Narrative Analysis Task | Film Studies

Comparative Narrative Analysis of "Life of Pi", "Slumdog Millionaire", and "Maharaja" 

Greetings, 

Movies and web series are now widely considered part of the canon of literature. Just as writers use symbolism and puns in novels and plays to make their work more interesting and captivating, filmmakers use a variety of techniques to engage audiences effectively. One of the most famous and widely used and experimented with techniques is "narrative style." Directors have introduced various techniques over time, with overlapping narratives, flashbacks, and non-linear storytelling being among the most popular. Nowadays, directors use these techniques in innovative ways to make their films more engaging.

We have just completed our unit on 'Film Studies', and our professor Dr. Dilip Barad Sir has assigned us a task to analyze and compare the complex and confusing narrative style of three movies. "Life of Pi" (2012), "Slumdog Millionaire" (2009), and most popular and hailed movie "Maharaja" (2024). These movies are in a way similar in narrative style, they all have non-linear plot line coming back and fourth in time. This kind of overlapping narrative makes the plot of the movie more complicated and intriguing.  Click here for Techer's Blog

What is Narrative Film ?

A narrative film is a movie that tells a clear, often fictional story with events that follow a cause-and-effect pattern. These films have two parts, the story itself and how the story is told. The storytelling part uses various filmmaking techniques like directing, cinematography, and screenwriting, which have evolved over time.

Narrative films are usually fictional, telling a story created by a screenwriter, director, or producer. Sometimes, these films are based on true stories or real events but often include fictional details or plots. For example, in the movie Titanic, the relationship between Jack and Rose is fictional, but the sinking of the R.M.S. Titanic is a real historical event. (DeGuzman)

 Watch this video to know more about flashback narrative technique in the movie, 

    

Narrative Structure of "Slumdog Millionaire" (2008)

The movie "Slumdog Millionaire" is British drama movie directed by Danny Boyle. This film is adapted from the novel of Indian author Vikas Swarup's work 'Q & A' (2005). The movie is acclaimed for its cleaver screenplay, performances, cinematography, editing and direction, it is considered as one of the most masterfully adaptation of literary work. 

Movie narrates the story of 18 year old boy Jamal Malik, who is brought up in slums of Mumbai. It is mainly focuses of the game Who Wants to be a Millionaire, which Jamal is playing, and giving the answers to the questions asked by host. This is the surface plot, but the main plot is being overlapped by the this show, which takes us back into the memories of Jamal. It is a story about two brothers Jamal and Salim. There is also an interwoven love story between Jamal and Latika, his childhood best friend. 

As I mentioned earlier the narration of this movie is a kind of flashback narrative. There is a story with in the story. There are three stories which goes parallel in the movie and gets connected latter in the movie. 

First Narrative: At the present time (Jamal is tortured in the police station)

Second Narrative: Pervious night (Night before the arrest, Jamal is in the show giving answers)

Third Narrative: Flashback into Jamal's memory (Memory unfolds after each question asked by the host)

Narrative Timeline of 'Slumdog Millionaire'

The story may seem confusing at first, but with close attention, it's easier to piece together and understand the sequence of scenes. It begins with Jamal being arrested and tortured by the police in the present day. The narrative then shifts back to the previous night when Jamal is still at the game show and has not yet been arrested. This back-and-forth in time continues throughout the story, eventually cutting to a flashback of young Jamal playing cricket with his friends and his brother.

This structure is maintained throughout the film, revealing Jamal's backstory and how he and his brother Salim survived the slums of Mumbai. Jamal's love story with Latika is also a significant part of the narrative and is intricately woven into the larger context of the movie.

The story comes together at the climax when the connection between the previous night at the game show and the present moment becomes clear. Jamal finally returns to the show to answer the final question that could make him a millionaire. The film unfolds through three parallel narratives that only converge at the end.

Narrative Structure of "Life of Pi"

The movie "Life of Pi" (2012) is an adaptation of the novel "Life of Pi" (2001) by Canadian author Yann Martel. The movie is aptly directed by Ang Lee. The narrative structure of the movie uses both flashbacks and flashforwards, with Pi Patel, the protagonist, narrating the story to the author. This technique of flashbacks adds depth to the philosophical and spiritual exploration of the movie.

Examining the narrative of this film is not a difficult task. Although Pi Patel's memories and flashbacks constitute a large portion of the movie, the present moments are equally important, as Pi gives significant hints about the story and questions the reliability of his own narrative.

The story follows the life events of Pi Patel, a boy who survived a shipwreck. He spent 227 days in the Pacific Ocean with Richard Parker, a tiger. It is revealed at the very beginning that Pi is the son of a zookeeper in Pondicherry. For some reason, Pi and his family had to move to Canada, so they travelled by ship along with their zoo animals. Meanwhile, in the midst of the ocean, the ship encountered a terrible thunderstorm, leaving Pi and Richard Parker together in a lifeboat. From here begins the actual 'Life of Pi'.

For 227 days, Pi survived on the boat with the tiger, trying to train him. Pi believed they shared a special bond, but this illusion is shattered when they reach the shore on a Mexican beach, where the tiger goes into the jungle without bidding farewell to him. In the present time, Pi Patel is narrating this whole story to the writer. He also recounts another story involving a cook, his mother, a monk, and himself to convince Japanese agents who are investigating the reason for the ship's collapse.

At the end of the movie, it is revealed (from a subjective point of view) that there was no one but the narrator alone in the lifeboat. Richard Parker's story is just a fabrication. Pi Patel also says that no one can definitively claim which story is true and which is not. It is up to the listener to decide which story to believe. There is an instance when Pi is reading a survival guidebook that states to survive at sea, one should tell stories. So, it could be a made-up story, but I choose to believe in the tiger story.

Narrative Structure of "Maharaja"

"Maharaja" (2024) is one of India's standout films this year. Indian Tamil-Telugu movie directed by Nithilan Swaminathan, it is a thrilling action-packed movie with standout editing by Telugu editor Philomin Raj. The performances by Vijay Sethupathi and Singampuli (Nallasivam) are exceptional.

The film's narrative structure is a key element of its acclaim. As mentioned, it employs both flashbacks and flash-forwards, but its plot is more intricate than those of other films. The scenes are masterfully  arranged to create a sense of mystery and suspense from a seemingly simple story.

Without its clever editing and narrative design, "Maharaja" could have been just another typical revenge film from Hindi or South cinema. The editing is what makes it unique. Usually, viewers can predict the plot as they watch, but this movie keeps the audience guessing, making it impossible to anticipate what comes next until the climax.

First Storyline - Maharaja (Protagonist)

• Present time (2023) -- Father-Daughter relationship and police station 
• Past Narrative (2009) -- Opening Scene, and some in between scene 
• A week ago -- Tragedy with Maharaja's daughter 

Second Storyline - Selvam (Antagonist)

• Past narrative (2009) -- Selvam and his henchmen commit crimes
• Present time (2023) -- Selvam's revenge with Maharaja, after the release from jail.

The movie opens in the past narrative with Maharaja, a barber in the shop, and later buying toys for his daughter (it's revealed later in the movie that it is not for her daughter). Then narrative cuts to the one week before the present time, depicts the father daughter relationship. Narrative of antagonist Selvam also runs parallel in the movie. Selvam's story is also divided in two parts, which also comes back and fourth in time. 

  

Here is the trailer of "Maharaja" Film,  

Comparative Observation

These three movies, "Life of Pi", "Slumdog Millionaire" and "Maharaja" can be compare on the common ground of it's use use of narrative timeline, it's editing and the way of telling story in past and present time. All three movies are extremely captivating because of their narrative structure. The only difference between there three movies is their use of timeline, for example in Maharaja movie their are three timeline of protagonist itself and two of antagonist, on the other hand if we look at Life of Pi or Slumdog Millionaire, they overall had two and three narrative timeline respectively. This way Maharaja movie is more mysterious, enticing and fascinating than other two movies. 

Master Frame of "Maharaja"

The movie as earlier mentioned has a complex storyline, which can be told in different ways. Here, this movie begins with a past accident, but if we see the chronological order, the movie begins with Selvam's past, when he is involved in criminal activity. Then scenes are clear cut, after that comes Maharaja's past where he is working as barber. And this way next events adds up chronologically in the narrative. This way this story could be told in linear narrative pattern 

Conclusion

The movies Life of Pi, Slumdog Millionaire, and Maharaja all use time in different ways. Life of Pi moves between the past and present. Slumdog Millionaire also jumps around in time to show how the main character's past made him who he is today. Maharaja tells a revenge story with many different timelines, making it the most complicated to follow.

References

  

Barad, Dilip. “Dilip Barad | Teacher Blog: Film Studies: An Introduction.” Dilip Barad's Blog, 12 September 2021, https://blog.dilipbarad.com/2021/09/film-studies-introduction.html. Accessed 28 July 2024.

DeGuzman, Kyle. “What is Narrative Film — Overview & History of Narrative Cinema.” StudioBinder, 13 February 2022, https://www.studiobinder.com/blog/what-is-narrative-film-definition/. Accessed 26 July 2024.

What is Rashomon Effect ?

Greetings, 

               As we all know, this is the era of OTT platforms. In ancient times, there were play performances, then radio, followed by cinema. Now, we are living in the era of OTT. We have become habituated to watching movies and web series on the smaller screens of mobile devices. Literature is closely connected with such movies and series because many movies today are adaptations of plays or long novels. This has paved the way for the necessity of Film Studies in literature. Currently, we are studying various film theories and techniques used by directors to engage the audience more actively. Filmmakers introduce many new ways to engage the audience.

There are many techniques introduced by filmmakers, and one of the most popular is the frame narrative, which we are studying in the classroom. This technique involves a story within a story. I am particularly fascinated by a technique known as the 'Rashomon Effect.'

    

Rashomon Effect

In simple terms, the Rashomon Effect is a storytelling method where multiple witnesses describe the same event from their own perspectives, resulting in different versions of the story. Directors use this technique in films to show various viewpoints of the same event. This approach makes a movie more intriguing, ambiguous, and complex. A common example of this effect is whether a written number is seen as six or nine. Both perspectives are correct depending on the viewpoint.

The term "Rashomon" originates from the Japanese movie of the same name, "Rashomon," which was released in 1950 and directed by Akira Kurosawa. This movie explores the theme of crime. To understand this effect clearly, one should know about the plot of the movie.

The movie opens with three men, a monk, a woodcutter, and a common man discussing a crime witnessed by the woodcutter in the  mountains. The woodcutter found the body of a Samurai deep in the mountains. A bandit was charged with killing the Samurai and assaulting the Samurai’s wife. During the trial, the woodcutter, the priest, the Samurai’s wife, the bandit, and even the ghost of the Samurai gave their testimonies. However, each person told a different and conflicting story. The film ends without clearly revealing what really happened.

Significance of the Rashomon Effect 

Rashomon has become more than just a movie. It has influenced how people think about truth and memory. The term "Rashomon Effect" is often used in legal settings when witnesses give conflicting accounts. Kurosawa, who made Rashomon, became a major figure in cinema because of this film and his later works. His films were not just entertaining, they also had deep artistic ideas and careful design.

Rashomon aimed to revive the magic of silent films, with its impressive cinematography and editing. One standout scene features a moving camera tracking a woodcutter in the forest before he discovers evidence of a crime. Kurosawa's meticulous design and moral perspective as an artist make him a remarkable filmmaker. After WWII, he sought to offer hope through his films, portraying a struggle with human nature’s darker aspects. The film presents conflicting accounts of a crime, questioning truth and trust. Despite the darkness, Kurosawa ends with a simple, hopeful note, making Rashomon a classic with its innovative narrative and style.  (Kurosawa and Bettman)

Here is the complete movie if you'd like to watch it,

Thank you.

Wordcount: 550

Images: 3

Video: 4

References 

DeGuzman, Kyle. “What is The Rashomon Effect in Film? Definition & Examples Explained.” StudioBinder, 11 September 2022, https://www.studiobinder.com/blog/what-is-the-rashomon-effect-definition/. Accessed 27 July 2024.

Kurosawa, Akira, and Gil Bettman. “What is the Rashomon Effect? – Definition and Examples.” Indie Film Hustle, https://indiefilmhustle.com/rashomon-effect/. Accessed 27 July 2024.

Black (2005) | Movie Review

 Hello everyone,

The leaders of the movie screening committee at the Department of English, MKBU, came up with a unique idea of screening a series of disability-themed movies. For this blog post, I will review the movie "Black" (2005), which explores the relationship between students and teachers.

What is Disability Studies? 

Disability studies looks at how society, culture, politics, and economics affect the experience of disability. It began with disabled activists in the 1970s and opposes the medical view that sees disability as something to be fixed. Instead, it focuses on societal barriers and discrimination. By using disability studies to analyze literature, we can see how stories either support stereotypes or show disabled characters in a richer, more human light. This approach helps us understand disability better and fights for the rights and inclusion of disabled people in society. 

The movie "Black," released in 2005 and directed by one of India's most acclaimed directors, Sanjay Leela Bhansali, stars Amitabh Bachchan as Debraj Sahai (the Teacher) and Rani Mukerji as Michelle (the Student). This film is adapted from the biographical work "The Story of My Life" by Helen Keller, wherein she recounts her challenging childhood as a blind and deaf girl and the transformative impact of her teacher, Anne Sullivan. Since then, numerous writers and directors have adapted Keller's story, producing plays and movies inspired by her remarkable life.

"Black" tells the story of Michelle, a girl who has been blind and deaf since childhood, living in a world of darkness and isolation. Despite the love of her parents, she struggles with her inability to communicate and understand the world around her. She longs for more than just affection, she needs a mentor who can connect with her emotions and help her perceive the world through their eyes.

Dr. Debraj Sahai, portrayed as strict, caring, alcoholic, and suffering from Alzheimer's disease, enters Michelle's life at a crucial moment when she needs a friend and guide the most. The title of the movie holds symbolic meaning as Dr. Sahai becomes a beacon of light in Michelle's dark and melancholic existence. Initially, Michelle's father opposes Dr. Sahai's rigorous teaching methods and his drinking habit. However, witnessing the significant positive changes in Michelle's behavior and her way of life, he eventually grants permission for Dr. Sahai to become Michelle's teacher.

She later decides to study, and also graduates from B.A. honors.  

Mr. Sahai teaches not for personal gain but out of a deep sense of dedication. He is like a guiding light for his students, bringing them knowledge and hope, even if it means he must endure hardship. Despite the challenges, he works tirelessly to help Michelle become more human and be treated with dignity, instead of being seen as insane or less than human. He firmly believes that nothing is impossible in this world.

However, Michelle's journey is far from easy, she faces numerous challenges on her path to knowledge. When Dr. Sahai steps in to help her, Michelle's progress is slow and fraught with difficulties. It takes her a considerable amount of time to learn her first word, which was 'W-A-T-E-R'. This breakthrough marks a turning point in Michelle's life, moving her forward into a new world filled with joy and a newfound language of hand signals.

Thank you.

     

Short Stories | R. K. Narayan

 Hello everyone, 

    

The name, R. K. Narayan is revered by many in the realm of Indian English Literature, and especially in genre concerning short stories. Narayan had given many enticing short stories during his literary career. He is most famous for his 'Malgudi Days', which contains many stories including most famous Swami and Friends. This blog is also based on two of his short stories, which are rather obscure than other famous one, which are 'An Astrologer's Day' and 'Crime and Punishment'. In this blog you will find some question and answers related to these two short stories. 

R. K. Narayan

R.K. Narayan, full name Rasipuram Krishnaswami Iyer Narayan Swami, was an Indian writer renowned for his novels set in the fictional South Indian town of Malgudi. Alongside Mulk Raj Anand and Raja Rao, he is considered one of the pioneering figures of early Indian literature in English, helping to introduce this genre to a global audience. His debut novel, "Swami and Friends," was published in 1935.

Narayan was mentored by the celebrated writer Graham Greene, who played a significant role in finding publishers for Narayan’s first four books. These included the semi-autobiographical trilogy of "Swami and Friends," "The Bachelor of Arts," and "The English Teacher." 

Narayan is also well-known for his works "The Financial Expert" (1951) and "The Guide," which won the Sahitya Akademi Award and was adapted into a successful Hindi film. He has often been compared to William Faulkner for his creation of a fictional town that reflected real-life, full of humor and the vibrancy of everyday life.

'An Astrologer's Day'

Q) How faithful is the movie to the original short story?

The short film we watched had captured the essence of what the story wants to convey, but while making such short documentary artists always takes some liberties in order to make it more enjoyable and interesting to watchers. Such case was with this short video as well. It has a few differences, which are listed below. 

• The short story had given a bit deep description of the astrologer and his belongings, whereas in my point of view the short film is lacking in description of astrologer and his things. 
• Secondly, in the short story there is a wife of astrologer but there is no mention of her name, but in the video she is referred as Usha. 
• Moreover, the same thing is for his child, in the film astrologer has daughter named 

Q) After watching the movie, have your perception about the short story, characters or situations changed?

No, my perception about the story has not really changed about any of things. Being a short story there is not much room for alteration, except for minute changes in plot or that in characters. And one thing I want to add is that if astrologer after such long passage of time recognize Guru Nayak, then why don't Gurunayak fails to acknowledge astrologer.

Q) Do you feel ‘aesthetic delight’ while watching the movie? If yes, exactly when did it happen? If no, can you explain with reasons?

Yes, towards the end of the short story we can feel aesthetic delight. It happens when the astrologer reveals his long secret to his wife. At that time we feel sudden change of emotion. First we felt that how this astrologer knows so much about Guru Nayak, and his past. There is element of surprise in it, but it is in the later part that we came to know about the history between him and Guru Nayak. In their youth they had quarreled and in aggression astrologer had attacked on Guru Nayak with knife. This moment of revelation is aesthetic delight for me.

Q) Does screening of movie help you in better understanding of the short story?

Well, it is a simple short story, hence easy to understand even in first read. So, I have understood this short story in one go. But it is always welcome to watch such kind of adaptation movies, which adds one more layer of deep understanding about any literary work. 

Q) Was there any particular scene or moment in the story that you think was perfect?

Yes, there is this conversation between Guru Nayak and astrologer which is in my point of view is perfect or near perfect, because it captures the very gist of the short story and this story gets it tense turn from that point only. So, the heated argument between the astrologer and Guru Nayak is perfectly presented in the movie. 

Q) If you are director, what changes would you like to make in the remaking of the movie based on the short story “An Astrologer’s Day” by R. K. Narayan?

If I would be the director of film, then I would like to stretch a story a little at the end. Like Guru Nayak at the end recognizes the astrologer as his enemy, and Guru Nayak plotting for a revenge. This way this the story could be turned into a revenge story. 

Here you can watch the short film,

Crime and Punishment

This short story by R.K. Narayan explores the relationship between students and teachers. Despite being written ahead of its time, the story remains more relevant than ever in contemporary times. In the story, we encounter a notorious student who does not want to study and takes advantage of his parents, who have raised him in a very liberal atmosphere. The first instance of this is right at the beginning of the story when the teacher asks the student the answer to sixteen multiplied by three, a simple question. The student deliberately gives the wrong answer. The enraged teacher slaps the boy, and in return, the student threatens to tell his parents about the incident. The boy takes advantage of the situation, indulging in play and even forcing his teacher to play with him. The teacher fears that if the boy tells his parents about the incident, he might lose a student from his tuition.

At the end of the story, the boy's parents come to the teacher's house while the boy is playing in the garden. When the parents ask for an explanation, the teacher makes up a story, saying that the boy had studied all the sums and is now free to play. Instead of telling the truth, he decides to remain passive. Initially, this story seems to be didactic, and it is to some extent, but it has an open ending. There are no explicit moral values given by the author; rather, it is up to the readers to interpret the story in their own ways.

Role of Parents 

In this story, the role of parents is crucial, as all the actions are driven by the liberties they give their child. His parents provide him with excessive and unnecessary freedom, which leads to reckless behavior. The boy appears to be a pampered child. Whenever his parents meet his teacher, they lecture the teacher about child psychology. If they had genuinely studied what they were discussing with the teacher, it would be a different story. It seems that the parents have failed to instill good manners and morals in their child.

Role of Teacher

After all the inappropriate actions the student had done, his teacher does nothing. Although the teacher did slap the boy, he regretted it afterward. The teacher feared the grave consequences that might unfold if the student told his parents about this incident of violence, which was a genuine concern in my opinion. Ideally, the teacher should have informed the parents about the boy's misbehavior, but he refrains from doing so. Looking deeper into the matter, we see that the teacher is also not entirely at fault. If he had reported the student's behavior, there was a strong chance the student might withdraw from tuition.

Nowadays, teachers are often underpaid, even when they are well-versed in their subjects and have all the necessary qualifications. Teachers struggle a lot to make ends meet. We can assume the same situation for this teacher. To protect himself from a financial crisis, he chooses not to tell the boy's parents about his mischievous deeds.

Movies that Explore Student & Teacher Relationship

The Karate Kid (2010)

The movie portrays dynamics of student and teacher relationship. Protagonist Dre Parker a 12 years old boy who is not able to learn karate properly for which he was bullied at the school. He then sought the help of Mr. Han, a karate master in disguise of commoner. One day Parker was beaten by a group of boys. Afterwards, Dre asks Mr. Han to teach him kung fu so he can defend himself and gain respect in his new school. Mr. Han agrees to teach Dre but uses unconventional methods. He starts Dre's training with repetitive tasks like hanging up and taking off his jacket, which is boring for Parker. Unlike the relationship presented in Narayan's short story,  this bond between teacher and student is more strong, and marked by mutual care and respect. 

Taare Zameen Par (2007)

This is one of the most popular Hindi movie about student and teacher relationship, and construct an ideal image of the teacher. It is a story about a boy named, Ishan Awasthi who is not able to learn things smoothly like other children do, and for this reason he was constantly criticized by his father. Eventually he was sent to boarding house. His teacher Ram found out that boy is suffering form dyslexia, which affects the learnings of Ishan. His teacher helps him to tackle the situation.  

Wordcount: 1594

Images: 6

Video: 1

Thank you.

Poetry and Poststructuralism: An AI Powered Analysis

 Hello everyone, 

            This blog post is crafted in response to the lab activity given by Barad Sir. In this activity we have to generate an AI based poem and give them study material about the theory of deconstruction or post-structuralism in prompt to analyze the generated poem, and asked ChatGPT to do deconstruction of that poem.

Poem 1: The Book and the Cook

Within the pages of this treasured book,

Everything I thought is in the book.

But now I ponder, with a chef's delight,

What new food should I cook tonight?

Shall I blend spices in a fragrant stew,

Or craft a pie with berries, ripe and blue?

A roast, perhaps, with herbs upon its crust,

Or creamy pasta, in my skills I trust.

With every dish, a story to unfold,

In each new recipe, a tale retold.

Analysis with Three Step Model of Peter Barry  

To apply the deconstructive approach outlined in the passage to the poems "The Book and the Cook". We'll focus on identifying contradictions, shifts, breaks, and moments where language's reliability is questioned. Here’s an analysis based on the principles discussed.

Verbal Stage

Contradictions and Paradoxes: In "The Book and the Cook," the title itself sets up an expectation of exploration and discovery ("book") juxtaposed with creation and innovation ("cook"). The poem could be analyzed for paradoxical elements where these themes intersect or conflict.

Language's Unreliability: Explore how language constructs a reality of exploration (book) and creation (cook), yet simultaneously undermines these concepts through paradoxical statements or conflicting imagery.

Textual Stage

Shifts and Instabilities: Look for shifts in tone, imagery, or perspective between the idea of knowledge ("book") and creativity ("cook"). These shifts may reveal tensions or ambiguities within the poem's thematic structure.

Omissions and Absences: Consider what the poem doesn't explicitly state about the relationship between knowledge and creation. Are there gaps or silences that suggest underlying tensions or unresolved conflicts?

Linguistic Stage

Language's Adequacy: Question whether the poem itself suggests any inadequacies in language to fully capture the complexities of knowledge and creativity. Are there moments where language gestures towards something unsayable or unrepresentable?

Analysis According to Article (Click Here to Read Article)

To provide a more precise deconstructive analysis of "The Book and the Cook" with a focus on absent images and the power struggle between binary oppositions, we'll delve deeper into the poem’s imagery and the inherent tensions.

Absent Images and Their Significance

Absent Images of Finished Dishes

The poem speaks of "new food" to be cooked and lists potential dishes (stew, pie, roast, pasta) but never describes the final, completed meal. This absence emphasizes the process of cooking rather than the end product, suggesting that the act of creation is more important than the result. It implies an ongoing journey of discovery and experimentation.

Absent Diners or Audience

There is no mention of who will eat the food or share in the cooking experience. This absence might imply a solitary creative process, focusing on the individual's relationship with their craft. It also leaves out the communal or social aspects of cooking and eating, which could be a significant part of the culinary experience.

Absent Sensory Descriptions

While the poem mentions ingredients and dishes, it lacks detailed sensory descriptions of taste, smell, and texture that one might expect in a poem about food. This absence could suggest that the intellectual act of considering what to cook ("ponder, with a chef's delight") is as significant as the sensory experience itself.

Power Struggle Between Binary Oppositions

Knowledge vs. Creation (Book vs. Cook)

The poem sets up a binary opposition between the intellectual realm of the book (knowledge, tradition, thought) and the creative act of cooking (creation, innovation, action). The speaker transitions from reading/thinking to cooking/creating, highlighting a dynamic interplay where neither is fully dominant. The act of pondering what to cook suggests that knowledge informs creation, but creation also offers new insights, challenging the primacy of static knowledge.

Tradition vs. Innovation

The "treasured book" implies established knowledge and tradition. In contrast, the act of deciding "what new food should I cook tonight" represents innovation and the breaking of tradition. This struggle reflects the tension between adhering to known recipes and experimenting with new ones. The poem celebrates both the reverence for tradition and the excitement of culinary innovation, suggesting that true mastery involves a balance of both.

Control vs. Spontaneity

Reading a book is a controlled, structured activity where the content is predetermined. Cooking, on the other hand, allows for spontaneity and improvisation. The poem navigates this opposition by showing the speaker's trust in their skills ("in my skills I trust") to innovate within the framework of their knowledge. This tension highlights the fluid nature of creativity, which can thrive within the boundaries of structure while still allowing for freedom and unpredictability.

Intellectual vs. Sensory

The poem juxtaposes intellectual contemplation ("ponder") with sensory engagement ("fragrant stew," "berries, ripe and blue"). This opposition suggests a power struggle between the mind and the senses. By not fully describing the sensory experience, the poem may be elevating the intellectual over the sensory, yet it acknowledges the vital role of sensory elements in the creative process of cooking.

 Conclusion

The deconstructive analysis of "The Book and the Cook" reveals a rich interplay of absent images and binary oppositions, each contributing to the poem’s multifaceted meanings. The absent images underscore the poem's focus on the process of creation rather than its outcomes, and the power struggles between binary oppositions (knowledge vs. creation, tradition vs. innovation, control vs. spontaneity, intellectual vs. sensory) highlight the dynamic and fluid nature of meaning in the poem. This analysis underscores how the poem simultaneously constructs and deconstructs its themes, inviting readers to explore the complexities and tensions inherent in the act of creation.

Poem 2 :Elegy of Spring's Passing

In springtime's bloom, where life and colors blend,

Death whispers softly, as seasons swiftly mend.

Beneath the blossoms, where beauty takes its stand,

Lies the gentle touch of nature's guiding hand.

Though petals fall, and vibrant hues may fade,

New life emerges from the earth where they're laid.

Amidst the cycle, where endings softly sing,

Death in springtime is but a fleeting thing.

 

Analysis With Three Step Model of Peter Barry

Verbal Stage

Contradictions and Paradoxes: The title "Elegy of Spring's Passing" inherently contains a contradiction between the mourning of spring's end (elegy) and the celebration or acknowledgment of its natural cycle (passing). Look for other paradoxical statements within the poem regarding the themes of life, death, and renewal.

Language's Unreliability: Explore how language portrays the fleeting nature of spring and the inevitable passage of time. Are there instances where the poem's language struggles to convey the full emotional or sensory experience of spring's passing?

Textual Stage

Shifts and Instabilities: Identify shifts in imagery or perspective that reveal tensions between the transience of spring and the desire for permanence or continuity. These shifts may occur in temporal references, sensory descriptions, or emotional tones.

Omissions and Absences: Consider what the poem leaves out or doesn't explicitly address about the themes of spring's passing. Are there gaps in narrative or imagery that suggest underlying uncertainties or unresolved questions?

Linguistic Stage

Language's Adequacy: Examine instances where the poem reflects on the limitations of language to capture the essence of spring's beauty or its melancholic passing. Are there moments where language gestures towards ineffability or the inadequacy of words to fully convey meaning?

Conclusion

In this poems, applying the deconstructive approach reveals layers of complexity, contradictions, and moments where language itself becomes a site of exploration. By focusing on verbal paradoxes, textual shifts, and linguistic uncertainties, we uncover deeper meanings and thematic tensions that challenge conventional readings. This method underscores how poetry can simultaneously construct and deconstruct its own meanings, inviting readers to engage critically with its layers of significance.

Analysis According to Catherine Belsey's Method

Isolation of Images and Associations: "Elegy of Spring's Passing" isolates images of spring's beauty (flowers, renewal) and juxtaposes them with the inevitability of loss (passing, death). These images are heightened in their poetic form, distancing them from their natural contexts and emphasizing their symbolic resonance.

Role of Rhythm and Semiotics: The poem's rhythm and lyrical qualities ("majesty and burning," "deep with the first dead") create a sense of elegy and mourning, where language's musicality enhances its emotional impact. The semiotic dimension here suggests a primal response to the beauty and transience of nature, beyond rational discourse.

Deconstructive Perspective: Deconstructively, the poem challenges traditional binaries (life vs. death, beauty vs. decay) by intertwining them in poetic language. It invites readers to question the stability of meanings associated with seasonal cycles and mortality, emphasizing the fluidity and ambiguity inherent in human perceptions of nature.

Conclusion

"Elegy of Spring's Passing" demonstrate how poetry uses language to isolate images, create associations, and evoke emotional and conceptual resonances beyond literal meanings. Applying Kristeva's theory of the semiotic helps us understand how rhythm and poetic language disrupt conventional logic and invite a deeper engagement with the text's affective and symbolic dimensions. Deconstructive analysis enriches our understanding by revealing how these poems challenge fixed meanings and invite readers to participate in the construction of meaning through their engagement with language and imagery.

(All images are generated by Microsoft Copilot)

References

Barry, Peter. Beginning Theory, 3/E. Viva Books Private Limited, 2010.

Barad, Dilip, Deconstructive Analysis of Ezra Pound's 'In a Station of the Metro' and William Carlos Williams's 'The Red Wheelbarrow', Researchgate.net, Accessed 4 July 2024. 

Belsey, Catherine. Poststructuralism: A Very Short Introduction (Very Short Introductions). OUP Oxford, 2002.

Thank you.