Trushali Dodiya's Blog

Sunday, October 15, 2023

Queer Theory

Thinking Activity

This blog is written in response to the thinking activity assigned by Dr. Dilip Barad sir on applying the queer theory to the novel 'Orlando' by Virginia Woolf, 'Mismatched' web series and 'Shubh Mangal Jyada Savadhan' Film.

Queer Theory

Queer theory is about gay and lesbian studies, as well as theoretical and critical writings exploring various forms of sexual and gender variance, such as cross-dressing, bisexuality, and transsexuality. The term "queer," initially derogatory, was claimed by the LGBTQ+ community as a self-identifier and academic field in the early 1990s. Scholars like Teresa de Lauretis ("Queer Theory: Lesbian and Gay Sexualities," 1991) and Annamarie Jagose ("Queer Theory: An Introduction," 1996) have played crucial roles in shaping this field.

Both gay and lesbian studies began as liberation movements during the late 1960s and 1970s, paralleling other social justice movements. Initially, these movements were somewhat separatist, with gay men and lesbians emphasising distinct identities. However, the adoption of the term "queer" signifies a shared history of oppression and common political goals.

In the 1980s and 1990s, influenced by post structuralist thinkers like Derrida and Foucault, queer theorists began questioning assumptions about fixed and stable gay or lesbian identities. The deconstructive approach aimed to dismantle binary oppositions in Western culture, challenging norms such as male/female, heterosexual/homosexual, and natural/unnatural.

Adrienne Rich's essay "Compulsive Heterosexuality and Lesbian Existence" (1980) introduced the concept of the "lesbian continuum," which emphasises the diversity of women's relationships beyond overtly physical same-sex relations. Later, theorists like Eve Sedgwick and Judith Butler subverted hierarchical oppositions by highlighting the role of suppression and denial in constructing normative heterosexuality. Heterosexuality is based on the suppression and denial of same-sex desires and relationships. Queer reading has become the term for interpretive activities that undertake to subvert and confound the established verbal and cultural oppositions and boundaries between male/female, homosexual/heterosexual, and normal/abnormal.

Michel Foucault's "History of Sexuality" (1976) argued that the concept of "homosexual" emerged in the late 19th century, challenging essentialist views. Judith Butler's "Gender Trouble" (1990) proposed that gender and sexuality are performative, culturally constructed categories.

Queer reading involves destabilised established verbal and cultural boundaries. It challenges normative categories. Constructionist views argue against essentialism which suggests that categories like heterosexual and homosexual are cultural constructs subject to historical change. There is ongoing debate within queer theory about the balance between radical constructivism and the affirmation of enduring LGBTQ+ identities.

Numerous anthologies and texts, such as "Lesbian Texts and Contexts" (1990), "Inside/Out: Lesbian Theories, Gay Theories" (1991), and "The Lesbian and Gay Studies Reader" (1993), showcase key works in queer theory. The field has expanded to include conferences, journals, and a significant presence in academic curricula. Prominent scholars include Karla Jay, Eve Kosofsky Sedgwick, and Michael Warner.

The evolving body of literature in queer theory continues to explore and redefine our understanding of sexuality, gender, and identity.

How to study queer theory?

1. Identify and establish a canon of 'classic' lesbian/gay writers

2. Identify lesbian/gay episodes in mainstream work and discuss them rather than reading same-sex pairings in non-specific ways, for instance, as symbolising two aspects of the same character.

3. Set up an extended, metaphorical sense of 'lesbian/gay' so that it connotes a moment of crossing a boundary, or blurring a set of categories.

4. Expose the 'homophobia' of mainstream literature and criticism, as seen in ignoring or denigrating the homosexual aspects of the work.

5. Foreground homosexual aspects of mainstream literature which have previously been glossed over

6. Foreground literary genres, previously neglected, which significantly influenced ideals of masculinity or femininity

There are lots of examples of queer studies in literature as well as in the Cinema. But even now as well we can find that this queer part remains a subplot not the mainstream. Let's take example of Orlando

Orlando: A Biography(1928) by Virginia Woolf

Orlando, a novel by Virginia Woolf, offers a profound exploration through the lens of Queer studies as its protagonist undergoes a transformative journey of changing genders. It is noteworthy to mention that Virginia Woolf, the author, is acknowledged as a lesbian, as evident in her letters to Vita Sackville. The film "Vita and Virginia'' is a cinematic portrayal of the relationship between Vita and Virginia, adding another layer to the exploration of LGBTQ+ themes.

Within Orlando, the protagonist experiences a significant gender transformation from man to woman, serving as a central theme challenging conventional gender norms. This metamorphosis serves as a metaphorical representation of LGBTQ+ identity. The novel critically examines historical homophobia, showcasing how societal norms restrict individuals based on their gender and sexuality. It acts as a critique of the limitations imposed by heteronormative ideologies. The challenges faced by Orlando post-gender transformation, including the denial of access to wealth, further highlight the societal resistance rooted in traditional beliefs.

Orlando defies traditional literary boundaries by spanning centuries and engaging with various historical periods, making a significant contribution to the LGBTQ+ literary tradition. Now, shifting focus to the Hindi web series "Mismatched," directed by Akarsh Khurana, we find a contemporary narrative that also warrants analysis through the lens of queer studies.

Mismatched:

"Mismatched," a 2020 Indian Hindi-language coming-of-age romantic drama web series on Netflix, directed by Akarsh Khurana, unfolds a nuanced narrative that warrants analysis through the lens of queer studies. Despite the title primarily emphasizing the relationship between Rishi and Dimple, an equally significant queer storyline unfolds with Namrita, adding depth to the exploration of LGBTQ+ themes.

Namrita's journey is pivotal in understanding queer dynamics as she grapples with hurdles associated with her lesbian identity. The revelation of her sexual orientation within her summer course squad is met with negative responses, exemplifying the challenges faced by individuals who identify outside heteronormative norms. The dramatic response from her father, confining her to a room to restrict her movements, underscores the societal resistance and prejudice against non-heteronormative relationships.

In choosing to be with Ayesha, who shares a similar sexual orientation, Namrita's storyline reflects the resilience and solidarity within the LGBTQ+ community. Despite the increased visibility and discourse around LGBTQ+ relations in contemporary society, acceptance remains an ongoing struggle. The acknowledgment of this struggle is further emphasized by the societal reluctance to recognize such relationships as "normal."

In a broader societal context, there has been a notable development in India's legal landscape. The Supreme Court's 2022 ruling, expanding the definition of families to include live-in couples, inclusive of LGBT individuals, is a significant step toward legal recognition and equal rights. However, the narrative in "Mismatched" poignantly portrays the lingering societal reluctance to embrace such relationships fully.

"Mismatched" contributes to the ongoing dialogue around LGBTQ+ representation by weaving a storyline that reflects both the legal advancements and persisting societal challenges faced by the queer community in India.

Both Orlando and "Mismatched" contribute to the ongoing conversation surrounding LGBTQ+ themes, challenging societal norms and expectations through their respective mediums of literature and web series, and highlighting the persistent struggles for acceptance faced by the queer community.

Shubh Mangal Jyada savadhan:

"Shubh Mangal Jyada Saavdhan'' is a Bollywood film released in 2020, directed by Hitesh Kewalya. The movie stands out as a notable example of queer representation in Indian cinema. Unlike traditional Bollywood romances, this film explores same-sex relationships and challenges societal norms around homosexuality. The narrative revolves around Kartik Singh and Aman Tripathi , a gay couple who struggle to gain acceptance from their families. The title itself, "Shubh Mangal Jyada Saavdhan," which translates to "Be Extra Careful of Auspicious Moments," cleverly plays on the traditional Indian phrase associated with marital bliss, subverting expectations and drawing attention to the unique challenges faced by queer individuals.

The film delves into the complexities and prejudices that LGBTQ+ individuals often confront in a conservative society. It highlights the importance of family acceptance and societal understanding, offering a mix of humour and emotion to address a serious subject. The movie received praise for its bold approach and efforts to contribute to changing attitudes towards same-sex relationships in India. In essence, "Shubh Mangal Jyada Saavdhan'' is a significant step towards greater inclusivity in Indian cinema, contributing to the ongoing conversation about LGBTQ+ rights and representation in the country.

To sum up, Queer studies talks about gay and lesbian, as well as theoretical and critical writings exploring various forms of sexual and gender variance, such as cross-dressing, bisexuality, and transsexuality.

Here I am attaching the video that will be helpful to you understand this theory:

Note: I have teken help from ChatGPT to modify literary language and grammatical error.

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Namrita's journey is pivotal in understanding queer dynamics as she grapples with hurdles associated with her lesbian identity. The revelation of her sexual orientation within her summer course squad is met with negative responses, exemplifying the challenges faced by individuals who identify outside heteronormative norms. The dramatic response from her father, confining her to a room to restrict her movements, underscores the societal resistance and prejudice against non-heteronormative relationships.

Shubh Mangal Jyada savadhan:

Here I am attaching the video that will be helpful to you understand this theory:

Note: I have taken help from ChatGPT to modify literary language and grammatical error.

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Feminist Criticism

Thinking Activity

This blog is written as a part of the thinking activity assigned by Dr. Dilip Barad sir. In this blog, I am going to discuss feminist criticism and apply it to the novel 'Pride and Prejudice' by Jane Austen.

What is Feminism?

Feminism distinguishes between 'feminist' (a political position), 'female' (biological), and 'feminine' (culturally defined characteristics). Feminists criticized the portrayal of women in literature, revealing how it influenced societal norms and expectations. Feminine identity is given to women by the male-dominated society, as Simon de Beauvoir in her book 'The Second Sex' says "One is not born but rather becomes a woman."

Click here to read more about Feminist Criticism

Feminist criticism in the realm of literary analysis emerged in the late 1960s, by the ongoing struggle for women's recognition, cultural contributions, and their rights in society. Several seminal works played a significant role in this movement, including

Mary Wollstonecraft's "A Vindication of the Rights of Woman" (1792),
John Stuart Mill's "The Subjection of Women" (1869),
Margaret Fuller's "Woman in the Nineteenth Century" (1845)

Virginia Woolf's "A Room of One's Own," served as a precursor to feminist criticism.

The "second-wave feminism" movement gained momentum with Simone de Beauvoir's "The Second Sex" (1949), critiquing the cultural perception of women as the "Other" in contrast to men, who were seen as the dominant "Subject" representing humanity. It explored the portrayal of women in the works of male writers and questioned prevalent myths.

She says "One is not born, but rather becomes a woman". It means that woman is of social product not biological, it is decided by the society in which we are living.

In the United States, Mary Ellmann's "Thinking about Women" (1968) marked the inauguration of modern feminist criticism. It focused on the derogatory stereotypes of women in literature by male authors and the alternative representations found in women's writings. Kate Millett's "Sexual Politics" delved into societal power dynamics, highlighting the manipulation of power to maintain male dominance over women. She applied Freud's psychoanalytic theory to uncover male bias, where women were reduced to mere sexual objects.

The years following 1969 witnessed an explosion of feminist literature, characterized by an urgency and excitement akin to a religious awakening, as noted by Elaine Showalter.

Various forms of feminism share common assumptions and concepts underlying their exploration of sexual difference and privilege in literature:

1. The pervasive patriarchal nature of Western civilization, where men hold a dominant role.

2. The idea that gender, distinct from biological sex, is a social construct.

3. The belief that patriarchal ideology influences traditional literary works.

Judith Fetterley's "The Resisting Reader" focuses on readers who resist an author's intentions to uncover and counter covert sexual biases within literary works. Another approach is to identify recurring and distorting "images of women" in literature, often falling into idealized or demonic patterns based on male desires and resentments.

Elaine Showalter introduced "gynocriticism," a form of criticism that develops a female framework for analyzing works by women, emphasizing personal and affectional themes. Gynocritics aim to identify feminine subject matter, unveil a female literary tradition, and delineate a distinctive feminine mode of experience.

The feminist movement has led to the recognition of many overlooked female authors and their works. Some feminists have also delved into lesbian literature and relationships in heterosexual cultures.

Feminist criticism has diversified over the years, with French feminist critics focusing on the role of gender in writing using poststructuralist frames of reference. They argue that discourse is "phallogocentric," organized around the phallus as a central signifier.

In the 1980s, feminist critics using poststructuralist positions challenged the category of "woman" and questioned the unity of female identities. They highlighted the diversity within female identities based on factors such as race, class, nationality, and historical context.

Judith Butler, in influential books, contested the idea of a fixed feminine identity and argued that gender is a social construct. She introduced the concept of gender as a "performative," emphasizing that gender roles are behaviors that individuals enact rather than inherent traits.

Feminist theoretical and critical writings continue to expand, with specialized journals, academic programs in women's studies, and courses in women's literature and feminist criticism becoming increasingly prevalent. The study of sexual differences in literature is expected to have a lasting impact on literary analysis, history, and academic instruction, both for male and female scholars.

Debates within feminist criticism have centered on three aspects:

Role of theory
The nature of language
The value of psychoanalysis

This video is worth watching to understand the feminist criticism:

How to do Feminist criticism?

1. Rethink the canon, aiming at the rediscovery of texts written by women.

2. Revalue women's experience.

3. Examine representations of women in literature by men and women.

4. Challenge representations of women as 'Other', as 'lack', as part of 'nature'.

5. Examine power relations which obtain in texts and in life, with a view to breaking them down, seeing reading as a political act, and showing the extent of patriarchy.

6. Recognise the role of language in making what is social and constructed seem transparent and 'natural'.

7. Raise the question of whether men and women are 'essentially' different because of biology, or are socially constructed as different.

8. Explore the question of whether there is a female language, an ecriture feminine, and whether this is also available to men.

9. 'Re-read' psychoanalysis to further explore the issue of female and male identity.

10. Question the popular notion of the death of the author, asking whether there are only 'subject positions ... constructed in discourse', or whether, on the contrary, the experience (e.g. of a black or lesbian writer) is central.

11. Make clear the ideological base of supposedly 'neutral' or 'mainstream' literary interpretations.

Now let's try to read "Pride and Prejudice' by Jane Austen in terms of Feminist Criticism:

Pride and Prejudice by Jane Austen

"Pride and Prejudice" by Jane Austen, written in 1813 during the Romantic period, offers an interesting perspective when viewed through a feminist lens.

Notably, it challenges and contributes to literary traditions dominated by male authors. Right from the start, the opening line of the novel suggests a male-centric view, stating that a wealthy man must be in want of a wife.

"It is a truth universally acknowledged that a single man in possession of a good fortune must be in want of a wife"

This sets the tone for exploring societal expectations and limited choices for women in the early 19th century.

The novel gives us a peek into the lives of women in the early 19th century, exploring their limited choices and societal expectations around marriage. Elizabeth's mom, Mrs. Bennet, is always on the lookout for a wealthy husband for her daughter, a theme that runs through the story.

The protagonist, Elizabeth Bennet, faces pressure from her mother to marry a wealthy man like Mr. Collins. This reflects the societal emphasis on a woman's economic dependency on a man.

Interestingly, Elizabeth stands out by being more independent and even rejects Mr. Collins' proposal. However, the irony arises when, in the end, she marries Mr. Darcy and becomes Mrs. Darcy, conforming to traditional expectations. This highlights how ingrained societal norms can influence even the most independent characters.

Austen challenges traditional gender stereotypes, especially when Elizabeth is portrayed as a reader rather than someone solely focused on finding a husband. Yet, in the end, she also follows the common path of getting married.

Throughout the story, women are portrayed as delicate and primarily concerned with securing a husband. The power dynamics are evident, with male characters at the center, and women at the periphery, showcasing the deeply rooted patriarchy of the time. Feminist critics may analyze the dialogues between male and female characters, noting power imbalances and societal expectations.

Elizabeth's wit challenges traditional notions of women's submission, and Jane's Even Jane's silence is examined for its strategic use in a society with rigid gender expectations. Austen's use of irony serves as social commentary, exposing the restrictions on women. Elizabeth's wit and intelligence challenge societal norms, but her eventual conformity raises questions about the limitations placed on women. Examining language in discussions about marriage, female relationships, and proposals allows for a deeper feminist critique.

The novel sheds light on the commodification of women in marriage, and language is a crucial element in conveying these critiques. This can be found in the dialogue between Elizabeth and Charlotte Lucas.

Feminist analysis can scrutinize the language surrounding marriage proposals, highlighting the expectations on women to marry for financial security rather than love. The novel critiques the commodification of women in marriage.

The novel raises challenges about conforming to essentialist views of gender and identity crises, echoing Simone de Beauvoir's discussions about societal norms in creating a woman.

Despite being a female writer, Austen's male point of view is evident. While she attempts to break traditional gender role thinking, the circumstances at the end of the novel remain similar to other female characters.

In a nutshell, "Pride and Prejudice" challenges and reinforces societal norms related to gender roles, marriage, and power dynamics. It offers a complex portrayal of women's agency in a society dominated by patriarchy, inviting readers to reflect on the evolving nature of societal expectations and the role language plays in shaping them.

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Friday, October 13, 2023

Cultural Studies in Practice

Cultural Studies in Practice

This blog is written in response to the thinking activity assigned by Dr. Dilip Barad sir, Department of English, MKBU. In this blog we will delve into the practice of cultural studies applied in reading a play 'Hamlet', Novel 'Frankenstein' and poem 'To His Coy Mistress'.

Click here to visit my blog on cultural studies

Click here to visit my blog on New Historicism- one of the five types of cultural studies

What is Cultural Studies?

The word Culture is derived from the Latin word 'Colere' which means 'To cultivate', 'to honour' or 'to protect'. Culture is the mode of generating meaning and ideas which are valid within the culture. These meanings are governed by power, which means the culture is controlled by the elite class whereas non-elite's views are rejected. It denotes that in society, certain components of culture get more significant than others.(Nayar 4) As Patrick Brantlinger has pointed out, Cultural studies is not "a tightly coherent, unified movement with a fixed agenda," but a "loosely coherent group of tendencies, issues, and questions." Cultural studies read between these gaps of the culture. As Derrida points out binary oppositions in the theory of Deconstruction. Similarly cultural studies do the same. It looks at the mass culture.

Due to the social turmoil of 1960s, Cultural studies composed of various elements like Marxism, Poststructuralism, Postmodernism, feminism, Gender Studies, Anthropology, Sociology, race and ethnic studies, film theory, urban studies, public policy, culture studies and postcolonial studies., which focuses on social cultural forces that has created communities or caused the division and alienation.

Cultural Studies in Practice:

Cultural studies can be practiced in literary works through the application of various theoretical and analytical frameworks. Cultural studies, as an interdisciplinary field, explores how culture shapes and is shaped by various social, political, economic, and historical factors. When applied to literary works, cultural studies can provide insights into the ways in which literature reflects and influences culture. Here are some approaches to practicing cultural studies in literary analysis:

1. Historical Context:
2. Social Class Analysis:
3. Gender Studies:
4. Race and Ethnicity Studies:
5. Postcolonial Theory:
6. Cultural Identity and Hybridity:
7. Reader Response Theory:
8. Cultural Materialism:
9. Language and Discourse Analysis:
10. Globalisation Studies:

By applying these approaches, scholars and critics can engage in nuanced analyses of literary works that go beyond plot and character to reveal deeper insights into the cultural, social, and political dimensions of the text. Keep in mind that these approaches are not mutually exclusive, and a combination of them can provide a more comprehensive understanding of the cultural implications of a literary work. (This answer is generated from ChatGPT. Prompt: How can the approaches of cultural studies be applied to the analysis of literary works?)

In the “Handbook of Critical Approaches to Literature, various approaches to cultural studies are discussed. It explores four goals of cultural studies including,

Cultural Studies transcends the confines of a particular discipline such as literary criticism or history.
Cultural Studies is politically engaged.
Cultural Studies denies the separation of 'high' and 'low' or elite and popular culture.
Cultural Studies analyses not only the cultural work, but also the means of production.

And Five Types of Cultural Studies including,

British Cultural Materialism
New Historicism
American Multiculturalism
Postmodernism & Popular Culture
Postcolonial Studies

Now let's apply these approaches to literary works.

1. Hamlet: Two Characters in Hamlet: Marginalization with a Vengeance

Cultural critics assume "oppositional" roles in terms of power structures, wherever they might be found. New historicists dealt with "questions of politics, power, indeed on all matters that deeply affect people's daily lives'.

The play 'Hamlet' deals with power structures. In this play, there are two characters who are very important though they are marginalised in terms of power structures, who are Rosencrantz and Guildenstern.

The meaning of both of their names are also quite interesting which are derived from Dutch-German:

Rosencrantz: Garland of Roses
Guildenstern: Golden Star

But their names remain opposite to themselves. They are quite opposite to this meaning.

When Claudius plans to send Hamlet to England, Rosencrantz delivers a speech which is about the role and power of kinship. Despite delivering a speech about power and kingship, their significance is diminished in the larger context of the play. Both are driven from the plot, both the characters are marginalised. This speech or dialogue is more important, but is not well known like others. The focus is on power dynamics and how these characters are used by King Claudius.

Rosencrantz and Guildenstern are former students of Hamlet from Wittenberg. They return to Denmark at Claudius's request. They attempt to gather information from Hamlet for the king, they spy on Hamlet's inner thoughts and his ambitions and frustrations, but fail. Ultimately, they are sent to England with Hamlet carrying a letter that would lead to Hamlet's execution. Hamlet, realising their betrayal, manipulates the situation, and they meet their demise. After that they go with Hamlet on a mission to England. They carry a letter which would lead Hamlet's Execution. Hamlet doesn't trust them either.

Hamlet, in a cunning move, tricks his old friends, Guildenstern and Rosencrantz, by replacing his own name with theirs in a letter that leads to their deaths. When Horatio comments on their fate, Hamlet doesn't seem bothered, and Shakespeare concludes their story.

Why doesn't Hamlet feel guilty about their deaths? One reason could be that he sees himself as doing justice rather than committing murder. However, there's another aspect to consider—the power play. Hamlet talks about the significant differences between himself and King Claudius. Guildenstern and Rosencrantz, merely followed Claudius' orders and became like pawns in this power struggle. Earlier, Hamlet hinted that they were not important.

In essence, they don't matter much in the g power dynamics. Hamlet doesn't feel regret because they were tools for Claudius first and for Hamlet second. Even if they might have initially meant well for their old friend Hamlet, their primary goal was to please the powerful king who got them involved. Ultimately, they end up disappointing Hamlet.

Both these characters are powerless in the struggle between powerful figures like Hamlet and Claudius. Their names and backgrounds don't align with their roles in the play, and they serve as mere tools for those in power. The discussion then goes to how similar power dynamics have played out historically and in the modern world, using examples from literature and contemporary corporate downsizing to illustrate the theme of marginalisation in the face of power.

If we see England's political history, we can observe that power played the same role, like getting rid of King Richard II or executing Thomas More and others. The struggle for power was real, and Shakespeare has incorporated all these aspects of his time into his work.

Claudius, the character in Hamlet, knew the importance of power when he said, "Madness in great ones must not be unwatched."

In simpler terms, powerful people need to be carefully watched. Even Rosencrantz and Guildenstern also have similar ideas of power.

While reading the play 'Hamlet' in terms of Cultural studies, our concern is not only with prince or princess or of Shakespeare's portrayal of power dynamics, but is about the lesser persons caught up in the massive oppositions. The almost dead characters of Shakespeare, Rosencrantz and Guildenstern are revived by Tom Stoppard in the twentieth century. In Shakespeare's era, power had a certain meaning, but in a different time or culture, it might mean something totally different.

Rosencrantz and Guildenstern Are Dead

To understand Hamlet better, let's look at a play from the 1900s by Tom Stoppard called "Rosencrantz and Guildenstern Are Dead." In this play, these characters, who were basically non-existent in Hamlet, are portrayed as insignificant. They are constantly questioning who they are, why they exist, and where they're headed. It talks about existential Questions that might not have any meaning. As it also described in the 'Handbook of critical approaches to Literature that, "Rosencrantz and Guildenstern are archetypal human beings caught up on a ship-spaceship Earth for the twentieth or the twenty-first century-that leads nowhere, except to death, a death for persons who are already dead."

If they were marginalised in Hamlet, Stoppard takes a step further. While Shakespeare has marginalised the powerless, Stoppard makes it relatable to all of us in a time where some believe we're caught up in forces beyond our control.

Moving a step forward to Tom Stoppard, it can be thought about people who are caught up in the corporate world. They are caught in big companies, just like pawns on the chessboard. Louis XIV who said, "I am the state," but more like "Power: it is capital."

Whether it's in Shakespeare's version or Stoppard's, Rosencrantz and Guildenstern are portrayed as minor, almost insignificant figures in the grand scheme of kings and their power struggles.

Reading To His Coy Mistress"

Implied Culture versus Historical Facts:

"To His Coy Mistress" is a poem written by Andrew Marvell. It gives us insight into the speaker's character. He appears well-versed in classic Greek and Roman literature, other conventions of love poetry like mediaeval Europe, and Biblical passages. He is knowledgeable about various literary traditions and philosophical concepts.

The speaker is aware of different literary styles and traditions and he uses them in a way. It suggests that he might be making fun of them. He knows he's not being entirely serious with his proposals to the coy lady and he expects her to understand that as she is from the same culture. The speaker is highly educated, well-read, and has a natural flow of thoughts and images which reflect his background.

Well, while reading the poem in terms of cultural studies there's a notable absence in what the speaker considers. He doesn't think about issues like poverty or the harsh realities of his society, as a significant portion of the European population was struggling financially, Nor does he think about Disease that was a prevalent concern of that time. Both the aspects are absent from his considerations.

The focus is on wealth, leisure, and sexual activity. He doesn't acknowledge the very real issues of poverty or the widespread diseases of his time. It overlooks historical realities, like the chronic morbidity of the population and the recurrence of the Black Death, a severe plague that hit London in the mid-1600s. The poem was written in 1681, in the later half of the seventeenth century. During this time, the plague was spread across London. In the Great Plague of London, which lasted from July to October, about 68,000 people died, and the total death toll reached 75,000 during the epidemic. This information can be found in Daniel Defoe's "Journal of the Plague Year" (1722), a vivid account of the experience.

In a nutshell, the speaker seems to be ignoring the darker aspects of reality of his time and choses a fantasy world of wealth and pleasure, possibly to escape or avoid confronting the harsh realities of the world he lives in. It is about that Creamy Layer of the life that he talks about the well to do families or cultures.

From Paradise Lost to Frank-N-Furter: The Creature Lives

Mary Shelley's novel 'Frankentein' is spread everywhere, not just in books but in many other things like in visual art, stories, plays, movies, TV, ads, clothes, jewelry, toys, and even on things like mugs and keychains, in games, Halloween costumes, comics, jokes, cartoons, and even in academic studies, fan clubs and websites about it, and it's even shown up in food, like the cereals "Frankenberry" and "Count Chocula." So, Shelley's creation teaches us not to underestimate the power of youth culture.

While reading Frankenstein in terms of Cultural studies, we can find that this work is being talked a lot in prevailing culture.

Mary Shelley's Frankenstein was born during a time of big changes. It challenged the ideas that people had back then. But as it became more popular in today's consumer culture, some wonder if its original revolutionary spirit and critiques of science, philosophy, politics, and gender have been forgotten.

As George Levine says, nowadays Frankenstein is like a symbol, especially in a culture obsessed with technology and figuring out who we really are. We can see references to Frankenstein everywhere, from news describing someone as a "created monster" to articles warning about genetically modified foods, test-tube babies, and cloning.

In this work, the creature is portrayed somewhat as proletarian. The fear of a revolution and sympathy for the suffering poor reflects Shelley's own mixed feelings about radical ideas. The Creature in the story is a political and moral puzzle - both innocent and a cold-blooded killer.

Monsters like the Creature are tricky. They go against the established order which had created them, and if they survive, they represent defying death, even if they look strange. On the other hand, society is happy when it catches and destroys monsters. The Creature's rebellious nature is rooted in the past. When he reads books in the story, it includes works like Paradise Lost, a book that inspired many in Shelley's time. But despite his education, the Creature can't fit into society, even though he understands its ideas about freedom.

Frankenstein can be analyzed in terms of how it portrays different "races." Even though the Creature's skin is only described as yellow, it fits into a tradition of portraying the 'Other' as something to fear and hate. In Shelley's time, discussions about ending slavery influenced how Africans were portrayed. Victor, the creator of the Creature, could be seen as a guilty slave master.

In today's world of genetic engineering, biotechnology, and cloning, Frankenstein is more relevant than ever. During the Romantic period, science shifted from natural philosophy to biology, and this shift is crucial in Frankenstein. Mary Shelley saw public demonstrations of electricity's effects on living and dead bodies. Today, with advancements in fertility science, genetic engineering, and the prolongation of life through artificial means, Frankenstein's warnings about the dangers of science still resonate.

In simpler terms, Frankenstein's story is like a mirror reflecting on important issues in society, and it continues to be relevant as science progresses and raises new questions about life and ethics.

The Frankenpheme in popular culture:

In the Routledge Literary Sourcebook on Frankenstein, Timothy Morton uses the Term Frankenphemes, drawn from phoneme (sonic elements of language, as used in structural linguistics) and graphemes (visual elements), as 'elements of culture that are derived from Frankenstein." Either a separate work of art is inspired, or some kernel is derived from Shelley's novel and repeated in another medium. This word demonstrates the prevalence of novel's presence in world cultures. Thousands of retellings, parodies, other works have appeared in popular fiction, drama, film and television.

Conclusion:

To sum up, applying the approaches of cultural studies brings forth a greater insights into the cultural, social, and political dimensions of a text. It offers a more complete understanding of the cultural implications woven into a literary work. As we delved into the marginalization of characters like Rosencrantz and Guildenstern in Hamlet and examined the influence of power structures, it became evident how cultural studies enrich our comprehension of the intricate layers within a narrative.

In To His Coy Mistress, we can find how the speaker or writer is unaware of the time in which he is living. This insight adds depth to our interpretation of the poem and underscores the significance of considering broader cultural and historical elements when analyzing literature. Frankenstein stands as a timeless novel, continually finding expression in various forms of art.

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