Critique of Religion | God is Power in 1984 by George Orwell

This task assigned by Dr. Dilip Barad sir to explore that how In 1984, Orwell critiques religion by showing how the Party assumes a god-like role, demanding absolute obedience and rewriting reality. The phrase "God is power" reflects the Party’s control, where faith is replaced by loyalty to Big Brother, making the state the ultimate deity.(Click Here)

Video 1 : Critique of religion

George Orwell's 1984 is conventionally interpreted as a political satire, but it can also be read as a critique of religion, particularly Catholicism. Several elements in the novel parallel religious structures and practices. The division of the world into three superstates—Oceania, Eurasia, and Eastasia—resembles the three major Abrahamic religions: Judaism, Christianity, and Islam. Similarly, the party’s system of forced confessions mirrors Catholic confession, with Winston Smith's journey reflecting a sacramental process involving penance, mortification, and restoration.

Big Brother functions as a god-like figure, constantly "watching over" his subjects, a concept that can be interpreted both as surveillance and divine care. The party members, particularly O’Brien, assume the role of priests, reinforcing power as a form of divinity. The novel’s hierarchical structure, with its pyramidal division of power, resembles religious orders and echoes the Christian Holy Trinity. Furthermore, the party's strict control over marriage and celibacy aligns with Catholic doctrines governing sexuality and devotion.

Room 101 and the Ministry of Love evoke Dante’s Inferno, with O’Brien resembling Lucifer’s servant, purging individuals of their rebellious thoughts in a manner akin to religious purification. Orwell’s broader disdain for religion, particularly Catholicism, is evident in his personal writings. In Such, Such Were the Joys, he reflects on his childhood belief in God, stating that while he accepted Christian teachings as true, he deeply resented them. His opposition intensified during the Spanish Civil War when he witnessed the Catholic Church’s alignment with fascist regimes, which he viewed as authoritarian and anti-democratic.

John Rodden, in Orwell on Religion: The Catholic and Jewish Questions, highlights Orwell’s skepticism toward religious institutions, while Patricia Hill, in Religion and Myth in Orwell’s 1984, discusses his belief that religious worship could lead to power worship. The theme also appears in Animal Farm, where Moses the raven and the Sugarcandy Mountain symbolize religious deception, akin to the false promises of an afterlife used to pacify the oppressed.

Through these parallels, Orwell’s 1984 can be seen not just as a critique of political totalitarianism but also as a warning against religious dogma and its potential for authoritarian control.

Video 2 : God as power

The video explores the phrase "God is power" in George Orwell’s 1984, examining its significance within the totalitarian regime of Oceania. The discussion is structured around several key themes:

1. The Role of "God" in an Atheistic Dystopia

Despite Oceania being a secular, atheistic society, the word "God" appears eight times in the novel, primarily in Part Three, where Winston is tortured and re-educated.

The phrase "God is power" is spoken by O’Brien, the Party official overseeing Winston’s reprogramming, and later repeated by Winston after his complete submission to the Party.

2. Power as the Ultimate Authority

O’Brien explains that in Oceania, power replaces God. The Party is the new divine authority, and its leaders are akin to priests.

The Party doesn’t seek obedience alone—it demands love and devotion, just as traditional religions do for their gods.

By controlling the past, present, and future, the Party establishes itself as the only truth, shaping reality to its will.

3. Psychological Control & The Party’s Indoctrination

The Party’s power extends beyond physical control—it aims to dominate the mind and memory.

Winston’s eventual acceptance of “2 + 2 = 5” and “God is power” illustrates his total submission.

Thoughtcrime and the Thought Police ensure that dissent is eliminated before it even manifests into action.

4. Critique of Totalitarianism & Religious Parallels

Orwell warns against the dangers of absolute power, showing how it leads to oppression, exploitation, and societal destruction.

The Party’s ideology mirrors religious structures—just as people worship gods without questioning, citizens of Oceania worship Big Brother.

Historical parallels are drawn, such as political figures being deified, akin to religious devotion.

5. The Novel as a Critique of Religion & Power

Orwell critiques both totalitarianism and organized religion, arguing that power and faith function similarly when used for control.

The novel questions whether devotion to any supreme authority, be it God or the Party, is inherently oppressive.

Conclusion

The phrase "God is power" encapsulates the Party’s philosophy—power itself becomes divine. Orwell’s 1984 serves as a warning against blind submission to authority, whether political or religious, showing how control over truth and belief is the ultimate form of oppression.

 Reference

DoE-MKBU. (2023a, February 21). Critique of Religion | 1984 | George Orwell [Video]. YouTube. https://www.youtube.com/watch?v=Zh41QghkCUA

DoE-MKBU. (2023, February 21). God is Power | 1984 | George Orwell [Video]. YouTube. https://www.youtube.com/watch?v=cj29I_MU3cA

W.H. Auden’s Three Poems

This blog is part of thinking activity assigned by Dr. Dilip Barad sir to explore three poems of W. H. Auden. (Click here for task link)

September 1, 1939 

W. H. Auden’s September 1, 1939 is a reflective and political poem written at the onset of World War II. Set in a bar in New York City, the speaker contemplates the causes and consequences of the war, tracing them back to historical failures, ideological rigidity, and human selfishness. Auden references figures like Martin Luther and Thucydides, as well as places like Linz (Hitler’s birthplace), to highlight the deep-rooted patterns of power and corruption. The poem critiques totalitarianism, imperialism, and moral complacency, yet ends with a faint hope—urging individuals to uphold truth and justice despite the darkness of history.

  

Key References in the Poem

1.  Luther – Germen theologician

2. Thucydides – The Greek historian who documented the Peloponnesian War is referenced for his insights on political power and human nature’s tendency toward corruption.

3. Linz – Hitler’s birthplace, symbolizing the origins of Nazi ideology and totalitarian aggression.

4. Imperialism’s Face – A reference to colonialism and its role in shaping modern conflicts and power struggles.

5. The Just – Likely alluding to moral philosophers or religious figures who uphold justice, contrasting with the corrupted world Auden describes.

6. Exiled Thucydides – This phrase highlights the historian’s detachment, paralleling Auden’s own exile from England and his critical stance toward history.

In Memory of W.B. Yeats

In Memory of W.B. Yeats by W.H. Auden is a modern elegy that reflects on the death of the esteemed poet W.B. Yeats while also contemplating the broader themes surrounding the role and relevance of poetry in the contemporary world. Auden’s poem transcends a mere tribute to Yeats, weaving in reflections on the nature of poetry itself, questioning its utility, and exploring the emotional and societal landscapes that poetry inhabits. The poem opens with the stark imagery of Yeats’ passing during a cold winter, mirroring the chilling absence of artistic voices in a world dominated by modernity and indifference. Auden’s reflections delve into the paradox of poetry’s perceived ineffectiveness in enacting change, especially in a society fraught with turmoil, while simultaneously acknowledging poetry’s enduring capacity to resonate and provide solace. The poem culminates in a call for poets to continue their craft, even amidst despair, and to inspire hope and resilience in a world often marked by apathy and suffering.

Auden’s poem serves as a modern elegy, honoring the legacy of W.B. Yeats.

The poem questions the purpose of poetry in a contemporary world filled with distractions and suffering.

 Cold winter imagery symbolizes the finality of death and the stark reality of loss.

Auden highlights the disconnect between the poet’s world and the indifference of modern society.

 The poem engages with philosophical questions about the efficacy of poetry and its ability to incite change.

 The poem reflects on the longing for a time when poetry held more significance in people’s lives.

 Auden ultimately calls on poets to continue creating, suggesting that poetry can still inspire and heal, even in dark times.

Epitaph on a Tyrant

Summary

In this analysis of W.H. Auden’s poem “Epitaph on a Tyrant,” the discussion revolves around understanding the intrinsic qualities of the poem itself, rather than focusing solely on the poet’s intent or historical context. Auden, an Anglo-American poet born in 1907 and passing away in 1973, is recognized for his ability to encapsulate complex themes in a few lines. The poem, written around 1939, is often interpreted as a commentary on totalitarian regimes, particularly referencing figures like Adolf Hitler.

The poem is structured as a six-line epitaph that critiques the nature of tyrants and their pursuit of a distorted form of perfection. Auden’s choice of language and imagery serves to illuminate the manipulative and destructive traits of tyrants. The speaker reflects on how tyrants simplify complex issues to make them more palatable, thus masking their true intentions. The chilling conclusion of the poem, which juxtaposes the laughter of senators with the death of innocent children, highlights the tragic consequences of tyranny and the complicity of society.

The final lines of the poem are particularly chilling, depicting the tyrant's influence over those around him. When the tyrant laughs, "respectable senators burst with laughter," and when he cries, "little children died in the streets." This imagery underscores the tyrant's destructive power and the complicity of those who enable him. The discussion drew connections to other literary and historical references, such as biblical stories, the Dutch ruler William the Silent, and broader themes of tyranny in literature. These intertextual references enrich the poem's meaning, showing how the characteristics of tyrants are timeless and universal.

The session concluded with the idea that literature serves as a powerful tool to critique and expose the crimes of tyrants. Unlike history, which relies on evidence, literature can use metaphor and symbolism to reveal deeper truths about power and humanity. The poem, though small, is a potent reminder of the dangers of tyranny and the importance of resisting it. It also highlights the role of poets and writers in holding tyrants accountable, offering a different kind of historical record that goes beyond facts to explore the moral and ethical dimensions of power. Ultimately, the discussion emphasized that literature is not just a reflection of society but a means of challenging and questioning the structures of power that shape it.

Using Gen AI in Literature Classroom: Two Worksheets

This activity, assigned by Dr. Dilip Barad, helps explore Samuel Beckett's Waiting for Godot by answering key questions about its themes, characters, and symbols. It encourages a deeper understanding of the play, including its political and philosophical aspects. We will also look at Martin Esslin’s article to gain further insight into the play’s meaning. The goal is to better appreciate the key ideas in Waiting for Godot, such as existentialism and the search for meaning, while making connections to its historical context. ( Activity Link)

Worksheet : 1

Worksheet : 2

Here is the reference of Got and Sheep. 

The video discussion delves into the intricate relationship between religious motifs and existential themes found in Samuel Beckett’s play “Waiting for Godot.” Central to the discussion is the biblical reference of sheep and goats, particularly in relation to the concept of divine judgment as presented in Matthew. The conversation between characters Vladimir and the boy illustrates the ambiguity of happiness and suffering, suggesting that how one is perceived by a higher power influences their fate. The dialogue raises profound questions regarding the nature of goodness and evil, the role of faith, and the human condition, while also critiquing the simplistic moral dichotomies often associated with religious texts. The analysis posits that Beckett subverts the biblical parable, questioning the reliability of divine judgment and the inherent complexity of human emotions, ultimately portraying a world where certainty is elusive and understanding is fraught with ambiguity.

Here is the reference of 'Hope' in waiting for Godot. 

The discussion revolves around the interpretation of Samuel Beckett’s play “Waiting for Godot,” particularly focusing on whether it embodies Christian themes or existentialist philosophy, particularly the views of Jean-Paul Sartre. The speaker questions if the play can be seen as a religious allegory, not just through a Christian lens, but also incorporating elements of Hindu philosophy. The themes of hope, waiting, and mutual interdependence between the characters Vladimir and Estragon are examined, along with the existential dilemma of facing the absurdity of human existence. The dialogue explores the nature of hope in the context of suffering, faith, and the human condition, ultimately suggesting that hope may serve as an evasion from confronting harsh realities. The interplay of waiting and existential angst reflects a broader commentary on the cyclical nature of life and the human tendency to seek meaning amid absurdity.

Trends and Movements

Here are detailed notes on Expressionism, Surrealism, and Dadaism:

1. Expressionism

Definition:

Expressionism was an early 20th-century artistic and literary movement that emphasized the expression of emotional experience rather than physical reality. It sought to depict the inner turmoil, anxieties, and subjective perspectives of individuals, often through distorted forms and exaggerated colors.

Key Features:

Distorted, exaggerated, and often grotesque forms to convey emotions.

Vivid, often unnatural colors to express psychological states.

Themes of alienation, anxiety, and inner turmoil.

Strong, sometimes aggressive brushstrokes in painting.

Historical Context:

Originated in Germany in the early 1900s.

Developed as a reaction against realism and impressionism.

Flourished in the years before and after World War I, reflecting the trauma and anxiety of the era.

Notable Artists & Writers:

Artists: Edvard Munch (The Scream), Egon Schiele, Wassily Kandinsky.

Writers: Franz Kafka (The Metamorphosis), Georg Trakl (poetry), August Strindberg (drama).

Expressionism in Different Arts:

Painting: Distorted, emotional, intense colors and forms (The Scream by Edvard Munch).

Literature: Dark themes of psychological distress (The Metamorphosis by Franz Kafka).

Theatre & Film: Dramatic lighting, distorted sets (The Cabinet of Dr. Caligari).

Impact & Legacy:

Influenced later movements like Abstract Expressionism.

Used in film and theatre to depict psychological horror.

Modern artists and filmmakers still use Expressionist techniques to evoke strong emotions.

2. Surrealism

Definition:

Surrealism was an artistic and literary movement that emerged in the 1920s, focusing on exploring the unconscious mind, dreams, and irrational imagery. It sought to liberate thought from rational constraints and create a new reality that blended the conscious and unconscious.

Key Features:

Dreamlike, fantastical, and irrational imagery.

Juxtaposition of unrelated objects to create unexpected meanings.

Use of automatism (spontaneous creation) to bypass rational thinking.

Exploration of the subconscious and Freudian psychology.

Historical Context:

Developed after World War I as a response to the horrors of war.

Inspired by Sigmund Freud’s theories on dreams and the unconscious.

Led by André Breton, who published the Surrealist Manifesto in 1924.

Notable Artists & Writers:

Artists: Salvador Dalí (The Persistence of Memory), René Magritte (The Son of Man), Max Ernst.

Writers: André Breton (Nadja), Paul Éluard (poetry), Luis Buñuel (filmmaker).

Surrealism in Different Arts:

Painting: Strange, dreamlike scenes (The Persistence of Memory by Dalí).

Literature: Free-flowing, associative writing (Nadja by André Breton).

Film: Bizarre, illogical storytelling (Un Chien Andalou by Buñuel & Dalí).

Impact & Legacy:

Influenced modern art, advertising, and cinema.

Techniques like automatic drawing and collage continue to inspire artists.

Major influence on movements like Pop Art and Abstract Art.

3. Dadaism (Dada Movement)

Definition:

Dadaism (or the Dada movement) was an anti-art movement that emerged during World War I as a reaction against the violence, nationalism, and meaninglessness of war. It embraced absurdity, chaos, and randomness, rejecting traditional artistic norms.

Key Features:

Anti-art stance, rejecting traditional aesthetics.

Use of absurdity, nonsense, and randomness.

Satirical, anarchic, and politically charged works.

Use of collage, photomontage, and readymade objects (e.g., everyday objects turned into art).

Historical Context:

Originated in Zurich, Switzerland, in 1916 during World War I.

Spread to Berlin, Paris, and New York.

A reaction to the destruction and irrationality of war.

Notable Artists & Writers:

Artists: Marcel Duchamp (Fountain), Hannah Höch (photomontages), Jean Arp.

Writers: Tristan Tzara (Dada Manifestos), Hugo Ball (sound poetry), Kurt Schwitters.

Dadaism in Different Arts:

Visual Art: Collage, readymades, photomontage (Fountain by Duchamp).

Literature & Poetry: Nonsensical, experimental writing (Tristan Tzara’s Dada Manifestos).

Performance Art: Spontaneous, absurd performances (Cabaret Voltaire in Zurich).

Impact & Legacy:

Inspired later movements like Surrealism and Pop Art.

Influenced contemporary conceptual and performance art.

Challenged traditional ideas of what art can be.

Robert Frost and Bob Dylan

Debate Surrounding Bob Dylan's Nobel Prize in Literature (2016)

The awarding of the Nobel Prize in Literature to Bob Dylan in 2016 sparked significant debate. Critics argued that Dylan, primarily known as a musician and songwriter, did not fit the traditional definition of a literary figure. They questioned whether song lyrics could be considered literature. Supporters, however, highlighted Dylan's profound lyrical craftsmanship, poetic depth, and cultural impact, arguing that his work transcends music and qualifies as literary art. The Swedish Academy praised Dylan for "having created new poetic expressions within the great American song tradition," emphasizing the literary quality of his lyrics.

Can Dylan's works be considered literary and poetic?

Yes, Dylan's lyrics often exhibit poetic qualities such as metaphor, symbolism, and narrative complexity. Songs like "Blowin' in the Wind" and "The Times They Are A-Changin'" are rich in social commentary and philosophical reflection, akin to traditional poetry. His ability to capture the human condition and address universal themes aligns with the goals of literature.

Comparison of Robert Frost and Bob Dylan

Differences in Style:

1. Medium and Form:  

 Robert Frost wrote traditional poetry, often using structured forms like blank verse and rhyme.  

Bob Dylan composed song lyrics, which are performed with music and rely on rhythm, melody, and repetition.

2. Language and Tone:  

Frost's language is often rural and pastoral, reflecting his New England surroundings.  

Dylan's language is more colloquial and urban, infused with folk, blues, and rock influences.

3. Themes:  

- Frost frequently explored nature, rural life, and individual choices (e.g., "The Road Not Taken").  

- Dylan focused on social justice, existential questions, and cultural upheaval (e.g., "Like a Rolling Stone").

Similarities:

1. Storytelling: Both use narrative techniques to convey deeper meanings.  

2. Philosophical Depth: Their works often explore existential and moral questions.  

3. Cultural Commentary: Both address societal issues and human experiences.  

Lines from Songs and Poems with Similar Themes

Bob Dylan (Song: "Blowin' in the Wind") :  

"How many roads must a man walk down / Before you call him a man?"

This line reflects existential questioning and social justice, themes also found in Frost's work.

Robert Frost (Poem: "The Road Not Taken"):  

"Two roads diverged in a wood, and I— / I took the one less traveled by."

This reflects individual choice and introspection, akin to Dylan's exploration of personal and societal paths.

Storytelling and Philosophical Ideas in Their Works

Bob Dylan:  

- "The Times They Are A-Changin'': A call for social change, addressing the civil rights movement and generational shifts.  

- "A Hard Rain's A-Gonna Fall": A surreal, apocalyptic narrative that critiques war and environmental destruction.  

Robert Frost:  

- "Mending Wall": Explores themes of boundaries, tradition, and human relationships.  

- "Stopping by Woods on a Snowy Evening": Reflects on life, death, and responsibility through a simple narrative.

Both artists use storytelling to delve into philosophical and socio-cultural issues, making their works timeless and universally resonant. Dylan's lyrics and Frost's poems continue to inspire and provoke thought, demonstrating the power of language to address the human experience.

Ralph Waldo Emerson's essay " NATURE"

Title: Exploring Identity, Goodness, and Emerson’s Timeless Wisdom 

Ralph Waldo Emerson’s essay "Nature" is not just a philosophical exploration of the natural world; it’s also a profound reflection on human identity, morality, and perception. In this blog, I’ll address three open-ended questions inspired by Emerson’s ideas, weaving in his insights and connecting them to our modern lives.  

1. What Defines an Individual’s Identity/Nature?

In my opinion, an individual’s identity is shaped by a combination of factors, but the most defining ones are their behaviour and the things they hide from everybody. 

Behavior: Actions speak louder than words. How a person treats others, responds to challenges, and conducts themselves in everyday life reveals their true character. For instance, someone who consistently shows kindness and integrity, even when no one is watching, demonstrates a strong moral compass.  

The Things They Hide: What a person conceals often reveals their deepest fears, desires, and values. These hidden aspects can include insecurities, past mistakes, or unfulfilled dreams. They shape a person’s inner world and influence their actions, even if indirectly.  

While speech and material possessions can provide clues about a person’s identity, they are often superficial. Speech can be deceptive, and material possessions are influenced by external factors like societal status or trends. True identity lies in behavior and the hidden layers of the self.  

2. Is Every Individual Inherently Good?

I partially agree with Emerson’s view that every individual is inherently good. Emerson, as a transcendentalist, believed in the innate goodness of humanity and the divine spark within each person. This optimism is inspiring and aligns with the idea that people are born with a capacity for kindness, creativity, and love.  

However, I also believe that human nature is complex and shaped by a combination of innate tendencies and external influences. While people have the potential for goodness, factors like upbringing, environment, and personal experiences can lead them down different paths. For example, someone raised in a nurturing environment is more likely to exhibit empathy, while someone exposed to trauma or negativity may struggle to express their inherent goodness.  

Ultimately, I think every individual has the potential for goodness, but it requires conscious effort and the right conditions to flourish.  

3. A Relatable Quote from Emerson’s Nature  

One line from Emerson’s essay that I find deeply relatable is:  

"These enchantments are medicinal, they sober and heal us. These are plain pleasures, kindly and native to us."

Emerson’s line, “These enchantments are medicinal, they sober and heal us. These are plain pleasures, kindly and native to us,” highlights nature’s restorative power. Nature acts as medicine, offering calm and clarity in a chaotic world. Simple experiences like walking in a forest or feeling the sun’s warmth reduce stress and ground us in the present.  

These “plain pleasures” are inherently human and universally accessible—no cost or complexity required. They reconnect us to our primal selves, reminding us of our deep-rooted bond with the natural world. In today’s fast-paced, tech-driven life, Emerson’s words remind us to seek solace in nature’s simplicity and healing embrace.  

“In the presence of nature, a wild delight runs through the man, in spite of real sorrows.” – Ralph Waldo Emerson

Conclusion: Embracing Emerson’s Wisdom in Modern Life 

Emerson’s "Nature" invites us to reflect on our identity, embrace our inherent goodness, and rediscover the wonder of the world around us. By examining what truly defines us, nurturing our potential for kindness, and reconnecting with the simplicity of nature, we can lead more meaningful and fulfilling lives.  

Flipped Learning Activity on Existentialism

This blog is part of the Flipped Learning Activity assigned by Dilip Sir for the Literature paper, focusing on Existentialism. 

Introduction

The collection of videos explores the philosophy of existentialism, its core ideas, and its distinctions from other philosophical movements. Below is a breakdown of the key themes covered:

1. What is Existentialism?

Existentialism is a philosophical movement that emphasizes individual thinking and personal responsibility in creating meaning in life. Major existentialist figures include Jean-Paul Sartre, Søren Kierkegaard, Friedrich Nietzsche, Simone de Beauvoir, Lev Shestov, Martin Heidegger, Franz Kafka, and Fyodor Dostoevsky. The philosophy explores themes like despair, absurdity, freedom, and the struggle to define one's own existence.

2. Camus and the Absurdity

Albert Camus, in The Myth of Sisyphus, presents the idea of "absurd reasoning." He argues that suicide is the most fundamental philosophical question because it addresses whether life is worth living in the face of absurdity. Camus believes that rather than surrendering to despair, one must confront and embrace the absurd.

3. Philosophical vs. Physical Suicide

Camus differentiates between two types of suicide:

Physical suicide (ending one's life) is a literal response to despair.

Philosophical suicide happens when one avoids confronting life's absurdity, often by embracing religious faith or other systems of meaning without questioning them.

Unlike existentialists who seek meaning, Camus accepts the absurdity of life and argues that meaning is created, not found. He rejects Kierkegaard’s and Shestov’s reliance on faith as an escape from the absurd.

4. Nihilism vs. Dadaism

Nihilism is the belief that life has no inherent meaning, leading to a rejection of all values.

Dadaism, an artistic movement, also rejects conventions but encourages creativity and self-expression, allowing people to form their own values rather than resigning to meaninglessness.

5. Misconceptions About Existentialism

Existentialism is often mistaken for a pessimistic or narcissistic philosophy. However, it does not advocate selfishness or despair. Instead, it encourages individuals to take responsibility for defining their own lives rather than conforming to societal expectations. Unlike nihilism, which rejects meaning, existentialism urges people to actively create their own purpose.

6. Existentialism vs. Nihilism

Kierkegaard criticizes nihilism for leading to passivity and a loss of individuality. Existentialism, especially in Camus’s interpretation, argues for active resistance against meaninglessness. Instead of giving in to despair, existentialists confront life's lack of inherent meaning and shape their own values, embracing freedom and personal responsibility.

7. 19th-Century Existentialism

Existentialist ideas became more modern after World War I, though they had roots in earlier philosophy.

Religious perspectives provide meaning through divine instruction.

Nietzsche, in contrast, rejects religious and societal systems, urging individuals to create their own values without external influences.

Jean-Paul Sartre's statement "existence precedes essence" encapsulates this idea—humans are not born with a predetermined purpose but must shape their own essence through choices.

8. Existentialism Explained for Kids

A simplified explanation of existentialism and Nietzsche's concept of the Übermensch:

There is no universal morality; individuals must decide what is right or wrong for themselves.

The Übermensch (or "superman") is someone who creates and follows their own values rather than accepting those imposed by society.

9. Why Existentialism Matters

In the video, Eric Dodson talks about why he likes existentialism and how it has affected his everyday life. He also offers some concrete suggestions about how you can apply existential thinking in your own life.

Here is a summary of the video:

• Eric Dodson likes existentialism because it is a way of thinking about life that is both intellectual and emotional. It appeals to his mind and his heart.
• Existentialism is also honest about the darker side of life, such as suffering and death.
• Existentialism is a holistic way of thinking about life, which means that it takes into account all of the different aspects of life, including the good and the bad.
• Existentialism is a rebellious way of thinking about life, which means that it challenges conventional wisdom.
• Eric Dodson believes that existentialism can help people to live more meaningful lives. He offers some concrete suggestions about how to do this, such as questioning what you've been told life is about, relating to the big picture, and learning to honor and learn from life's darker experiences.

10. Existentialism vs. Essentialism

Plato and Aristotle believed in an inherent essence that defines the purpose of things.

Sartre, in contrast, argues that "existence precedes essence," meaning that individuals are not born with a predefined purpose but must create their own meaning through their actions.

Existentialism, like atheism, rejects absolute truths, asserting that values like justice and morality only exist if humans actively create them.

Final Takeaway

Existentialism is a philosophy that challenges individuals to define their own lives rather than accepting preordained meanings. It contrasts with nihilism by encouraging personal responsibility and purpose rather than surrendering to meaninglessness. Figures like Sartre, Nietzsche, and Camus argue that while life has no inherent purpose, humans have the freedom to create meaning through their choices.

Learning Outcome

significantly deepened my understanding of Existentialism. Through critical analysis and reflection, I have developed a more nuanced comprehension of its key themes, such as individual freedom, authenticity, and the absurd.

My confidence in discussing and writing about Existentialist philosophy has also improved. 

Questions Regarding Extensialism

1.If life has no inherent meaning, how can we still find purpose?

2.Can movies or books help us understand these philosophies? 

3.Which movie or book shows a character struggling to find meaning in life? What choices do they make?

4.Does Sisyphus’ struggle lose its meaning because it has no ultimate goal, or does the struggle itself create meaning?

5.Is complete freedom a blessing or a burden? How does existentialism help in dealing with this freedom?

Flipped Learning - Trends and Movements

This task is designed to enhance our understanding of flipped learning by encouraging self-directed exploration before engaging in interactive classroom discussions. Task assigned by Megha ma'm Trivedi and Here is task details.

Introduction:

The early 20th century witnessed a series of radical shifts in literature and art, as traditional forms and narratives were challenged, deconstructed, and reinvented. Movements like Dadaism emerged in response to the chaos of World War I, embracing absurdity and rejecting conventional artistic norms. At the same time, Stream of Consciousness revolutionized narrative techniques, capturing the fluid and fragmented nature of human thought. Later, Postmodernism built upon these innovations, dismantling grand narratives, questioning absolute truths, and embracing metafiction. In drama and fiction, Absurdism reflected the existential crisis of the modern world, portraying human life as illogical and meaningless. Meanwhile, Surrealism, deeply rooted in Freudian psychology, sought to unlock the subconscious mind, blending reality with dreamlike visions. Together, these movements redefined artistic and literary expression, challenging audiences to perceive reality beyond conventional boundaries.

Stream of consciousness

The video is about stream of consciousness narration in literature. It explains that this technique allows the reader to directly experience the thoughts and feelings of a character as they occur, rather than having them described or summarized by the author. The video provides examples from the works of James Joyce and William Faulkner to illustrate how stream of consciousness can be used to create a more intimate and immersive reading experience. It also discusses the challenges of this technique, such as the potential for confusion and the difficulty of understanding the character's internal monologue. However, the video argues that when done well, stream of consciousness can offer a unique and powerful glimpse into the human mind.

Modernise

The video is about Modernism in literature. It begins by explaining that Modernism was a response to the rapid changes of the 19th century, including industrialization, urbanization, and the rise of new ideologies. These changes led to social and political upheaval, including wars, revolutions, and economic depressions.

The video discusses how these events challenged traditional beliefs and values, leading to a sense of disillusionment and anxiety. It explores how figures like Charles Darwin and Sigmund Freud further challenged traditional understandings of the world and the human mind.

The video then delves into the key characteristics of Modernism, such as:

 

Fragmentation: Modernist literature often reflects the fragmented nature of modern life and the breakdown of traditional social structures.

Subjectivity: There's a strong emphasis on individual experience and subjective perception.

Experimentation: Modernist writers experimented with new forms and techniques, such as stream of consciousness, free verse, and the use of symbols and myths.

Rejection of traditional values: Modernist writers often challenged traditional moral and social values.

The video also discusses the relationship between Modernism and Postmodernism, explaining that Postmodernism emerged as a reaction to and continuation of Modernism. While Modernism sought to find meaning and order in a chaotic world, Postmodernism embraces fragmentation and rejects the possibility of objective truth.

Finally, the video highlights some key Modernist writers, such as T.S. Eliot, James Joyce, and Virginia Woolf, and encourages viewers to further explore Modernist literature through independent reading and research.

Avant-garde

The video is about the avant-garde, a term that refers to people or works that are unorthodox, experimental, and radical with respect to culture, society, and art.

The video explores the avant-garde, a term for experimental and radical artistic movements that challenge traditional norms. Originating from a military term, it became associated with pioneering trends in music and visual arts. The avant-garde is linked to progress and rebellion, with artists seeking to break conventions and introduce new visions. The video traces its roots to Henri de Saint-Simon and highlights its influence on modernism, resisting art’s commodification. Examples like Dada and Surrealism illustrate its impact. The video concludes by emphasizing the avant-garde’s continued relevance in contemporary art.

Expressionism

The video explores Expressionism, an early 20th-century art movement focused on raw emotions and subjective experiences through bold colors, distorted forms, and unconventional techniques. It examines two key groups: Die Brücke, which depicted modern urban anxieties, and Der Blaue Reiter, which explored spirituality through abstraction. The video also discusses Expressionism’s influence on theater, literature, and dance, as well as its impact on later movements like Abstract Expressionism. It concludes by encouraging further exploration and promoting the Curious Muse channel.

Absurd Theatre

The first video explores the Theater of the Absurd, a post-war literary movement influenced by existentialist thinkers like Camus and Sartre. It examines key themes such as the breakdown of communication, meaninglessness, and alienation, highlighting the works of Samuel Beckett, Eugene Ionesco, and Harold Pinter. Their plays, characterized by sparse dialogue, unconventional stagecraft, and dark humor, reflect the absurdity of human existence. The video emphasizes the movement's lasting significance in addressing existential anxieties.

The second video focuses on three playwrights associated with the Theater of the Absurd: Edward Bond, John Arden, and Tom Stoppard. Bond’s plays explore societal brutality and class struggles through graphic violence, Arden critiques war and political corruption through satire, and Stoppard is known for his witty, philosophical works with intricate plots and metatheatrical elements. The video encourages further study and highlights the importance of independent learning for academic success.

Absurdism

The video is about absurdism, a philosophical movement that rejects the idea of inherent meaning in life. It argues that life is inherently meaningless and that any meaning we find is self-created.

The video then discusses the 20th-century development of absurdism, particularly the work of Albert Camus, who famously stated that individuals can either choose to end their lives or find their own meaning in a meaningless existence. The video highlights the influence of absurdism on the arts, particularly in the theater, giving rise to the "Theater of the Absurd" movement.

Key figures mentioned include Eugene Ionesco, Samuel Beckett, and Harold Pinter. The video concludes by suggesting that absurdism resonates with comedy, as the best comedy often embraces the absurd and the unexpected.

 Surrealism

The term "surreal" comes from the French word surréalisme, which means "beyond reality" (sur = above/beyond, réalisme = realism). It describes something that feels dreamlike, bizarre, or unreal—often in a way that is unsettling or strangely fascinating.

The video is about Surrealism, an art movement that emerged in the early 20th century. It was founded by the poet André Breton in 1924 and was influenced by the writings of Sigmund Freud and the Dada movement. Surrealists sought to liberate the subconscious mind and challenge traditional notions of art and society. They experimented with a variety of techniques, including automatism, dream imagery, and chance operations, to create works that were both shocking and beautiful. Some of the most famous Surrealist artists include Salvador Dalí, René Magritte, and Joan Miró. The movement spread throughout Europe and the Americas, and its influence can be seen in the work of many subsequent artists, including the Abstract Expressionists.

Postmodernism

Postmodernism emerged in the mid-20th century as a reaction against modernism, rejecting grand narratives and emphasizing pluralism, fragmentation, and the deconstruction of social and cultural structures. It arose due to the failures of modernism, particularly after events like World War II, which exposed the limits of rationality and progress. Postmodernists challenge the idea of a single objective truth, favoring subjective experience, cultural context, and diverse perspectives.

A key aspect of postmodernism is its focus on language as a tool of power, arguing that meaning is fluid and shaped by social and historical contexts. This has influenced critical theories aimed at deconstructing dominant ideologies. In the arts, postmodernism rejects traditional forms—literature embraces fragmentation and intertextuality, visual art employs pastiche and irony, and architecture moves away from functionalism in favor of complexity and historical references.

Despite its influence, postmodernism faces criticism for its relativism, rejection of universal values, and tendency toward academic obscurity, which some argue contribute to nihilism and cultural fragmentation.

Dadaism

The video is about Dadaism, an art movement that emerged during World War I. It was founded in 1916 by a group of artists who were disillusioned with the war and sought to challenge traditional notions of art. The movement was characterized by its anti-establishment and anti-art sentiments, and its proponents experimented with a variety of unconventional techniques, including chance operations, sound poetry, and photomontage. The video discusses the key figures of Dadaism, such as Hugo Ball, Tristan Tzara, and Marcel Duchamp, and explores some of the movement's most famous works, including Duchamp's "Fountain" and Hannah Höch's photomontages. It also examines the lasting impact of Dadaism on subsequent art movements, such as Surrealism and Conceptual Art.

The pioneer of Dadaism is Hugo Ball. He was a German writer, poet, and performer who co-founded the Cabaret Voltaire in Zurich, Switzerland, in 1916. The Cabaret Voltaire became the center of the Dada movement, and Ball's performances of sound poetry, such as "Karawane," were among the movement's most celebrated works.

Conclusion:

From the nonsensical provocations of Dadaism to the fragmented psychological realism of Stream of Consciousness, from the skeptical deconstructions of Postmodernism to the existential despair of Absurdism, and finally, to the dreamlike distortions of Surrealism, these movements collectively reshaped literature and art. Each, in its own way, rejected rigid structures and sought to reflect the complexities, uncertainties, and contradictions of human existence. Whether through linguistic experimentation, rejection of logic, or exploration of the unconscious, they pushed the boundaries of creative expression. Their legacies continue to influence contemporary literature, film, and philosophy, proving that the search for meaning—or the acceptance of its absence—remains central to human experience.

Indian Poetics

This blog is part of thinking activity. Which given by Dr. Dilip Barad sir. We have to explain all lectures which was taken by Prof. Vinod Joshi as an expert lecture. Here is task

Introduction

Indian poetics, deeply rooted in classical traditions, explores the nature of literary expression, aesthetic experience, and the impact of art on human emotions. Over centuries, Indian literary theorists have developed intricate frameworks to analyze poetry, drama, and rhetoric, emphasizing both form and essence.

Rasa - Bharatmuni

15 jan, 2025

In our very first lecture Vinod Sir start with the basic concept of Vowel and Movement. That we have by birth and another things was applied forcefully. 

Another concept we discuss was रस निष्पत्ति.Sir say that it is proper word. रस उत्पत्ति is also right word but रस निष्पत्ति is most appropriate. 

Robert Brill’s Perspective

Robert Brill states, "We know the language but not about language."

This suggests that while we may understand the mechanics of language, true literary appreciation comes from a deeper engagement with its nuances and expressive power.

In the context of Indian poetics, this aligns with the idea that poetry transcends mere words to create an emotive and aesthetic experience.

The terms "vast" and "vastuta" have distinct meanings, particularly in the context of Indian poetics and philosophical discourse:

1. Vastu (वस्तु) – Subject or Object

The wooden table itself is the vastu—a tangible object with a defined structure, purpose, and function.

It has physical attributes like shape, size, color, and material (wood).

2. Vastuta (वस्तुतः) – In Essence or Fundamentally

Vastuta, the wooden table is nothing but wood arranged in a specific form.

Its true nature (vastuta) is not the table itself, but the material it is made of, which could be transformed into something else like a chair or a shelf.

 

16 jan, 2025

At the second day sir discussed about Bharatmuni's Natyashashtra. Bhartamuni was first who criticise Rasa. Before that we discuss little about भाव. भाव also known as feeling or emotions. 

Seven Rasa :

1. School of Rasa

1. School of Dhvani

1. School of Vakrokti

1. School of Alamkara

1. School of Riti

1. School of Aucitya

1. School of Ramaniyata

Bhav is natural. Ex. Taste of lemon. It is universal thing. Favorable circumstances awaken emotions.Bhava creates the experience of Rasa.Bharatmini discuss Bhav in Natyashashtra, Adhyaya 6.

List of sthayi bhava and their corresponding Rasas

1. श्रृंगार रस – प्रेम और सौंदर्य (Erotic)

2. हास्य रस – हास्य, विनोद (Comic)

3. करुण रस – दुख, वेदना (Pathetic)

4. रौद्र रस – क्रोध, प्रतिशोध (Furious)

5. वीर रस – शौर्य, पराक्रम (Heroic)

6. भयानक रस – भय, आशंका (Terrifying)

7. वीभत्स रस – घृणा, विकर्षण (Odious)

8. अद्भुत रस – आश्चर्य, विस्मय (Marvelous)

9. शांत रस – शांति, समत्व (Peaceful)

These all Bhavas you can resiste but not Remove. 

17 jan, 25

There are 6 Rasa in Brahma's Creation and 9 Rasa in poet's creation. Sir also discussed about Aristotle's Poetics. 

विभावानुभावव्यभिचारीसंयोगात् रस निष्पत्तिः

This shloka from Natyashastra explains how Rasa (aesthetic experience or emotion) is created through the combination of Vibhava (determinants), Anubhava (consequents), and Vyabhichari Bhavas (transitory emotions).

1. Vibhava (વિભાવ) – Determinants (causes of emotions)

2. Anubhava (અનુભાવ) – Consequents (physical expressions of emotions)

3. Sanchari Bhava (સંચારી ભાવ) – Transitory emotions that support the main emotion

Here sir used example of Abhijnanashakuntalam. Then we know about the difference between संयोजन and मिश्रण.

संयोजन is about structured combination (like chemical bonding or systematic organization).

मिश्रण is about simple mixing (like blending two substances where each retains its original nature).

18 jan, 2025

Critics and Commentators of Bharatmuni’s Rasasutra

1.Bhatta Lollata (8th–9th century CE) – Objectivist View

He believed that Rasa is an actual emotion present in the character, not in the audience.

This theory was later rejected by Abhinavagupta, who argued that emotions in a play are not real but aestheticized.

2.shree shanku

Shankuka explained Rasa using the concept of conviction (not illusion) through four types of Pratiti (Cognition). Let’s apply them to King Dushyant from Abhijnana Shakuntalam as we discussed in class. 

1. Samyak Pratiti (सम्यक् प्रतितिः) – True Conviction

Meaning: Direct and accurate perception of reality.

Example: "This is Dushyant."

In drama: If the real Dushyant were present, the audience would have no doubt. But in a play, this does not happen.

2. Mithya Pratiti (मिथ्या प्रतितिः) – False Perception

Meaning: A completely mistaken belief.

Example: "This is not Dushyant " 

3. Sanshay Pratiti (संशय प्रतितिः) – Doubtful Perception

Meaning: A wavering or uncertain perception.

Example: Looking at the actor playing Dushyant and thinking—

"Is this Dushyant or not?" 

4. Sadrush Pratiti (सदृश प्रतितिः) – Resemblance-Based Conviction

Meaning: A convincing resemblance that creates aesthetic experience.

Example: "This is like Dushyant." 

This concept also known as Anumitivāda (अनुमितिवाद). 

20 jan, 2025

3. Bhatt Nayaka 

Bhatt Nayaka introduced a more refined perspective by shifting the focus to the audience’s role in experiencing rasa.

He argued that rasa is not just an imitation or extension of emotions but an independent, transcendental experience (bhoga).

This experience is detached from worldly concerns, allowing the audience to enjoy it aesthetically rather than being burdened by personal emotions.

4. Abhinavagupta

He believed that rasa is experienced when personal emotions are generalized and the audience connects with the artistic essence rather than the literal narrative.

21 jan, 2025

Dhvani -Aanandvardhana

At very firs lecture about Dhavani, sir discussed the Eugène Ionesco's play The chairs that in that how we can apply this concept on literature. Then we learn that what is not Dhvani. Then we understand literally meaning of Dhvani. 

Anandavardhana, an eminent Sanskrit critic of the 9th century, introduced the Dhvani theory (ध्वनि सिद्धांत) in his work Dhvanyaloka (ध्वन्यालोक).

22 jan, 2025

Dhvani is on option of Rasa. 

ध्वनिः काव्यस्य आत्मा -Dhvani (suggestion) is the soul of poetry."

Bhava > Rasa

Bhasha > Dhvani

Shabdshakti (Power of Words)

Shabdshakti refers to the power of words to convey meaning. It is primarily classified into three types:

 

1.Abhidha (Denotation or Primary Meaning)

Abhidha is the direct and primary meaning of a word. It represents the literal sense in which a word is commonly used.

Example: "The Ganga is a river."

Here, Ganga simply means the river Ganges.

2. Laxana (Connotation or Secondary Meaning)

Laxana occurs when the primary meaning of a word is set aside due to contextual necessity, leading to a secondary meaning.

Example: "Taking a bath in the Ganga."

Here, Ganga does not merely mean the river but implies its holy water, signifying purification.

3. Vyanjana (Suggestion or Implied Meaning)

Vyanjana refers to the suggestive power of words, where the meaning is implied rather than directly stated.

Example: "The Ganga has not become impure yet."

The implied meaning (Vyanjana) could be that moral values in society are still intact.

प्रतियमान अर्थ emerges due to the reader’s interpretation, background knowledge, and emotional response.

24 jan, 2025

Vakrokti- Kuntak

Vakrokti (वक्रोक्ति) is a key concept in Sanskrit poetics, primarily developed by the scholar Kuntaka in his work Vakroktijīvita. The term is derived from two words:

Vakra (वक्र) – oblique, twisted, indirect

Ukti (उक्ति) – expression, speech

Thus, Vakrokti refers to "oblique expression" or "deviated speech," which enhances poetic beauty by moving beyond direct and ordinary expression.

25Jan,2025

शब्दार्थौ सहितौ वक्र काव्यव्यापार शालिनी। 

बन्धे व्यवस्थितौ काव्यं तद्विदालङ् कारिणी॥

According to Kuntaka, Vakrokti (oblique expression) is the very soul (ātman) of poetry. The beauty of poetry arises from the harmonious fusion of words (śabda) and meaning (artha), along with a unique artistic perspective (dṛṣṭi).

Here sir give example of two patients. How both differently see the beauty of nature. Another example of And Game by Samuel Bucket. 

Six Types of Vakrokti (As per Kuntaka)

1. वर्णविन्यास वक्रोक्ति (Varṇavinyāsa Vakrokti) – Obliqueness at the phonetic level through alliteration, rhyming, and sound play.

2. पदपूर्वार्द्ध वक्रोक्ति (Pada-pūrvārddha Vakrokti) – Word-level obliqueness in the first half of a compound or word.

3. पद परार्द्ध वक्रोक्ति (Pada-parārddha Vakrokti) – Word-level obliqueness in the second half of a compound or word.

4. वाक्य वक्रोक्ति (Vākya Vakrokti) – Sentence-level obliqueness, where the structure or syntax adds uniqueness.

5. प्रकरण वक्रोक्ति (Prakaraṇa Vakrokti) – Obliqueness in a particular episode, where events are arranged in an unexpected or artistic manner.

6. प्रबंध वक्रोक्ति (Prabandha Vakrokti) – Obliqueness in the entire composition, where the style and narrative structure make the literary work stand out.

27 jan,2025

Alamkara-Bhamah

Bhāmaha was one of the earliest Sanskrit literary theorists who emphasized Alankāra (figures of speech) as the defining characteristic of poetry (kāvya).

According to him, Alankāra enhances the beauty of poetry, just like ornaments enhance a person’s appearance.

Vakrokti itself is Alamkara

If an Alankāra (figure of speech) is external or artificially imposed, then it is not a true Alankāra. 

Literary ornament should blend naturally into the text rather than appearing forced or overly noticeable.

Also we learn one word synchronization. 

28 jan, 2025

1) School of Riti

Proponent: Vāmana (8th century CE)

Key Idea: Rīti (poetic style or diction) is the soul of poetry (Kāvyasya Ātmā Rītiḥ – "Style is the soul of poetry").

The arrangement of words and phrases determines poetic beauty.

Type of Riti

Panchali Rīti

Gaudiya Rīti

Vaidarbhi Rīti 

2) school of Auchitya

Proponent: Kṣemendra (11th century CE)

Key Idea: Auchitya (propriety or appropriateness) is the essence of poetry.

Every element in poetry (theme, words, emotions, figures of speech) should be appropriate to the context, situation, and character.

Where there is Auchitya (propriety), there is no modernity, and where there is modernity, there is no Auchitya.

Sir also connect E. M. Foster's Aspects of the Novel. 

3) School of Ramaniyata

रामणीयता – Aesthetic Beauty

Key Idea: Poetic beauty (Rāmanīyatā) is the ultimate goal of poetry, combining elements of Rīti, Alankāra, Auchitya, and Dhvani.

Poetry should delight the reader through its elegance, emotions, and artistic expression.

Indian poetics harmonizes form, meaning, and emotion, making poetry both artistic and impactful. While Rasa and Dhvani became dominant, other schools enriched poetic expression. This tradition remains relevant today, influencing modern literary criticism and aesthetics.

Conclusion

Indian poetics harmonizes form, meaning, and emotion, making poetry both artistic and impactful. While Rasa and Dhvani became dominant, other schools enriched poetic expression. This tradition remains relevant today, influencing modern literary criticism and aesthetics.