Cultural Studies in Practice

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This blog is a response to a task given by Dilip sir Barad as we are having Cultural Studies in our syllabus. Here we had to write a blog: Cultural Studies with the reference to 'Hamlet', 'Frankenstein' and 'To his Coy Mistress'.

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. Globalization 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.

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.

 Five Types of Cultural Studies including:

British Cultural Materialism

New Historicism

American Multiculturalism

Postmodernism & Popular Culture

Postcolonial Studies

'Hamlet through the lens of Cultural Studies'

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 possible explanation for Hamlet's lack of remorse in his actions could be his perception of delivering justice rather than committing outright murder. However, an additional dimension to this situation involves a power struggle. Hamlet explicitly discusses the substantial differences between himself and King Claudius. Guildenstern and Rosencrantz, merely carrying out Claudius' orders, become pawns in this power play. Hamlet previously hinted at their insignificance.

Essentially, they hold minimal significance in the power dynamics at play. Hamlet's lack of remorse stems from their role as tools for Claudius first and for him second. While they might have initially intended to assist their old friend Hamlet, their primary objective was to appease the influential king who had involved them. Ultimately, they end up disappointing Hamlet.

In the struggle between powerful figures like Hamlet and Claudius, both Rosencrantz and Guildenstern are rendered powerless. Their names and backgrounds don't align with their roles in the play; they serve merely as instruments for those in power. This discussion extends to historical and modern instances where similar power dynamics have unfolded, drawing parallels from literature and contemporary corporate downsizing to illustrate the theme of marginalization in the face of power.

Examining England's political history, we find parallels where power played a decisive role, such as the removal of King Richard II or the execution of Thomas More and others. The struggle for power, as depicted by Shakespeare, reflects the real-life power dynamics of his time.

Claudius, a character in Hamlet, recognizes the significance of power when he remarks, "Madness in great ones must not be unwatched." In simpler terms, powerful individuals need to be closely monitored. Even Rosencrantz and Guildenstern share similar ideas about power.

When approaching the play 'Hamlet' from a Cultural Studies perspective, the focus extends beyond the royal characters or Shakespeare's portrayal of power dynamics. It delves into the experiences of lesser-known individuals caught in monumental conflicts. Tom Stoppard's revival of the nearly forgotten characters, Rosencrantz and Guildenstern, in the twentieth century underscores the evolving meanings of power across different times and cultures. In Shakespeare's era, power had a specific connotation, but in a distinct time or culture, its meaning might be entirely different.

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 marginalized 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.

'Frankenstein' through the lens of Cultural Studies

To gain a deeper understanding of Hamlet, we can explore Tom Stoppard's play "Rosencrantz and Guildenstern Are Dead," written in the 1900s. Unlike their minor roles in Hamlet, these characters grapple with existential questions, reflecting a sense of insignificance and purposelessness. Stoppard expands on Shakespeare's marginalization of the powerless, making it relatable to a contemporary audience facing forces beyond their control.

Taking a step into Stoppard's perspective, we can draw parallels to people entangled in the corporate world, akin to pawns on a chessboard. Stoppard's exploration delves into the struggles within large companies, echoing Louis XIV's assertion of power as capital. Whether in Shakespeare's era or Stoppard's, Rosencrantz and Guildenstern remain minor figures in the overarching power struggles of kings.

Shifting focus to "Frankenstein" through the lens of Cultural Studies, George Levine highlights its symbolic significance in a culture obsessed with technology and self-discovery. The creature, somewhat portrayed as proletarian, embodies Shelley's mixed feelings about radical ideas, representing both innocence and a cold-blooded killer. The story challenges societal norms, depicting the struggle of beings created against the established order. The analysis also touches on racial undertones, reflecting the historical context of portraying the 'Other' as something to fear and hate.

In today's context of genetic engineering and biotechnology, "Frankenstein" continues to resonate as a cautionary tale about the ethical implications of scientific progress. Mary Shelley's narrative serves as a mirror reflecting on contemporary issues in society, prompting reflection on life and ethics.

'To His Coy Mistress' through the lens of Cultural Studies:

Andrew Marvell's "To His Coy Mistress" provides a window into the speaker's character, revealing his extensive knowledge of classic Greek and Roman literature, medieval European love poetry conventions, and Biblical passages. He demonstrates familiarity with diverse literary styles and traditions, employing them in a way that suggests a playful mockery. Despite the seriousness of his proposals to the coy lady, the speaker expects her to grasp the irony, given their shared cultural background. His education, well-read nature, and the seamless flow of thoughts and images reflect his intellectual depth.

When viewed through the lens of cultural studies, a conspicuous omission in the speaker's considerations becomes apparent. He neglects issues like poverty and the harsh societal realities prevalent at the time, when a significant portion of the European population faced financial struggles, and diseases were widespread. The focus of the poem centers on wealth, leisure, and sexual activity, disregarding the pressing concerns of poverty and diseases during the mid-1600s, including the devastating Black Death that struck London.

The poem, written in 1681, overlooks the historical context of chronic population morbidity and the recurrence of the Black Death. The Great Plague of London, lasting from July to October, claimed the lives of approximately 68,000 people, with a total death toll reaching 75,000 during the epidemic. Daniel Defoe's "Journal of the Plague Year" (1722) vividly recounts this experience.

In essence, the speaker seems to intentionally sidestep the darker aspects of the reality of his time, immersing himself in a fantasy world of wealth and pleasure. This escapism may serve as a means to avoid confronting the harsh realities of the world he inhabits. The speaker's focus on the "creamy layer" of life implies a preference for discussing the affluent or culturally privileged, further distancing himself from the less glamorous and more challenging aspects of contemporary society.

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