Cultural Studies in Practice

 This blog is written as response to the thinking activity on the topic of Feminist and Marxist criticism, given by Dilip Darad sir at the Department of English, MKBU.

Introduction:

Cultural Studies, derived from the Latin word 'Colere,' meaning 'to cultivate,' 'to honor,' or 'to protect,' encompasses the generation of meanings and ideas valid within a culture. It introduces the concept that certain components of culture gain significance over others, often dictated by the elite class, leading to the rejection of non-elite views. As Patrick Brantlinger notes, Cultural Studies is not a rigidly coherent movement but a loosely coherent group of tendencies, issues, and questions that navigate the gaps within culture. Similar to Derrida's deconstruction theory, Cultural Studies examines mass culture, reflecting the influence of various elements such as Marxism, Poststructuralism, Postmodernism, feminism, Gender Studies, Anthropology, Sociology, race and ethnic studies, film theory, urban studies, public policy, culture studies, and postcolonial studies. These elements converge on the socio-cultural forces shaping communities and causing division and alienation.

In the realm of literary analysis, Cultural Studies can be applied through diverse theoretical frameworks. This interdisciplinary field explores how culture shapes and is shaped by social, political, economic, and historical factors. Approaches such as Historical Context, Social Class Analysis, Gender Studies, Race and Ethnicity Studies, Postcolonial Theory, Cultural Identity and Hybridity, Reader Response Theory, Cultural Materialism, Language and Discourse Analysis, and Globalisation Studies allow scholars to conduct nuanced analyses of literary works. It goes beyond examining plot and characters, revealing deeper insights into the cultural, social, and political dimensions of the text. These approaches are not mutually exclusive, and a combination of them offers a comprehensive understanding of the cultural implications embedded in literary works.

The "Handbook of Critical Approaches to Literature" discusses various goals of Cultural Studies. It transcends the confines of specific disciplines like literary criticism or history, engages politically, denies the separation of 'high' and 'low' or elite and popular culture, and analyzes not only the cultural work but also the means of production. Additionally, it identifies five types of Cultural Studies, including British Cultural Materialism, New Historicism, American Multiculturalism, Postmodernism & Popular Culture, and Postcolonial Studies. Applying these approaches to literary works allows for a deeper exploration of the cultural context and its multifaceted implications within the narrative.

Marginalization of Characters in Hamlet 

Cultural critics often assume "oppositional" roles in relation to power structures, engaging with various aspects that significantly impact people's daily lives. In William Shakespeare's "Hamlet," the exploration of power structures becomes evident, particularly through the marginalized characters of Rosencrantz and Guildenstern. Interestingly, their names, derived from Dutch-German origins, with Rosencrantz meaning "Garland of Roses" and Guildenstern meaning "Golden Star," paradoxically oppose their actual roles in the narrative.

When Claudius orchestrates Hamlet's journey to England, Rosencrantz delivers a noteworthy speech on the role and power of kinship. Despite this emphasis on power dynamics, their significance is overshadowed in the broader context of the play, leading to their marginalization. Former students of Hamlet from Wittenberg, they return to Denmark at Claudius's behest, attempting to gather information for the king. However, their failure to comprehend Hamlet's inner thoughts and ambitions leads to their ultimate marginalization and tragic fate in England.

Hamlet's lack of guilt over their deaths can be attributed to the power play within the narrative. Hamlet distinguishes himself from King Claudius, highlighting the inconsequential role of Rosencrantz and Guildenstern as pawns in this power struggle. Despite their initial good intentions toward Hamlet, their primary allegiance was to please the powerful king, disappointing Hamlet in the process.

In the context of cultural studies, the play delves into more than just the portrayal of power dynamics involving princes and princesses. Tom Stoppard's "Rosencrantz and Guildenstern Are Dead" resurrects these almost forgotten characters, transforming them into archetypal human beings caught in the existential questions of the 20th or 21st century. The play questions the meaninglessness of existence, drawing parallels to individuals caught in the corporate world, akin to pawns on a chessboard. Stoppard's interpretation further highlights the adaptability of cultural themes across different time periods and cultures, reinforcing the insignificance of these characters in the larger scheme of power struggles.

In essence, the exploration of power dynamics and the marginalization of characters like Rosencrantz and Guildenstern in both Shakespeare's original work and Stoppard's reinterpretation offers a nuanced perspective on the broader cultural implications embedded in these narratives. The almost dead characters of Shakespeare find new life in the 20th-century portrayal, making them relatable to contemporary audiences grappling with their own existential questions.

Implied Culture versus Historical Facts: Reading “To His Coy Mistress" 

Andrew Marvell's poem "To His Coy Mistress" provides a glimpse into the complex character of the speaker, revealing his extensive knowledge of classic Greek and Roman literature, medieval European love poetry conventions, and Biblical passages. The speaker demonstrates a sophisticated understanding of various literary traditions and philosophical concepts, employing them in a manner that suggests a playful, possibly mocking tone. His education and erudition are evident in the seamless flow of thoughts and images that reflect his cultural background.

However, when viewed through the lens of cultural studies, a noticeable gap emerges in the speaker's considerations. The poem's narrative lacks an acknowledgment of pressing issues such as poverty and the harsh realities faced by a significant portion of the European population during the late seventeenth century. The prevalence of diseases, notably the devastating impact of the Black Death that plagued London in the mid-1600s, is conspicuously absent from his reflections.

In this historical context, the poem, written in 1681, coincided with the later stages of the Great Plague of London. The epidemic, lasting from July to October, resulted in the death of approximately 68,000 people, with the total death toll reaching 75,000. A vivid account of this period can be found in Daniel Defoe's "Journal of the Plague Year" (1722). Despite the harsh realities of the time, the speaker's focus remains on themes of wealth, leisure, and sexual activity, seemingly overlooking the profound challenges faced by society.

In essence, the speaker appears to deliberately ignore the darker aspects of the reality surrounding him, opting instead for a fantastical world of wealth and pleasure. This selective narrative may serve as a form of escapism, allowing him to avoid confronting the harsh realities of the world. The poem's emphasis on the "creamy layer" of life suggests a preoccupation with affluent families or cultures, further underscoring the speaker's detachment from the broader societal challenges of his time.

From Paradise Lost to Frank-N-Furter: Frankenstein in Popular culture.

Mary Shelley's enduring novel, "Frankenstein," has permeated various facets of our culture, extending beyond the confines of books to encompass a myriad of expressions—visual art, stories, plays, movies, TV shows, advertisements, clothing, jewelry, toys, and even everyday items like mugs and keychains. Its influence extends into the realms of games, Halloween costumes, comics, jokes, cartoons, and academic studies, as well as fan clubs and websites dedicated to exploring its depths. The novel has even left its mark on food items, with cereals like "Frankenberry" and "Count Chocula" drawing inspiration from Shelley's creation. In essence, the pervasive presence of "Frankenstein" teaches us not to underestimate the profound impact of youth culture.

When approached through the lens of Cultural Studies, "Frankenstein" emerges as a work deeply embedded in prevailing cultural discourse. Originating during a period of significant societal changes, the novel challenged prevailing ideas and continues to resonate in today's consumer culture. However, there is a question as to whether its initial revolutionary spirit and critiques of science, philosophy, politics, and gender have been overshadowed by its widespread popularity.

As George Levine suggests, "Frankenstein" has evolved into a symbol, particularly in a culture preoccupied with technology and identity. References to "Frankenstein" abound, from describing someone as a "created monster" in the news to articles warning about genetically modified foods, test-tube babies, and cloning.

The Creature in "Frankenstein" can be seen as somewhat proletarian, embodying both innocence and a capacity for cold-blooded violence. Mary Shelley's portrayal of the Creature reflects her mixed feelings about radical ideas, embodying a political and moral puzzle. The creature, defying the established order, challenges societal norms but is met with fear and destruction.

Examining "Frankenstein" in the context of different "races," the Creature's yellow skin aligns with a historical tradition of portraying the 'Other' as something to be feared and hated. Victor, the Creature's creator, can be interpreted as a guilty slave master in Shelley's exploration of societal issues.

In the contemporary world of genetic engineering, biotechnology, and cloning, "Frankenstein" remains more relevant than ever. Mary Shelley's work, influenced by the Romantic period's shift in science towards biology, warned against the dangers of unchecked scientific progress. Today, with advancements in fertility science, genetic engineering, and life-prolonging technologies, the novel's cautionary tale resonates anew.

In essence, "Frankenstein" serves as a reflective mirror, addressing critical societal issues and retaining its relevance as science continues to advance, posing new ethical and existential questions. The concept of "Frankenphemes," as introduced by Timothy Morton, encapsulates the proliferation of elements derived from "Frankenstein" in various cultural mediums. The novel's presence is evident in countless retellings, parodies, and adaptations across fiction, drama, film, and television, solidifying its enduring impact on world cultures.