Thinking Activity : Unit 3 : Cultural Studies in practice

Thinking Activity : Unit 3 : Cultural Studies in practice :

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This task given by Dr. Dilip Barad head of English department. This is my academic blog on thinking activity on cultural studies unit 3 cultural studies of Hamlet and To His Coy Mistress.

Question : 1 The poem 'To His Coy Mistress' tells us a lot about the speaker, the listener and also the audience for whom it is written. But what does he not show? As he selects these rich and multifarious allusions, what does he ignore from his culture?

Andrew Marvell's "To His Coy Mistress" tells the reader a good deal about the speaker of the poem, most of which are clear from earlier comments in this volume, using traditional approaches. We know that the speaker is knowledgeable about poetry and conventions of classic Greek and Roman literature, about other conventions of love poetry, such as the Justice Love Convention in medieval Europe and other biblical passages. Poetry also tells us a lot about the speaker, the audience. He does not think clearly about poverty, demographics and multifaceted conceptions and socioeconomic details about how fortunate his circumstances are. For example, it is estimated that at least a quarter of the European population was below the poverty line in the meantime. Also, the speaker does not think of the disease as a daily reality that has to be dealt with. To be sure, in the second and especially in the third level it signals for future death and dissolution. But wealth and leisure and sexual activity are his currency, his coin for current enjoyment. Worms and marbles are not present and ash is not present, so is not yet real.

Question : 2 If these two characters were marginalized in Hamlet, they are even more so in Stoppard's handling. If Shakespeare marginalised powerless in his own version of Rozsencrantz and Guildenstern,Stoppard has marginalized us us all in an era when - in the eyes of some-all of us are caught up in forces beyond our control. 


In Hamlet's play, there are characters in two margins; Rosencrantz and Guildestern. Rosenkrantz and Guildenstern, who died or never lived in the twentieth century, resurrected Tom Stoppard by re-fascinating their existence or lack thereof. In the version of Stopcard, they are more clearly two ineffective pawns, constantly searching to know who they are, why they are here, where they are going. In contemporary Indian culture, we see that people were marginalized under the power of politics. No one can raise his voice against politics.