LPEATPANETEDPENAETAE EDTA LD ENED EDL ETA EN ET TROT PT OTe, . a] BY z QNo1: t z Discuss the methods of extracting meanings out of a creative text as described by z Belsey in her “Critical Practice”. r * : Or z How would you proceed in critical study, analysis or evaluation of a piece of t literature? * ta er: nsw. _ answer t History of creative art shows the fact that art and criticism run side by “S Sometime art F history. Like other arts of the world, it also involves so many theorie; metimes so many F origins. Therefore, history of criticism has become itself a subject, y critics have developed a variety of theories regarding he evaluation of a piece of lite 4 take place of criticism and sometimes criticism takes place of art. History of. sas deep as Farts of itself. Criticism has been a branch of literature in the most dev riods of human Katherine Belsey in her work “Critical Practice” ha}Qudforward following two methods for extracting meanings and evaluation of a given piece < \ This is the most common =e ism. It may be further divided into other branches but the main object of all these modesy$ to analysis a given piece of literature. The basic concept of — \cism is the image or concept of reader in the mind of writer, The writer, while writigpadext, always keeps in his mind the personality of the person who is supposed to rence pea ure. Therefore, we is the writer himself. He leaves some points unexplained or some others over ear ecause he is bearing the image of the reader in his mind before hand, Now when that type of text goes in the hand of that supposed reader, the criticism takes its birth ultimately or without conscious efforts. Here, we must also be sure of some of other images in the mind of a writer while creating the text. For example, the image of society, the facts he is going to present and the idea or theme of change he supposed to bring in the social behaviour of the reader. All these images together give a kind of realism to that text of a writer. In this way, to analyze the text means to see it in the context of the psychology of reader and writer, and in the * z t - + - t z z - z z z $ z a z $ t t $ z $ - $ t z - - q - - t - t z z - $ - z z z - z q i - - - z 3 - - - - $ - z - t * z $ z $ z : perspective of social norms. z q z i PIAA ADI AAAI AAA AAA AAA AA AAA AAA AAA AAA AHHH LARA A ER AA AAAI ADAIR AAI IIA IAAI IAAI III III ATEPEREDREREREDREREREDEREEDEREE DEER ERE EERE EERE DEERE BB 8) In this type of criticism the information about writers’ personal life, his activities and the theme presented in his other books help a common reader to develop some analytical approach about that given piece of text. We do not feel any need to pay any attention to the material or facts provided in the words or structure of the text. Our understanding of the text is something like preexisting the creation of text. The ideas resented in the text are mostly the ideas we have come across in the practical life in some rractical social surroundings. Common sense plays an important role in this type of criticism as in it ased on facts given in the text and experiences undergone in the social circumstances. csUU In this type of criticism two types of forces govern; the force of human nature which we can find in nearly all human beings and the forces of social circumstances given pasticularly to the individual of that text, The bases and the reasons of an analytical approach thetfare, is the function of classical realism and common sense in the reading of a literary, ay xplained that if the common sense helps creating the classic realism Bers realism help it needs to be e developing the common sense iI ® S HAA AAA ADAA AIA DADA A ASA AAD AAA DARA ADAH On the other hand, evaluating criticism is ing the material and facts provided in te t * * + t + i * + i $ + $ + $ * + + q q + q + t the text. Followers of this method do not pay any att@ptidn to the concept or image of reader of z personal life or social circumstances of the wri ‘ry to find whatever there is of any t * + i * + $ + $ + z + z + - z - z $ i * $ + * + * + $ * + + + * x z importance out of the study of the text KS i, In their view text itself carries all,th ential material of understanding or intelligibility. In Z their view, role of common sense lism is of no importance. For example, in Belsey’s views 2 common sense itself is a aw enerated function of the outer world. It has no % particular and specified roots t QB t So the way of m itics is based on the structure and language of the text. They do not care about the psyc| f the writer or his social surroundings. According to them, possibility of + Bthe meanings gf jes In the given text. * z In this way, the problem of critic is not to find the meanings or the intelligibility in the text. t He aims at discovering the contribution of unconscious in the process of creation. In his views, the z text is written in the process of creation and that there lie some gaps and silences in the words and F sentences. In this way, the function of a critic is to find out those gaps and lapses. This is termed as “construction” of a text, a construction that results in the deconstruction of already written z intelligible text. - z This is the mode of evaluating criticism. Evaluation, there, is not the evaluation of the > psychology of writer but the evaluation of the evaluation of the given facts of the text. Therefore, B for the followers of this type of criticism meanings do not lie out of the text in any form. Whatever # intelligible points are that lie in the text. There is no possibility of inter-intelligibility in the writer PE ARAEEE LAREDO IT iPEREEEREP EERE EEE E RE PETE T TET EERE RED TEETER EL ITER EE: a) rt 7 and the reader or the critic and the prevailing social circumstances. Perhaps, that is why they say # this type of criticism is a kind of expressive realism, a realism that is in fact not realism but that 4 seems realism. In this way, expressive realist text is the text that is not realistic by that is expressed in realistic way. In other words, the followers of this type of critical practice do not find any relation in the text and the existing facts in the society. In their view, both these things are quite different rom each other. To conclude, we may say that both these critical approaches have their own positive and negative points. But, followers of both methods have strong views about their approaches. In what category would you place Belsey’s views, tere criticism? or : Oo What are the major drawbacks in Catherine Bele: tical Practice? Elaborate your answer with respect to the views discussed in No: N > IS Im is Is Is PA AAAAPDIADADAAADA DAD AAD AAA DA AAD AAA AH from the beginning till the end we find n ing remarks or any type of final judgment. This is F perhaps Belsey’s major drawback in her boa She discusses the theories and views of so many B critics but nowhere gives her pers igment regardless of the need explanation in the views F discussed under her topics. ? It means the book c Deore and practices already in vogue. She may have the * % conclusions already dra F be termed as ‘theo! Pepresior W ? The topics discussed in the book range from the most ancient to the most modern. He has z not taken only way of expression but also the role of language in conveying that way of expression. F inthe same way, she has not only discussed the creative process but also the process taking place in the mind of a reader. In the process of creation, she takes into account the social circumstance aders’ minds. However, her way of discussing the topics can both ind ‘practical’. She does not remain particular to any mood of 2 along with psychological thinking or unconscious working of writer’s mind while writing a text. Naturally, in this way, she must have taken some views and theories of the writers 4 belonging psychology, sociology, economics and ethics. Now, it is natural that whenever a person » tries to discuss something, he must possess some views of his own. Belsey, though adopts a t careful approach in her expression of views, yet she leaves some clues that indicate that she has + expressed her personal arguments in between the lines. PERRAA EAA ADIAAA AA AI AA AIDAII AA AII A AIIAIAIAIIIAIIAIT FAA t i t t t i t t t t t t t t t t t t i t + i t i < t t As far as reading of Critical Practice is, id, it takes us nowhere. Nearly in all chapters z t t z f t t t f f t t t i t t t t t t z t z t z t f t f t f t iPEPETTLAL ELA PEA ETL ET OT ASSLT EPIL ET LENT LTTE a eee ee (5) * é * * x ical Views: + Theoretical Views: * q Undertaking the task of critical practice, Belsey takes references out of the works of 7 Althusser, Barthes, Saussure and others. She discusses their views about the language and the process of creation and gives her remarks as output of her reading of these writers. Her remarks pare very much theoretical in nature and are present nearly in all the discussion of theories and pvews We may take these remarks as practical in nature but we cannot deny their value as F theoretical remarks. In this way the theoretical remarks in Belsey, in a sense are, also practical. She ¥ has not succeeded in differentiating between these types of remarks. Practical Views: On the other hand, the way of analyzing the text keeping in mind the ljqhtSor hints provided by the text itself, regardless of the intentions of the writer an al circumstances, is called practical criticism. Though, Belsey has discussed both theoretical and practic ides, yet it she has taken more help of practical attitude of criticism. Her style of expre: nore practical than theoretical. The function of practical criticism in not ee the theories and views in practical form but also the analysis of the text with refargnte'to the facts and figures provided in + $ * t $ $ q f t $ + + * $ + + + * + $ + z + q x q z * $ q % + the text, eS x Throughout the Critical Practice she ir. maintain both these levels of discussion or : understanding. Especially, the last two cl f the book are purely based on these levels. z * i q + + + z + q + q z - z q q + + * $ z t i $ * + $ * Conclusion: . In the end it can be said R24 sete the difficulties that lies in her expression of views, yet Belsey has succeeded in poi practice of a modern cr Out the aptness and suitability of practical criticism or critical clear that Belsey has no inclination to any particular mode of criticism. Her way of m can be taken both theoretical and practical. QNo3: What according to Belsey is difference between common sense and critical theory? Or How does Catherine Belsey discuss the authority of common sense with respect to de Saussure’s view of linguistic theory? Answer: BAAAAAAADADADAA AAA A AAA AA AAA ADA DAA AAA AAAAAAAAN ALAA AA ALAA AAAS PERERERERPERPERERERE EERE TO LE LEE EE EERE TEETER EEE EPP PEEBREREERTEEEDEEREE BERETTA EDAD EE EBERLE ERED (6) f es : Catherine Belsey, in her effort to explain the critical practice of modern critics, first of all tries to explain the common sense view of literature. She tries to suggest the ultimate function of common sense in the general understanding of some literary work. * + é Common sense in her view, Is kind of natural attitude towards some piece of art prevailing F nearly all the souls of literary and literature loving persons. We may call it a kind of literary J behaviour, developed already through considerable amount of reading. Belsey says this attitude or behaviour is developed in search of expressive realism. The search of realism is quite inherent in human beings. When they read some text, they are inclined to accept it true. They think it about life or society in which they or the writer are living. They take Zits areal representation, seen through some personal experience. They depend on experience as the only authenticity of some work. This is what we call a common sense viewabiterature, When Belsey has explained common sense as a natural underst forn out of text, she tarts to explain nature of common sense with respect to ng natural and obvious of ome text is not given but mostly produced out of the common ej (ces of public and a writer. = hen a writer can express it other words. It is mere liken: real, not real itself. The working of In this case, the authority of text is not the final so real remains no more real ommon sense in this way turn astray and reader myeehsome fiction a reality. IAA The function of common sense is the! lunderstandable the facts provided in the B text. This understandability of text lies ini ea and obvious. Here, keeping in mind that the common sense varies from person to ee profession to profession. We can say that the common sense of a literary person must be different from the common sense of a scientist and a } politician. What play an ae he development of common sense are the facts already tae F given in the history of that pr n. The common sense of literary person either writer or reader E developed under the infoy provided in the books already written by other writers or read by * other readers. Therefo! an say that the obvious and real presented in literature may not seem obvious an Ke ‘scientist or a businessman, because the development of their common sense has row inder the facts described under the facts described in books but the facts i - t i - t z i - t t - - - $ z z z t z z - q i $ - z - - z - - - - t - z $ t q + i F they have come to know through their communication to the other people of their profession. - z - $ - - - $ - - - z g z z q i Fe PEEEEREEREREEEREREREEDEERER ERLE LE LER ER EERELEL ED EEE EDALLEL KALLLLLSA ALAR S KARR R RARE SERRE AEE Re Re eo ome ee ee Raymond (ihilltann x Raymond Williams was a great critic, scholar and novelist of last century. He was born in Pandy, on the Welsh border. His father was a railway signalman. He got his education form Abergavenny Grammar School and Trinity College, Cambridge. His studies were interrupted by the Second World War. He joined the British Army and worked as an anti-tank captain, > PAIR AR ABPPPPRPRAPPEPRPP EP LBL N NSLS SLD M2 N PNR ae After the war he worked in adult education before becoming a lecturer at Cambridge University. A socialist, in the 1950s he joined forces with E. P. Thompson, Raphael Samuel, Ralph Miliband, Stuart Hall and John Sayille to launch two radical journals, The New Reasoner and the New Left Review. > III SII IIIS g From 1974 to 1984, he served as al Professor of Drama at Cambridge. His main : interest was culture and society, which was also the title of his highly regarded book published in 1958. Williams wrote te extensively about the history of culture. Books by © Williams inelude Culture and | Society 1780-1960 (1958), The Long Revolution (1961), 8 Communication (1962), Second Generation (1964), Orwell (1971), The Country and the : City (1973), Television: Technology and Culture (1974), Keywords (1976), Marxism and : Literature (1977), The) Volunteers (2978), Problems in Materialism and Culture (1980), 8 Culture (981) writing in Society (1983) and Loyalties (1985). x 5 = x % x x x x & x a a & x & x & x x eg a g g & a & g sa x x ® x ® x & x R * a ® x : Raymond Williams died in 1988. 5 5 5 x be 2 WaAGELY and VVAMTORM 8 , © General hitradnetion: . ~— : : e Email: ifitkharrizvi@yahoo.com +923006150661 Page 2. SRR RRRRRRR RES ARRAS ARERR HARE RRB =KERERS RRR ES ERE ESE ERE SER ERR ER ERE R SERRE RRR ERR RRR EERE a ® ® x Undoubtedly, Raymond Williams is a great critic, journalist, historian, political ® commentator, dramatist and novelist of last century. He holds a prominent position in the field of © literary criticism. His work in the field of literary criticism is very important, as it gave new © dimensions to it. He had a natural instinct of observing, analyzing and interpreting, which helped e him a lot to become a critic of first rank. As a critic he became more prominent than any other S fields. His own sense of tradition and history really contributed in making him a versatile critic and ® philosopher. As far as “Modern Tragedy” is concerned it is considered to be one of his best critical © works. In it he has discussed tragedy of the past, its evolution and development, the tradition of $ tragedy, the modern inclinations in tragedy. Moreover, he has also discussed various authors and the works of the 20" century and above all the effect of the concept of tragedy on the modern ® revolutionary movements. : ° Mala Assignmnents oN 5 SSSA R ANNE ERAN ENE L See eee . Tragedy and Tradition is basically about tragedy and its hisf@Neal perspective. In it Raymond & ® Williams discusses common as well as traditional meanings of, For him tragedy is directly» § related with culture, society and also to the experiences. feels that tragedy isnot simply g death and sufferings nor even any response to it; rath ticular kind of event and a kind of s ® response to that event that is purely tragic. Howev are certain events and responses in life ® s that generally seem tragic, while others na Ss 8 ° According to Raymond Williams, a word has not changed but as dramatic form it © Shas gone under certain changes. He is af tHta\view that these changes depend upon the changed & & perception of the people of differ 28. According to him, “Tradition” does not mean to accept & past entirely rather itis analyzirig.antyavaluating the past in the present perspective. Moreover, ® tragic works should be exami ically as well as historically. In short, he describes historical © development of the idea g dy as follows: 8 g According t Raymond Williams, to understand the concept of tragedy in “Classical Era” one ® has to go through Greek Tragedies. The Greek tragedies are unique and genuine tragedies. They ® did not depend on some specific doctrine; rather they are related to a network of beliefs that are 8 common in that culture. Greek felt that “Fate” and “Necessity” had become natural part of Greek = tragedy as well as life in general. That’s why the suffering of the main character symbolizes the ®, sufferings of everyone. However, the tragedy underwent many changes during this era. Chorus © which was considered an important part of tragedy lost its meanings and worth. fe fe JO 20 38 SEPA EBS, Itis believed that in Medieval age there was no considerable development in tragedy. It was considered a narrative form and story of a man who has fallen from prosperity to adversity. The 50 $0 $0 $0 $0 $0 20 50 50 30 $0 38 9050 $0 $0 $0 $0 $0 fe 30 JO Je $0 30 30 i 3B, APAIRINES 2 Email: ifitkharrizvi@yahoo.com ..Ph: +923006150661 Page 38 2 ARS RSARAR RARER SESS AS ES ERR EERE R SRR RES ER ERE R RRR ER ER