Chetan Bhagat and his market

Chetan Bhagat and his market from SimaRathod

Queer Theory

Queer Theory literary criticism -2 from SimaRathod

Fallenness of Nancy in Oliver twist

Fallenness of Nancy in Oliver twist from SimaRathod

Who is the real Monster in Frankenstein; Victor , Monster or Society?

Who is the real Monster in Frankenstein; Victor , Monster or Society? from SimaRathod

Assignment Paper -8 Cultural Studies

Assignment paper: 8 cultural studies

Topic : Queer theory

Prepared by Sima Rathod

Batch:2019-21

Email Id: rsima144@gmail.com

Introduction:

             Queer theory is a field of critical theory that emerged in the early 1990 out of the field of queer studies and women studies. queer theory includes both queer readings of tax and theorisation of weirdness itself heavily influenced by the work of Lauren Berlant, Leo Bersani, Judith Butler,Lee Eldman, Jack Halberstam,and Eve Kosofsky Sedgwick. Queer theory builds both upon feminist challenges to the idea that gender is part of the essential self and upon gay and lesbian studies close examination of socially constructed nature of sexual acts and identities.gay/ Lesbian studies focused it's inquiries International and unnatural behavior with respect to human sexual behavior queer theory expands it's Focus to emphasize any kind of sexual activity or identity that Falls into normative and deviant categories. The concept of queerness  focuses on mismatches between" sex Gender and Desire " Queerness has been associated most prominently with bisexual lesbian and gay subjects but it's analytic Framework also includes subtopics as cross-dressing intersex bodies and identities gender ambiguity and gender confirmation surgery queer theory holds that individual sexuality is a fluid,fragmented and dynamic connectivity of possible sexuality and it may vary at different points during one's life. Its criticism of stable and core related sexes,Gender and sexuality develops out of the specifically lesbian and gay reworking of the post-structuralist figuring of Identity as a constellation of multiple and unstable positions. Queer theory also exam is the discourses of Emma sexuality developed in the last century in order to place the "queer "into historical context deconstructing contemporary arguments both for and against this latest terminology.

Queer Theory and IPC Act 377

            When we talk about queerness how can we not talk about the  377 in India. Section 377 of the Indian Penal Code criminalizes conceptual private sexual acts between adults it came into force in 1862 lawyers have argued that the notorious criminal tribes act 1871 which branded or number of marginalized population groups like transgenders as "Innately Criminal" before it was repealed Drew inspiration from Section 377 172 report of the law commission of India recommended the deletion of section 377 no action was taken penalty provision says " whoever voluntarily has carnal intercourse against the order of nature with any man woman or animal shall be punished with imprisonment for life or with imprisonment of either description for a term which may extend to ten years and shall also be liable to fine" in 2009 the Delhi High Court read down Section 377 to apply only to consensual ,penile, non vaginal sex and sexual acts by adults with minors. In December 2013 a two judge bench of the supreme court on appeals filled by private parties set aside the High Court judgement it up headed the decriminalization of gay sex while virtual identifying the LGBT community the right to sexuality sexual orientation and choice of partner in July 2018 constitution bench led by chief justice Deepak Mishra reopen the entire issue saying a section of people could not Live in fear of the law which atrophied their rights to choice, privacy and dignity.

              Even in ancient India one can find homosexuality.according to one report of India Today they have given 10 examples of homosexuality in Ancients India. Epics like Ramayana Mahabharata and even temples of Khajuraho give in a peep into the ancient times of India to establish that Homosexuality was in practice.

# In the temples of Khajuraho there are images of women erotically embarrassing other women and men displaying their genitals to each other Scholars have generally explain this as an acknowledgement that people engaged in homosexual acts.

# In the Valmiki Ramayana Lord Rama's devotee and companion Hanuman is said to have send Raksha women kissing and embracing other women.

# At another place the Ramayana does the tale of a king name did Dilip who had two wives he died without leaving and hair the story size that Lord Shiva appeared in the dreams of the widowed Queens and told them that if they made allowed to each other they would have a child the Queens did as ordered by Lord Shiva and one of them got pregnant they give birth to a child who went on to become famous king Bhagirath best known for having brought river Ganga from heaven to the earth.

# Mahabharata has an interesting story about shikhandi the feminine for transgender warrior of the time and responsible for the defeat and killing of Bhishma he was a daughter of king who raised her as a prince to take revenge from the cross the rulers of Hastinapur even God shikhandi Ne married to a woman after her wife discovered the reality schedule vaulted the day was saved by divine intervention disturbing shikhandi with manhood during night henceforth lived like a hermaphrodite.

# Another scripture the Narad purana has reference to what may be classified as Natural offences describe in section 377 at one place the Narad purana States anyone would Sasta Saman in non-veg anus in those beings destitute of vulva and uterus of animals in a great Cena and will fall in hell the purana does not approve of unnatural offences but the preferences prove that they were in practice.

           Ancient Indian texts inscriptions and paintings on the temple was clearly don't approve of homosexuality but the repeated references do acknowledge its existence in those days.

List of people who come out as gay:

1. Arundhati Katju and Menka Guruswamy

                The duo came out as a couple and became the face of the 377 verdict.in an interview with economic Times Katju said stated that, " it is not nice to be declared as a Criminal and then return to the court to argue other cases". She further said that the court practiced as lawyers told them that gay people were second class citizens.

2.               Manavendrasinh Gohil

The Prince of Rajpipala Indias openly gay Prince size that 

"coming out in India is very difficult there is so much stigma society doesn't allow parents to accept it, parents blackmail their children and force them to get married to the opposite sex people in the community 10 meter mothers have threaten to kill themselves if they are gay did not want the mother to jump into a well so they are pressured to get married"

3.               Ellen De Generes

 " Yep, I'm gay" on April 25 th De Generes spoke to Diane Sawyer on20/20 and said " I decided this was not going to be something that I was going to leave the rest of my life being ashamed of" 

4.               Karan Johar: 

The famous Bollywood director and producer Karan Johar many Times indirectly confessed about his sexuality.

All this are the people who has courage to come out public ally but now take a look at the people who are oppressed by the society.

Arun Kumar ,28 Northern State of Uttar Pardesh:

           I am really happy with the course decision it will help people in cities Express themselves without wearing the law but sadly is different for people like me who live in villages it's not the law that we feel what troubles us is people's perception I hope that the media coverage of the verdict will help people understand that homosexuality is normal I was 14 when I realize I was attracted to boys I was initially confused I tried not to think about it but the feeling kept troubling me so I decided to talk to a friend about his is reaction from him,he told me it was disgusting to even think about hammer sexuality he started to avoid me and soon we barely spoke to each other 4 years after that I never spoke about my sexuality

Kiran Yadav 30 eastern state of Bihar:

              I was 15 when I realized I was a lesbian since I was a little girl I never liked girly clothes I like to wear trousers and short like the boys in my village my parents didn't object I didn't have a brother so there thought of me as a son and didn't mind if I dressed up as well I tried to kill myself when she 24 my parents thought that I was depressed because I was unmarried they got married a few weeks later but it was doomed within a year I was divorced by this time I had no will to live everyday was difficult I have lived 30 years of my life without meeting a partner now I just want a job to survive I have no hope of meeting a partner because I can never openly talk about being a lesbian.

Conclusion: 

       Queer theory demonstrates how heterosexuality has been considered the norm and heterosexuality as deviance it argues that identity is secured only through performance and repetition it is a social construction the result of power relations between the dominant sexual types hetero sexual and How such a construction legitimatizes gays and lesbians has deviance criminals and Immoral what is needed is a study of the queer Canon a better for political power and social acceptance while theorist are you for find turning of race and gender studies to address queer sexuality among blacks and post colonial societies. proper education, unbiased perspectives and clean and empathetic environment is much needed for the acceptance of LGBT community.

Work Citation:

(Pandey)

(Queer Theory)

(Homosexuality in Ancient India)

(Lawyers Menka Gurusway and Arundhati Katju The Face of Historical Verdict reveal they are a couple )

(Oppenhein)

(Weaver )

Assignment Paper - 5 Romantic Literature

Assignment paper : 5 romantic Literature

Topic: character of Monster in Frankenstein

Prepared by :Sima Rathod
Batch : 2019-20

Email Id: rsima144@gmail.com

Introduction:

             The early 19th century was not a good time to be a female writer particularly if one was audacious enough to be a female novelist contemporary believes held that no one would be willing to read the work of a woman the fantastic success of Mary Wollstonecraft Shelley's Frankenstein served to thoroughly disprove this theory. Frankenstein established really as a woman of letters when such thing was believed to be a contradiction in terms. Frankenstein is a part of the Gothic Movement in Literature a form that was only just becoming popular in England at the time of its Publication the Gothic Mode was a reaction against the humanistic nationalistic literature of the age of reason one might say it was ushered in by the death of kids the English author with whom romanticism is perhaps most closely associated Frankenstein might be seen as a compromise between the Gothic approach and the romantic one it address is serious philosophical subjects in a fantastic manner. Through it confronts recognizable human problems it can hardly be said to be take place in a recognizable natural world some critics have suggested that this tension between Gothic and romantic literary modes equals the philosophical tension that existed between herself and her husband the romantic poet P.B.Shelly. 

     Character of Monster in Frankenstein:

              The Monster is Victor Frankenstein creation assembled from old body parts and strange Chemicals animated by a mysterious spark he enters life eight feet tall and enormously strong but with the mind of a newborn abundant by his creator and Confused he tries to integrate himself into society only to be shunned universally looking in the mirror he realizes his physical grotesqueness an aspect of his personal that blind society to his initially gentle kind nature seeking revenge on his creator he kills victors younger brother after Victor destroys his work on the female Monster  is the monster solitude The Monster mothers victors best friend and then his new wife while Victor feels unmitigated hated for his creation The Monster that he is not a purely Evil being the Monsters eloquent  narration of events as provided by Victor reveals his remarkable sensitivity and benevolence a cyst a group of poor farmers and also saves a girl from drowning but because of his outward appearance he is rewarded only with beating and disgust torn between vengefulness and compassion. The Monster and up lonely and terminated by remorse even the death of his creator turn would be Destroyer offers only bittersweet relief because Victor has caused him so much suffering and sadness because Victor is the only person with whom he has had any sort of relationship.

            Many people who have never read Frankenstein knows Victor Frankenstein creature as one of the most famous monster in literary history adaptations of the novel have contributed to this Minister ministry petition by portraying the monster as a horrifying character who provokes fear however part of What makes Mary Shelley's novel such an impressive accomplishment is her ability to portray The Monster as multidimensional and complex The Monster is responsible for many violent actions throughout the novel he is also legitimate leave frightening and grotesque you because of his enormous size and composition from parts taken from corpses. At the same time the monster and counters persistent rejection and loneliness he struggles to find a sense of family and community and is rejected by everyone he comes in contact with the rejection and alienation he experiences explain his violent behavior even if they did not justify it so that he can be considered as a sympathetic figure in the novel.

              Readers are first introduced to the monster from Frankenstein perspective The Monster is portrayed as grotesque you and disgusting with "watery Eyes his shriveled complexion and straight black lips" by this kind of description readers will understand why Victor Frankenstein recoil in horror. When the monster Encounters Felix Safie land Agatha all three characters are immediately terrified even though The Monster is simply talking peacefully with Mr De Lacey. These characters are not entirely wrong in being fearful The Monster size and Supernatural stands make him easily capable of harming others as he says when describing his reaction to Felix striking him "I could have torn him from limb". Over the course of the novel The Monster kills first little William Henry Clerval and finally Elizabeth. The models are particularly seniors because all three characters are positioned as extremely sweet and kind and both William and Elizabeth  relatively defenseless.

                       However when the monster tell his own story The Reader sees him from a new perspective from the first day of his life he has been alone with no one to help him or provide him with basic necessities like food and shelter during the Monsters early days in forest he shows sensitivity and an appreciation of for beauty and the nature when he notices the songs of birds and he leaves a compassionate and humble Life by living of of knots and where is rather than hunting for meat. Moreover The Monster is deeply drowned to the loving family dynamic he observed in the De Lacey household. He tries to model his behavior to reflect their kindness and consideration for example once he realizes the family is struggling with having enough food" I abstained from taking their food and satisfied myself with berries nuts and roots". Not only does he seem capable of kindness The Monster is intellectually curious eager to learn language and enthusiastic and appreciate you reader. Spider signals that the monster possesses humanity and the possibility of goodness he is rejected by everyone he reached out to whenever The Monster and counters a human being the person faints or runs away in terror. He can barely convince Frankenstein his own creator to listen to him Frankenstein also betrays The Monster by breaking his promise to create a mat for him the monster comes to realize that no one will ever look past his exterior to see who he is underneath as a result he uses violence to make Victor Frankenstein share the pain he is feeling by killing those whom Frankenstein loves the most The Monster tries to show him what is like to be completely alone in the world why this crimes are inexcusable the connection to the Monsters wasted potential makes him much more sympathetic.

Conclusion:

            When we see the monster from Victor's perspective we immediately come to an conclusion that The Monster is antagonist or we can say villain but if we deeply study the the character of Monster we come to know that when he was born or created he was completely innocent but because of his deform look he was continuously rejected by his creator and society also wherever he go he was beaten up or disgusted by people he just wanted to live a simple life he wanted to be loved he wanted to be accepted by his master or we can say creator but just because of his deformed look he was brutally beaten up and rejected by society or we can say all the people. The complete rejection of his master and Society made him a monster and because of grief stricken he killed many innocent people here a question emerges who is the Real monster ?the creator ?the creation ?or the society?

Work Citation :

           SparkNotes Editors. “SparkNote on Frankenstein.” SparkNotes.com. SparkNotes LLC. 2007. Web. 8 Mar. 2020.

        

 

Assignment Paper -6 Victorian Literature

Assignment paper 6 Victorian Literature

Topic  :the Parish boy's progress the evolvolving form of Oliver Twist

Prepared: by Sima Rathod

Batch: 2019-21

Email Id:rsima144@gmail.com

 Introduction:

           Oliver Twist was first published in 1837 in serial format in Bently's  Misscellency which Dickens was editing at that time Oliver Twist was Dickens second novel and his first real social novel criticizing the harm public institution inflicted on the poor Dickens would come to be known at the master of this form and would continue in Nicholas Nickleby which you would write while still working on Oliver Twist the novel tells the story of Oliver young orphan raised in a workhouse 70 Miles outside of London who runs away and finds himself taken in by thieves it was written particularly in relation to the poor law amendment act of 1834 which among other things essentially took the rights of citizenship away from purpose who were entered in workhouses and forfeited their political rights in order to receive aid.

   The Parish boy's progress the revolving form of Oliver Twist :

              The subtitle of Oliver Twist the Parish boy's progress indicates that Dickens intended Oliver story to be representative of a General pattern the novel begins in the kind of a realistic milieu appropriate to such a concern but by the time of the closing chapters when the mystery of Oliver's birth has been revealed and his Fortune restored he has certainly ceased to be a typical Parish boy and the novels realism has been displaced by the strategist sort of a melodrama along the way Dickens repeatedly violates conventions and consistency mixing beating satire and insipid pathos naturalistic detail & table realistic characters and theoretical stereotypes coherent plotting and extra Wagon coincidences tensely impassioned dialogues and vapid moralistic platitude. Modern critics have generally agreed that the novice moments of unquestionable inside and power never be together because of its incoherent thought and form the basic problems have long been established Oliver Twist is inconsistent in theme and conception of character divided into the two symbolically in-congruent words of city and countryside and marred by the melodramatic entanglement of the plot these difficulties are indeed present but it is there enter place is the novel develops that is crucial to is problematic form.

            Dickens progressively Transformers the controlling conventions of Oliver Twist during the course of the novel to explore deeply rooted more retention involving Innocence and the law. The Apparent domestic and symbolic confusion is actually a progressive transformation of the novice mode of Representation Oliver Twist begins in one kind of reality and ends in another because Dickens is struggling through out to evolve or narrative mode to render the compositions of his imagination and the truth about his society is referred to assimilate the journalistic accuracy of observation of the sketches by Bose and the emerging social consigns of Pickwick papers into the standard framework of the nuget novel forces him to wrestle with the fundamental conversation by which character action and the social world become meaningful in fiction. He labors to create a new kind of novel expressly to reveal and undiscovered truth the former problem that he Encounters are rooted in deeply felt moral conflicts both public and personal.

              The public and personal conflicts are revealed in the troubled ambivalence of Dickens portrayal of the criminal Underworld and his creative  about the relationship between the themes and the society on which they pray. In his preface to the third edition in 1841. Dickens himself addresses the Apparent contradictions and inconsistencies in his depiction of the themes and his remarks verify the central tensions in the ideas and attitudes underline the novels form he answers that charges of coarseness and acceleration that had been raised against his presentation of the Thieves by insisting on the the verisimilitude of his description. "It was my attempt to dim the false glitter surrounding something which really did exist by shewing it in all its an attractive and repulsive truth". But Dickens does not defend the truthfulness of his Art on the basis of its natural lipstick accuracy alone find the value of the truth represent in its moral purpose" I wish to shew  in little Oliver the principle of good surviving through every adverse circumstances and trumping at last." This makes the novels nominal protagonist an allegorical figure rather than a real boy he is tested morally have a not bi a set of allegorical wise is but by or not of such associates in crime as really did exist Dickens defines the opposite forces of the novel as the principle of good and the miserable reality of Evil and the conflict of good and evil in the novel is also enacted as a conflict in its mode of Representation Oliver and the thieves represent incommensurate kinds of reality and opposed standards of truth and the implicit tension between moralizing principle and naturalistic reality generous the inconsistencies in theme and characterization realism truth of observation is subordinated to truth of perfect just as in the development of the novel The realistic representation of the thieves is contained within the moral fable of the triumph of good.

          Inconsistencies become coherent when seen as stages in the reorientation and development of narrative form within the evolving context of the Parish boy's progress the opening chapters bitterly explore the extent to which human nature can be hardened and corrupted by an oppressed society, gradually dispatch the moral tension in Dickens presentation of the thieves progressively polarized the novels value and lead to an imaginative impasses Halfway through. With the introduction of the Maylies,as James Kincaid has pointed out the novel shift its Grounds to a simplistically defined good and bad but idealize goodness quickly proves vulnerable the simply stick morality that briefly dominates in the countryside chapters is sheltered by Rose's sickness when Dickens returns from the countryside to the city in the whirlwind final third of the novel his suppress the sympathy with the Underworld characters to re invigorate the powerful issues of the opening chapters and the complete the typical pattern that was previously abandoned while the plot is given to over to Brownlow monks and discovery of Oliver's Identity Dickens structuring of the action submersible reveals the hidden similarity between the boy and the thieves and the narrative mode he was to discover their common inner humanity the Parish boy's progress and at the gallows but Fagin takes Oliver's place there.

  Conclusion:

                      As a child hero of a melodrama critic novel of social protest Oliver Twist is meant to appeal Mostly our sentiments than two hour literary sensibilities on many levels Oliver is not a believable character because all the he is raised in corrupt surroundings is bitter and virtue are absolute throughout the novel Dickens uses Oliver's character to challenge the Victorian idea that paupers and criminals are already Evil At birth arguing instead that a corrupt environment is the source of wise at the same time Oliver's incorruptibility undermines some of Dickens assertions Oliver is shocked and horrified when he sees the Artful Dodger(Jack Dawkins )and Charlie Bates pick-pocketing strangers pocket and again when he is forced to participate in a burglary. The process of inclusion that leads to the capture of the things and Wagons final imprisonment also become the organizing principle of the progression of time and space in the closing chapters , the death of Nancy ,the revelation of Oliver's true identity, the adoptions of Oliver constructed a well established plot which aptly leads readers to the simple and moral end of the story or one can say the Parish Boy's progress through Hard Times to an glorious and Happy ending.

Work Cited :

SparkNotes Editors. “SparkNote on Oliver Twist.” SparkNotes.com. SparkNotes LLC. 2003. Web. 7 Mar. 2020.

Lankford, William T. “‘The Parish Boy's Progress’: The Evolving Form of Oliver Twist.” PMLA, vol. 93, no. 1, 1978, pp. 20–32. JSTOR, www.jstor.org/stable/461817. Accessed 7 Mar. 2020.                        

Assignment Paper - 07 Northrop Frye , Archetypal Criticism

 Assignment Paper -7 Literary Criticism -02
Topic : Northrop Frye , Archetypal Criticism

 Prepared by : Sima Rathod 

M.A. Sem. : 02 

Batch : 2019 - 21

Email Id : rsima144@gmail.com

Introduction:

Northrop Frye :

              Herman Northrop Frye was a Canadian literary critic and literary theorist ,considered as one of the most influential critics of the 20th century. Frye gained international fame with his first book, Fearful Symmetry (1947), which led to the reinterpretation of the poetry of William Blake. His lasting reputation rests principally on the theory of literary criticism that he developed in Anatomy of Criticism (1957), one of the most important works of literary theory published in the twentieth century. The American critic Harold Bloom commented at the time of its publication that Anatomy established Frye as "the foremost living student of Western literature." Frye's contributions to cultural and social criticism spanned a long career during which he earned widespread recognition and received many honors.

Anatomy of Criticism Four Essays :

First Essay: Historical Criticism

Second Essay  :Ethical Criticism

Third Essay :Archetypal Criticism

Fourth Essay : Rhetorical Criticism , Theory of Genres

 WHAT IS ARCHETYPAL CRITICISM ? WHAT DOES ARCHETYPAL CRITIC DO ?

         

                       The word archetype means , an universal pattern of thought , present in an individuals unconscious , inherited from the past collective experience of humanity. Archetypes are tools used in literature to present common aspects of human nature and life in general.Northrop Frye in his remarkable book ANATOMY OF CRITICISM , he developed the archetypal approach into a radical and comprehensive revision of traditional grounds both in the theory of literature and the practice of literary criticism.It was MAUD DODKIN's ARCHETYPAL PATTERNS IN POETRY who was given a boost and flourished the archetypal literary criticism during 1950 and 1960. Apart from him there were critics , G. WILSON KNIGHT, ROBERT GRAVES, PHILIP WHEELWRIGHT, RICHARD CAMPBELL who all emphasized the occurrence of mythical patterns in literature , on the assumption that myths are closest to the element archetype than the artful manipulation of sophisticated writers. Bodkin in his book applied Jung's theories about the collective unconscious , archetypes and primordial images to literature but Frye,s work helped displace new criticism as the major mode of analyzing literary texts.There are two basic categories in Frye's framework : COMEDIC and TRAGIC . Each category is further subdivided into two categories : COMEDY and ROMANCE for the comedic , tragedy and satire /ironic for the tragic.Frye uses the seasons in his archetypal schema. Each season is aligned with a literary genre: 

COMEDY - SPRING 

ROMANCE - SUMMER 

TRAGEDY - AUTUMN 

SATIRE -  WINTER 

Frye outlined five different spheres in his schema;

HUMAN : 

The comedic human world is representative of wish -fulfilment and being community centered . In contrast the tragic realm  human world is of isolation , tyranny and the fallen hero.

ANIMAL:

In the comedic genre animals are docile and pastoral while in tragic realm animals are predatory and hunters.

VEGETARIAN :

                 For the realm of vegetation the comedic is again pastoral but also represented by gardens , parks, roses and lotuses. and in tragic wild forest as being barren.

MINERAL : 

                Cities , temples, or precious stones represent the comedic mineral realm while the tragic mineral realm is noted for being a desert , ruins or sinister geometric images .

WATER : 

                Rivers represents in the comedic realm while in tragic the seas , specially floods .

             

ARCHETYPES DIVIDED INTO TWO CATEGORIES :

1] CHARACTERS 

2] SITUATIONS / SYMBOLS 

1] CHARACTERS :

👉THE HERO : 

                       

                         The courageous figure , the one who is always running in and saving the day . Hamlet, Charles Dickens Pip. 

👉THE OUTCAST  :

                          The out cast is just that, he or she has been cast out of society or has left it on a voluntary basis , the outcast figure can oftentimes also be considered as a christ figure.

Examples :

Monster in Mary Shelly’s Frankenstein

👉 THE SCAPEGOAT : 

                                The scapegoat figure is the one who gets blamed for everything , regardless of whether he or she is actually at fault.

Example :

Oliver In Oliver Twist

 👉THE STAR- CROSSED LOVERS :

                              This is the young couple joined by love but unexpectedly parted by fate.

Example :

Romio and Juliet,

 Heer, Ranja.

👉 THE SHREW : 

                   This is that nagging , bothersome wife always battering her husband with verbal abuse. 

Example :

Katharine from William Shakespeare’s The Taming of The Shrew

👉 FEMME FATALE :  

                           A female character type who brings upon catastrophic and disastrous events.

Examples:

 Eve from Bible. 

Draupadi from The Mahbharata

Sita from The Ramayana

👉 THE JOURNEY :

                          A narrative archetype where the protagonist must overcome a series of obstacles before reaching his or her goal .

Examples :

The Alchemist Paulo Coelho

2]  SITUATIONS / SYMBOLS :

👉 THE TASK:  

                    A situation in which a character , or a group of characters , is driven to complete some duty of monstrous  proportion.

👉THE QUEST :

                     The characters are searching for something , whether consciously or unconsciously . Their actions, thoughts and feelings center around the goal of completing this quest.

👉THE LOSS OF INNOCENCE :

                                  As the name suggests , loss of innocence through sexual experience , vilolence or any other means .

👉WATER : 

         Water is a symbol of life, cleansing and rebirth. It is a strong life force and is often depicted as a living reasoning force.

👉SUN :  

     Fire and ice are colsely related to it. it suggests creative energy , thinking ,enlightenment , wisdom, spiritual vision . The rising sun suggests birth, creation, enlightenment while the setting sun suggests death.

👉COLORS : 

RED : Blood , sacrifice , passion, disorder .

GREEN :Growth , hope, fertility.

BLUE : Highly positive , secure , tranquil  , spiritual purity.

BLACK : Darkness , chaos , mystery , the unknown death , wisdom, evil, melancholy.

WHITE : Light, purity, innocence, timelessness ; it has negative aspects also, death, terror , supernatural.

YELLOW: Enlightenment, wisdom.

👉SERPENT (SNACK / WORM ) : 

                                            Symbol of energy and pure force(libido), evil, corruption, sensuality, destruction. Serpent in Paradise Lost .

👉NUMBERS :  

3. -Light, spiritual awareness , unity , male principle .

4.- Associated with circle, life circle , four seasons , earth , nature , elements. iN HINDU marriage four circles around fire ( dharma , artha , kam and moksha ).

7.- The most potent of all symbolic numbers signifying the union of three and four , the completion of a cycle , perfect order, perfect number , religious symbol. 

👉WISE OLD MAN : 

                       Savior , redeemer , guru, representing knowledge , reflection, insight, wisdom, intution and morality. ( old man in Doctor Faustus )

👉GARDEN:  

Paradise , innocence , unspoiled beauty . 

👉TREE : 

             Denotes life of the cosmos, growth, proliferation , symbol of immortality, phallic symbol.

👉DESERT: 

               Spiritual aridity, death, hopelessness.

👉CREATION:

                       All cultures believe the cosmos was brought into existence by some supernatural being or beings.

👉SEASON :

                  

SPRING: Rebirth, genre / comedy 

SUMMER : Life, genre/ romance

FALL: Death, dying , genre / tragedy  

WINTER : Without life , death, genre/ irony 

👉THE GREAT FISH :  Divine creation /life .

👉FREUD's  SYMBOLISM / ARCHETYPES :

                           

                          Concave images , ponds, flowers, cups, vases, hollows, female or womb symbols.

                          Phallic symbols , towers, mountain peaks , snakes , knives, male symbols.

                          Dancing, riding, or flying symbols of sexual pleasure.

Conclusion:

Thus , Frye proposed that the totality of literary works constitutes a self contained literary universe which has been created over the age by the human imagination so as to assimilate the alien and indifferent world of nature into archetypal forms that serve to satisfy enduring  human desires and needs.

Work citation:

Frye, Northrop. Anatomy of Criticism: Four Essays. Edited by Robert D. Denham, vol. 22, University of Toronto Press, 2006. JSTOR, www.jstor.org/stable/10.3138/j.ctt2tth1v. Accessed 7 Mar. 2020.