Rita. “Salman Rushdie's Midnight's Children as a Postmodern Novel.” THE AD LITTERAM JOURNAL, https://adlitteramjournal.com/assets/pdf/2020/20.-Rita-Joshi_Article_Ad-Litteram-Journal_December-2020-Edition_Volume-5.pdf . Accessed 13 November 2024.

Quayson, Ato. “What is postcolonial literature?” The British Academy, 2 January 2020, https://www.thebritishacademy.ac.uk/blog/what-is-postcolonial-literature/ . Accessed 13 November 2024.

ASSIGNMENT 201:- The Complexities of Nationalism in Rabindranath Tagore's Home and the World

 

This Blog is an Assignment of paper no:201 Indian English Literature (Pre-Independence). In this assignment I am dealing with the topic of The Complexities of Nationalism in Rabindranath Tagore's Home and the World.

The Complexities of Nationalism in Rabindranath Tagore's Home and the World

Personal Details:-

Name: Akshay Nimbark

Batch: M.A. Sem.3 (2023-2025) 

Enrollment N/o.: 5108230029

Roll N/o.: 02

E-mail Address: akshay7043598292@gmail.com

Assignment Details:-

Topic:- The Complexities of Nationalism in Rabindranath Tagore's Home and the World

Paper: 201

Subject code & Paper N/o.: 22406  

Paper Name:- Indian English Literature (Pre-Independence)

Submitted to: Smt. S.B. Gardi Department of English M.K.B.U. 

Date of submission: 20 November 2023

Points to Ponder:- 

• Abstract

• Introduction

• Ideologies of all Characters and view of Tagore

• Bimla’s Character

• Nikhil’s Character

• Sandip’s Character

• Tagore and Nationalism

• Conclusion

• Work Cited

Abstract:-

Nationalism in Home and the World is a key theme in Rabindranath Tagore's novel, set during the Swadeshi Movement in early 20th century India. The story explores the clash between traditional values and radical nationalist ideas. The central characters—Nikhil, Bimala, and Sandip—represent these differing perspectives, with "Home" symbolizing tradition and "World" representing intense nationalism.

Bimala, in particular, undergoes a dramatic change as she becomes more involved in Sandip’s nationalist cause, showing how political beliefs can deeply affect personal lives. Through this, Tagore’s story reflects the larger conflict between old and new ideas during a time of political change in India. It raises important questions about the impact of radical nationalism and the complex relationship between personal identity and national loyalty in a world that is rapidly transforming. This makes the novel a powerful exploration of nationalism.

Introduction:-

In Home and the World, Rabindranath Tagore captures the essence of the Swadeshi Movement in Bengal, while also focusing on the emotional and psychological journey of an impressionable young housewife, Bimala. As she moves from the sheltered life of a traditional Hindu wife into the turbulent world outside her home, the novel explores her internal struggle between the security of "home" and the allure of the "world" beyond. Tagore illustrates how love and politics can collide, revealing the tension between personal desires and political duties. (Ranjan) The novel is set during the political upheaval of 1905 Bengal, where the calls for “Swadeshi” and “Bande Mataram” filled the air, and it portrays the struggles of three main characters: Nikhil, his wife Bimala, and his friend Sandip. Through these characters, Tagore examines the conflict between nationalism and humanism. He shows how Sandip, driven by aggressive nationalism, urges the masses to burn British goods and resort to violence in the name of patriotism. Sandip represents the extreme, forceful nationalism that was growing among politically active Indians during the Swadeshi Movement. (Ranjan) At its core, the novel explores the division between the "home" as a symbol of personal and family life, and the "world" as the broader, often dangerous realm of politics and social struggle. Tagore uses this conflict to comment on the dangers of the outside world to those unprepared for its harshness. In his narrative, there is an inward movement toward preserving the home and its values, contrasted with an outward movement towards understanding the world beyond as a larger, more complex "home." (Ranjan) Tagore presents two contrasting approaches to India's freedom through his characters, Nikhil and Sandip. Nikhil’s perspective reflects a rational, peaceful approach focused on self-reliance and moral integrity, while Sandip represents the passionate, often violent extremism of the nationalist movement. Tagore’s own views on Indian independence are closely aligned with Nikhil’s vision. He rejected the aggressive nationalism that was gaining traction at the time, preferring a more constructive and peaceful path toward self-government. (Ranjan) Through Home and the World, Tagore reflects his own struggle against the jingoistic patriotism that was common in India at the time. As noted by Krishna Kripalani, despite his deep love for his country, Tagore was never a fan of the loud, aggressive forms of nationalism that were celebrated by others. His approach was always more measured and focused on true, moral independence. This more thoughtful perspective, however, led to his alienation from some of his fellow countrymen, even as he was later revered after his death. (Ranjan)

Ideologies of all Characters and View of Tagore:-

In The Home and the World, the two central male characters, Nikhil and Sandip, represent two distinct paths for the nationalist movement. Nikhil embodies rationalism, while Sandip advocates for a utopian vision. Meanwhile, Bimala’s character reflects the confusion and lack of freedom experienced by the colonized mind. In contrast, Sandip’s voice breaks traditional myths, and Nikhil’s offers a more idealistic, yet reasoned, approach to nationalism.

In their acts and thinking, both Nikhil and Sandip express male mastery over females in that they both take their relationship with Bimala as an experiment with their national ideologies. (Pham)

The Home and the World tells the story of three main characters: Nikhil, a wealthy landlord; Bimala, his wife; and Sandip, a passionate nationalist leader. Their lives are deeply affected by the political climate of the Swadeshi Movement. Nikhil is a progressive landowner, while Sandip is an enthusiastic fighter for India’s independence. Bimala, who is initially satisfied with her role as a housewife, becomes drawn into Sandip's nationalist cause.

In this novel, Tagore uses the characters not only to express his own views on nationalism but also to critique the dangers of destructive nationalism, which he believes can tear both the nation and the world apart. The story is told from the perspective of the three characters, each recounting their interactions with one another. Nikhil, Bimala’s husband, represents an idealistic, selfless husband who wants to free his wife from the constraints of traditional marriage. Sandip, on the other hand, is selfish and sees relationships between men and women as purely physical. His approach to life is blunt, unrefined, and driven by his own desires. (Monika)

Bimal's Character:-

In The Home and the World, Bimala begins as a seemingly innocent and obedient wife, completely devoted to her husband, Nikhil. However, Rabindranath Tagore deepens her character, revealing a complexity that goes beyond this initial portrayal. Bimala is symbolically linked to the goddesses Durga and Shakti. Durga represents both creation and destruction, while Shakti is the powerful force that shapes the universe. Through these divine associations, Bimala is elevated as a symbol of Bengal’s strength, beauty, and vitality.

Though her role as a submissive wife is clear at first, these symbolic connections give Bimala a greater significance. As Durga, she reflects the complex nature of life and the internal struggles in the story. As Shakti, she embodies the powerful feminine energy that drives change and transformation. Through Bimala, Tagore explores the balance between tradition and progress, presenting her as more than just a passive figure. She becomes a representation of femininity, societal change, and the divine feminine, all of which are deeply tied to the cultural and historical essence of Bengal.

Nikhil's Character:-

In The Home and the World, Nikhil represents a unique approach to nationalism, one that contrasts sharply with the more intense and radical views held by characters like Sandip. Several key aspects define Nikhil’s perspective:

Cosmopolitanism and Unity:

Nikhil has a broad, inclusive worldview. He values diversity and harmony among different communities and religions, believing that true nationalism should unite people rather than divide them.

Skepticism towards Radical Nationalism:

Nikhil questions the aggressive methods of nationalism seen in Sandip’s movement. He does not believe that violence or force should be used to bring about political or social change, advocating instead for a more peaceful and thoughtful approach.

Emphasis on Personal Freedom:

For Nikhil, individual freedom is a cornerstone of his beliefs. He is cautious about movements that might sacrifice personal liberties in the name of national goals. His vision of nationalism emphasizes preserving individual rights and autonomy.

Thoughtful Approach to Tradition: 

Nikhil does not reject tradition outright, but he critically engages with it. While he acknowledges the importance of tradition, he believes it should not be followed blindly, and that it must adapt to the changing times.

Intellectual and Ethical Foundation: 

Nikhil’s nationalism is based on reason, ethics, and education. He believes that meaningful change comes through dialogue, moral reasoning, and intellectual engagement, rather than through forceful action.

In essence, Nikhil’s view of nationalism in the novel is shaped by his cosmopolitanism, his skepticism toward radical nationalism, his commitment to personal freedom, his critical view of tradition, and his intellectual and ethical approach to change. His character serves as a thoughtful counterpoint to the more militant forms of nationalism presented in the story.

Sandip's Character:-

In the novel, Sandip and other activists begin to view Muslims as their adversaries because they refuse to join the boycott of foreign goods. This leads to frequent riots between Hindus and Muslims during the movement. The narrow-mindedness of these activists prevents them from understanding the importance of communal harmony for the progress of the nation. Sandip idolizes Ravana, believing him to be the true hero of the epic. He follows a philosophy that equates cruelty and injustice with greatness, stating:

"My theory of life makes me certain that the Great are cruel. Ordinary people are just, but for the Great, cruelty and injustice lead to success. It is through these forces that individuals or nations have risen to power. When a person or nation can no longer commit injustice, they fall into obscurity."

This belief leads to inevitable chaos, as a leader who follows such a philosophy will only create disorder and weaken inter-ethnic harmony, which will ultimately harm the nation. Sandip not only justifies his use of violence and manipulation but also revels in it. Tagore, in his essay "Nationalism in India," writes that a person's sense of sacrifice is misdirected from a moral purpose to the mechanical maintenance of the nation. This misguided sense of moral elevation makes such individuals dangerous to humanity.

Sandip's form of nationalism in The Home and the World is defined by its rigid and forceful nature. He advocates for extreme measures, including violence and emotional manipulation, in the name of rapid change. His charismatic leadership attracts followers, but it also highlights the dangers of unchecked passion in political movements. Sandip dismisses ethical boundaries in his quest for nationalist goals, which exposes the moral flaws in his approach. His character stands in sharp contrast to Nikhil, who champions a more thoughtful, intellectual, and morally sound vision of nationalism. The novel critiques the consequences of such extreme ideologies, offering a deeper look at the relationship between personal beliefs and the larger political landscape.

Tagore and Nationalism:-

Though literature as well novel had such an active participation in the formation of the institution of nationalism and though nationalism was accepted globally as the only legitimate form of political organisation, it was Rabindranath Tagore who had not an iota of positive sentiment towards the ideology of nationalism. Tagore‘s fundamental objection was on its very nature and purpose as an institution. To him nationalism is a social institution, a mechanical organisation, which was modelled on certain utilitarian objectives in mind. He opined that as nationalism came into being in the post-religious phase of the industrial capitalist socio-economic system, it was only an organisation of politics and commerce. To him, it would only bring harvests of wealth by the means of greed, selfishness, power and prosperity. The process would sacrifice the moral, the complete man making room for the political and commercial man, the man of limited purpose. For him, nationalism is not a spontaneous self-expression of man as a social being, where human relationships are naturally regulated, so that men can develop ideals of life in cooperation with one another. Tagore considered nationalism a recurrent threat for human civilization. (Raha)

Conclusion:-

In The Home and the World, Tagore presents a vision of nationalism that is compassionate and inclusive, where all Indians, regardless of gender, can participate as equals. In this ideal society, people would be united by trust, truth, and love. Through the novel, Tagore explores the impact of the Swadeshi movement on India, highlighting the ideological conflicts arising from modernization and British colonialism. These tensions are reflected in the contrasting views of Western and Eastern ideologies, represented by the characters Nikhil, Sandip, and Bimala. Tagore shows that these ideological struggles are not limited to the outside world but can also exist within the home, illustrating how deeply these issues can affect all aspects of life.

(Words:- 2070)

References:-

Monika. “Understanding Nationalism through Tagore's Novel The Home and the World.” Upstream Research International Journal, https://eupstream.com/images/journal/jan2018/monika.pdf. ccessed 12 November 2024.

Pham, Chi P. “Rabindranath Tagore's The Home and the World: Story of the Failure of the Nationalist Project.” eScholarship, https://escholarship.org/content/qt3fd5r9tk/qt3fd5r9tk_noSplash_e8e93f918cc8c4d4e28c5d3faa190f0b.pdf?t=n0io2f. Accessed 12 November 2024.

Raha, Dr. Debopam. “Tagore's Appraisal of the Ideas of Nationalism: a Study.” Research Publish Journals, https://www.researchpublish.com/upload/book/Tagores%20Appraisal%20of%20the%20Ideas-8130.pdf. Accessed 12 November 2024.

Ranjan, Pramod. “Nationalism in the Home and the World.” Quest Journals, https://www.questjournals.org/jrhss/papers/vol11-issue9/1109305308.pdf. Accessed 12 November 2024.

 

A Cultural Studies Approach to Frankenstein

This blog is part of a reflective activity assigned by Dr. Dilip Barad from MKBU. It delves into Mary Shelley's novel Frankenstein and examines its influence on Cultural Studies. For further information click here

Part 1: Revolutionary Births

How does the Creature’s paradoxical nature—simultaneously an  innocent and a vengeful force—comment on societal fears of revolution and sympathy for the suffering masses?

Society has specific expectations for how people should look and behave, and anyone who doesn’t fit those expectations is often viewed as a threat. In Frankenstein, the creature is rejected from the start because he looks different and acts unlike others. Society quickly labels him a monster, associating him with violence. Yet, when viewed through a postcolonial lens, the creature can be seen as innocent. He has few choices and learns only from what he observes around him. Abandoned by his creator when he needed support, he is left alone in a world that fears and rejects him. This experience reflects the treatment of marginalized communities, like African or enslaved groups, who are often labeled as "Others" and face discrimination, despite their resilience. In this way, the creature becomes a symbol of the struggles of the oppressed. In politics, people are also expected to follow norms that uphold the interests of those in power. When someone challenges these norms, they are often seen as a threat to society. This is the same fate faced by Frankenstein’s creature he becomes a danger simply because he does not conform.

How does Shelley’s narrative engage with concepts of race and empire, and how might these issues be relevant today in global discourses on race and privilege?

Viewed through a colonial lens, the bond between Frankenstein and his creature mirrors the relationship between the colonizer and the colonized. The creator, much like a colonizer, holds power to shape and control but fails to provide the creature with guidance or understanding, similar to how colonizers often imposed authority without true care for the colonized. The monster's abandonment can represent the colonizer’s guilt—a creation left to struggle in a hostile world, much like how colonized people were left to survive in difficult conditions. A notable example of this colonial mindset is seen in a speech by George Canning in Parliament on March 16, 1824, where he compared abolishing the slave trade to unleashing a monster, referencing Frankenstein. This illustrates how the “monster” idea can reflect the fear and dehumanization of marginalized groups in colonial times, as well as the deep-seated themes of “Otherness” and racism.

How do modern scientific advancements parallel the novel's cautionary tale of human hubris, and what lessons can we learn from it?

Throughout history, as science has progressed, there has often been an underlying fear about where new creations might lead. Mary Shelley’s Frankenstein captures this anxiety perfectly. As science advances, so do concerns about its possible risks. For instance, today’s developments in gene editing and trait selection for babies can be seen in a similar light to Shelley’s story. Likewise, with the growth of artificial intelligence, there is a worry that machines could eventually surpass human control and become a threat. Many stories and movies tackle these themes, cautioning against the possible dangers of genetic manipulation or the creation of highly intelligent beings that could pose a risk to society. These tales remind us that when we bring something with intelligence into the world, we hold a responsibility to make sure it doesn’t harm people or the environment. Understanding these potential risks and taking careful steps to prevent harm is essential as we continue to innovate.

Part 2: The Frankenpheme in Popular Culture

How have various retellings of Frankenstein reshaped its message for new audiences? How do these adaptations either retain or transform the novel’s original critique of scientific ambition and social exclusion?

In the 18th century, there was a widespread fear that creating something like a monster or pushing scientific boundaries without caution could endanger human life. But as time passed, we became more accustomed to these advances, and the fear surrounding them began to fade. Although many stories still reflect concerns about new scientific breakthroughs, our views have evolved. We’ve started to look at these stories more critically and challenge their assumptions. In newer versions of these tales, creatures once seen as threats now take on roles as heroes. People began to see scientific progress not as something to fear, but as an opportunity for growth and positive change.

Discuss how the Creature’s literary education shapes his worldview and whether it empowers or alienates him further?

As the Creature reads works like The Sorrows of Young Werther by Goethe, parts of Plutarch's Lives, and Paradise Lost by Milton, he starts to gain a deeper understanding of human nature. Through these books, he becomes more aware of his own feelings and desires, which makes him feel more human. He begins to yearn for companionship and human affection. Even though he tries to help others, he faces rejection, hatred, and disgust. In response to this, he confronts his creator, asking why he was abandoned and left to suffer. His growing understanding of emotions like empathy, longing, and the need for connection comes from the literature he reads.

Research the historical and cultural context of these adaptations. How do they reflect societal fears and technology?

Frankenstein films have changed over the years, adapting to new fears and adding fresh ideas to the original story. Early movies, like the classic one where the creature is made from a "criminal brain," highlighted concerns about dangerous scientific experiments and eugenics—the idea that some people shouldn’t have children based on their backgrounds. Later films, such as Frankenstein vs. the Giant Devil Fish, reflected post-World War II anxieties, particularly about radiation and the development of powerful weapons that could threaten humanity. In more recent films, like Blade Runner and The 6th Day, the focus shifts to concerns about robots and cloning. These films explore the risks of creating artificial beings in labs and using them for dangerous purposes, capturing fears that technology could take control of human lives. Each new take on Frankenstein updates the story to reflect the growing concerns of its time.

Thank you...

 

Exploring Marginalization in Shakespeare’s Hamlet and Stoppard’s Rosencrantz and Guildenstern Are Dead

This blog is part of a reflective activity assigned by Dr. Dilip Barad, examining Cultural Studies. It explores how marginalized characters parallel Rosencrantz and Guildenstern in Hamlet, offering insights into their roles and treatment.

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Q&A Section  

1. Marginalization in Hamlet

Describe how Rosencrantz and Guildenstern represent marginal figures in Hamlet. How does Hamlet’s reference to Rosencrantz as a “sponge” reflect their expendability in the power dynamics of the play?

In Hamlet, Rosencrantz and Guildenstern are two characters caught up in the plans of the powerful. Friends of Hamlet from earlier days, they are summoned by King Claudius, who sees them as useful tools. Fearing Hamlet’s growing threat to his rule, Claudius sends him to England with a sealed letter that orders his execution. Unaware of the deadly mission they’re a part of, Rosencrantz and Guildenstern accompany Hamlet. But Hamlet discovers the letter’s contents and changes it, putting their names in place of his. By the time Denmark hears the outcome, it’s simply reported: “Rosencrantz and Guildenstern are dead.” These two characters reflect those who are overlooked and have little real power. Serving the King, they are loyal but ultimately treated as expendable. During their journey, Hamlet calls them “sponges” and “pawns,” people who soak up the King’s favor but are discarded once their purpose is served. He tells them, “Yes, a sponge that soaks up the King’s favors and rewards... such people are the King’s best tools, kept in the corner like food, ready to be chewed up last.” This line captures how those in power often use people as tools, ready to discard them when they’re no longer needed. Even today, similar dynamics exist, with powerful figures exploiting ordinary people, treating them as “sponges” to be drained for their own purposes. Rosencrantz and Guildenstern’s fate is a harsh reminder that loyalty and service to the powerful can come at a high cost, often paid by those without control.

2. Modern Parallels to Corporate Power

The passage compares Rosencrantz and Guildenstern to modern workers impacted by corporate downsizing and globalisation. Reflect on this parallel: How does their fate in Hamlet mirror the displacement experienced by workers when multinational companies relocate or Downsize?

In today’s corporate world, many workers face heavy workloads and low pay, often feeling like just another part of the profit-making machinery. Some companies don’t even meet the minimum wage requirements set by the government. As more public sectors become privatized, private companies increasingly focus on profit, usually ignoring the well-being of their employees. Workers are often seen as replaceable; when they’re no longer needed, they are quickly dismissed. This harsh reality is brought to life in The Reluctant Fundamentalist by Mohsin Hamid, where the darker side of corporate culture is laid bare. The story shows how large corporations, obsessed with profit, can let go of employees without a second thought. The priority in these companies is profit and financial targets, leaving little room for concern about the people working within them.

3. Existential Questions in Stoppard’s Re-interpretation

In Rosencrantz and Guildenstern Are Dead, Stoppard deepens their marginalisation by questioning their existence and purpose. Why might Stoppard emphasise their search for meaning in a world indifferent to them? How does this mirror the feeling of powerlessness in today’s corporate environments?

When Hamlet says, “they were not near my conscience,” it shows his lack of concern for Rosencrantz and Guildenstern, reflecting how those on the margins are often ignored by people in power. Similarly, in today’s corporate world, company owners often show little regard for their employees’ well-being. By the end of Hamlet, when news of Rosencrantz and Guildenstern’s deaths reaches the court, no one reacts—underscoring how little their lives meant to those in power. This is similar to the corporate world today, where workers’ challenges, lives, and rights to fair pay are often overlooked. Even the struggles of employees go unrecognized as company leaders focus mainly on profit. In Rosencrantz and Guildenstern Are Dead by Tom Stoppard, this theme is revisited, questioning authority and shedding light on the tragedy of lives disregarded in the pursuit of power.

4. Cultural and Economic Power Structures

Compare Shakespeare’s treatment of power in Hamlet to Stoppard’sreimagining. How does each work critique systems that marginalise“little people”? How might Stoppard’s existential take resonate withcontemporary issues of job insecurity and corporate control?

In today’s corporate landscape, employees often find themselves working tirelessly under conditions that feel increasingly dehumanizing. With government jobs becoming rarer, and as corporations and governments align more closely, it is frequently the marginalized who feel the weight of this shift. Corporations often fund government campaigns and propaganda, which means new policies tend to favor corporate interests over those of everyday workers. This alliance creates a system that often ignores or even harms the working class. In the private sector, workers who spend years dedicated to a company may find themselves with little to fall back on as they age, with pensions and retirement benefits becoming less common. With limited government job options, many have no choice but to endure the demanding conditions of the private sector.

5. Personal Reflection

How does the marginalisation of Rosencrantz and Guildenstern in Hamlet relate to the modern experience of being seen as a dispensable “asset”? Reflect on how these parallels shape your understanding of Cultural Studies and power dynamics.

In the power struggle between Hamlet and his uncle, Claudius, Rosencrantz and Guildenstern are used as “disposable assets,” serving the King until they face their deaths. Similarly, in today’s corporate world, employees are often valued only for their productivity, treated as tools to be used and then let go when they’re no longer seen as useful. Young employees are considered assets to be fully utilized, but as age or life circumstances reduce their “value,” they are frequently dismissed, with little regard for their years of dedication. This reflects the corporate tendency to prioritize profit above all, treating workers as replaceable rather than recognizing their humanity.

Thank you...