New Historicism

Assignment-5

New Historicism 

Academic Information:

Name: Insiyafatema Alvani 

Batch: 2023-2024 (M.A Sem 3) 

Roll no: 11

Enrolment number: 4069206420220001

Paper: 205 - Cultural Studies

Paper Code: 22410

Submitted to: S. B. Gardi Department of English, Maharaja Krishnakumarsinhji Bhavnagar University

Email id: insiyafatemaalvani@gmail.com

What is Cultural Studies?

Cultural Studies is an academic subject that studies cultural phenomena in many civilizations by combining political economics, communication, sociology, social theory, literary theory, media theory, cinema studies, cultural anthropology, philosophy, art history, and other disciplines. At the center of Cultural Studies sits a host of questions, such as what constitutes a text, how some texts, visual images, and cultural artifacts come to be valued over others, and how questions of value relate to the distribution of power and authority. Rather than concentrating exclusively on the group of elite texts that make up so-called "high culture," Cultural Studies takes as its focus the whole complex of changing beliefs, ideas, feelings, values, and symbols that define a community’s organization and sense of itself. Culture in this sense is often understood to be a primary vehicle of globalization in the contemporary world and deeply enmeshed in particular social, economical and political environments. As such, when we study culture, we are studying the world we live in and how we function in it. 

Cultural studies emerged in Britain in the late 1950s and subsequently spread internationally, notably to the United States and Australia. Originally identified with the Center for Contemporary Cultural Studies at the University of Birmingham (founded 1964) and with such scholars as Richard Hoggart, Stuart Hall, and Raymond Williams, cultural studies later became a well-established field in many academic institutions, and it has since had broad influence in sociology, anthropology, historiography, literary criticism, philosophy, and art criticism. Among its central concerns are the place of race or ethnicity, class, and gender in the production of cultural knowledge. A key concern for cultural studies practitioners is the examination of the forces within and through which socially organized people conduct and participate in the construction of their everyday lives. 

Four Goals of Cultural Studies

• Cultural Studies transcends the confines of a particular discipline such as literary criticism or history.
• Cultural Studies is politically engaged.
• Cultural Studies denies the separation of 'high' and 'low' or elite and popular culture.
• Cultural Studies analyzes not only the cultural work, but also the means of production.

Five Types of Cultural Studies:

1) British Cultural Materialism

2) New Historicism

3) American Multiculturalism

4) Postmodernism & Popular Culture

5) Postcolonial Studies

New Historicism:

New Historicism is a critical approach used by the English Renaissance scholar,Stephen Greenblatt, in 1982, which is influenced by the philosophy of Michel Foucault. It is a literary theory that seeks to find meaning in a text by considering the work within the framework of the prevailing ideas and assumptions of its historical era. 

In his work The Power of Forms in the English Renaissance (1982), Stephen Greenblatt coined the term “new historicism” to describe this way of examining literature, basing his theory, partly, on the work of Michel Foucault. New historicism differs from historicism by looking at the specific contexts influencing a work of literature or art. For example, a historicist may look solely at larger historical events or entire periods; conversely, a new historicist would look at the specifics of the author’s background and experiences, as well as that of the critic. New historicism sees literature as not merely being impacted by history, but as something that can influence and be influenced by history, seeing their relationship as being reciprocal. History, as viewed by new historicism, is not objective as it is discursively produced. History should, therefore, be used to help us understand how historical viewpoints are complex and filtered through our own experiences. New historicists, therefore, recognize their own subjectivities and biases and feel obligated to disclose their own political and philosophical views. This disclosure is known as self-positioning. 

1. Every expressive act is embedded in a network of material practices: When authors express themselves, they are either consciously or unconsciously influenced by their own culture, material circumstances and environment. We can, therefore, see the author’s ideologies, political views, and perspective seep into their work. 

2. Every act of unmasking, critique, and opposition uses the tools it condemns and risks falling prey to the practice it exposes: Critics also bring their own experiences, biases, and perspectives into their interpretations of a text. 

3. Literary and non-literary ‘texts’ circulate inseparably: No texts should be separated based on their perceived literary value. New historicism, therefore, aims to combat literary elitism. It is important to acknowledge both “high” and “low” forms of literature to fully understand a period.

4. No discourse, imaginative or archival, gives access to unchanging truths nor expresses inalterable human nature: There is no such thing as a universal truth and, as such, there are no literary works which can expose deeper truths. 

5. A critical method and a language adequate to describe culture under capitalism participate in the economy they describe: Though new historicists often criticize capitalism, they are participating in and upholding the capitalist economy by publishing academic books and working at wealthy universities. If a critic publishes a work on capitalism and exploitation, they contribute to the publishing company; the academic may work at a university and the fees paid by the students contribute to the salaries of those at the university in executive positions. 

Derrida and New Historicism:

Being two frequently used literary theories, deconstruction and new historicism have been influential in the literary world since their emergence in the late twentieth century. Although there seems to be similarity between the two theories in terms of their close reading of a text in deconstruction and of a period in new historicism, there are great differences between the two theories. It is a fact that the only similarity between these theories is their approach. Deconstruction is a close reading of a text in order to interpret the underlying meaning. New historicism is a close reading of non-literary texts of a specific period to understand a literary work. 

The decade preceding new historicism was dominated singularly by Jacques Derrida’s deconstruction. Deconstruction, as Derrida insists, “is not a ‘theory’ per se, but rather a set of strategies or ways of reading”. In deconstructive practice the most important concept is that of “decentering”. Deconstructive reading of a text tries to unmask the problematic nature of all centers. Derrida is fundamentally a philosopher. But his insights have been borrowed into literary studies and other human sciences. Derrida pointed out that throughout the history of Western civilization, all philosophical systems and thoughts have developed around a center that guarantees all meaning and truth. This center provides the foundation on which each philosophical system is erected. For Christianity which reigned supreme during the middle ages,the center had been God. Whereas for much of the Renaissance thought the center was Man. This Practice of developing a stable structure of meaning around a center is called “foundationalism”.

New historicism is a reaction to this historicity. New historicism in a new way engages with history. But at the same time it is also somewhat influenced by Derrida. Deconstruction changed our world view by introducing the concepts of center and margin. Taking this cue from deconstructive practice, new historicism also attempted to rescue cultural tokens from the margins of history and place them at the center of intellectual scrutiny. Until the advent of new historicism only literary pieces occupied privileged positions in critical discourses. But new historicism placed other non-literary cultural artifacts like a letter, a recorded dream etc. alongside literary pieces to show how the same social energy circulated through them. In the Derridean conception, a signifier makes sense only in relation to other signifiers. A single signifier outside a structure has no value. Similarly, new historicism attempts to ascertain the possible meanings of texts by placing several cultural artifacts in a relational continuum.

Old Historicism versus New Historicism:

A key principle in New Historicism is the acknowledgement of the fact that works of literature often present the dominant ideologies and cultures as the only ideologies and cultures. Historicists would unquestioningly accept this biased representation and conclude that this was the “spirit of the age.” In other words, they wouldn’t see the society of the time period they were studying as complex. They would “objectively” describe the society as functioning under only the dominant ideologies. New Historicists, on the other hand, would view the societies of the past as complex, so complex that they could not define it under an umbrella term like the “spirit of the age.” They would realize and point out that the dominant ideologies given preferential representation in works of literature were not the only ideologies of a certain time period. There were non-dominant elements in all past societies. New Historicists endeavor to highlight these marginalized and oppressed voices and discover how they functioned in a past society and/or how they are represented in a work of literature written during the time that society existed. New Historicism and Old Historicism are both critical approaches that examine the relationship between literature and history. However, they differ in their approach to the use of historical evidence and their overall emphasis.

Old Historicism

Old Historicism, also known as historical criticism, is a traditional approach that emphasizes the historical context in which a literary work was produced. Old Historicists believe that understanding the historical context is essential for properly interpreting a literary work. They use historical evidence, such as documents, diaries, and letters, to shed light on the social, political, and intellectual forces that influenced the author and the audience.

New Historicism

New Historicism, which emerged in the mid-20th century, is a more radical approach that challenges the traditional view of history as a backdrop to literature. New Historicists believe that history and literature are not separate entities, but rather are mutually constitutive. They argue that literary works not only reflect history but also actively shape it. New Historicists use a wider range of historical evidence, including non-literary sources such as popular culture, material objects, and everyday language, to illuminate their readings of literary texts.

New Reading of ‘To His Coy Mistress’ by Marvell:

Andrew Marvell's "To His Coy Mistress" stands as a timeless masterpiece of seduction poetry, a passionate plea for a woman to embrace love's fleeting nature. However, beneath the surface of this seemingly straightforward love poem lies a rich tapestry of historical and cultural undercurrents that can be illuminated through the lens of New Historicism.

New Historicism, a critical approach that emphasizes the interplay between literature and its historical context, offers a unique perspective on Marvell's poem. By examining the poem in the context of 17th-century England, we can gain a deeper understanding of its themes, allusions, and overall significance.

The Carpe Diem Motif and the Ephemerality of Life:

A central theme in "To His Coy Mistress" is the carpe diem philosophy, the notion that life is short and should be seized to the fullest. This theme is reflected in the speaker's urgent plea to his beloved to seize the day and embrace the pleasures of love before time runs out.

New Historicism helps us appreciate the historical context of this theme. In 17th-century England, a period marked by political and religious upheaval, the uncertainty of life was a constant reality. The Great Plague, which ravaged England in the 1660s, served as a stark reminder of life's fragility and the importance of living in the moment.

The Cavalier Aesthetic and the Glorification of Sensual Pleasure:

'To His Coy Mistress' also embodies the Cavalier aesthetic, a literary movement that celebrated sensual pleasure and embraced a more libertine view of love and sexuality. Cavalier poets, including Marvell, often employed vivid imagery and playful language to depict the joys of physical intimacy.

New Historicism reveals the cultural context that gave rise to the Cavalier aesthetic. The Restoration period, following the Puritan-dominated Commonwealth, saw a resurgence of interest in secular pleasures and a more relaxed attitude towards morality. This shift in cultural norms is reflected in Marvell's poem, which openly celebrates physical love and the pleasures of the flesh.

The Subversive Nature of the Mistress's Coyness:

While the poem's speaker initially urges his mistress to seize the day, he also acknowledges her resistance and coy demeanor. This resistance, rather than being a mere obstacle to be overcome, can be interpreted as a subversive act in a society where women were expected to be passive and submissive.

New Historicism sheds light on the social and political context of women's roles in 17th-century England. Women were often confined to domestic spheres and had limited opportunities for self-expression. The mistress's coyness, in this context, can be seen as a form of agency, a way of asserting her own desires and resisting the expectations placed upon her.

So, New Historicism, by illuminating the historical and cultural context of 'To His Coy Mistress', allows us to appreciate the poem's deeper layers of meaning. We can see the poem not just as a love poem but as a reflection of the social, political, and cultural forces that shaped 17th-century England. By understanding the poem in its historical context, we can gain a richer and more nuanced appreciation of Marvell's poetic genius.

New Historicist Reading of "Bajirao Mastani”:

Sanjay Leela Bhansali's 2015 epic romance film "Bajirao Mastani" offers a rich and complex narrative that interweaves historical events, cultural traditions, and personal struggles, providing a fertile ground for a New Historicist analysis. New Historicism, a critical approach that situates literature within its historical and cultural context, sheds light on the film's exploration of power dynamics, gender roles, and the complexities of love and duty in 18th-century India.

Historical Context and Power Dynamics

Set against the backdrop of the Maratha Empire in the mid-18th century, "Bajirao Mastani" delves into the political and social dynamics of the era. The film portrays the Marathas as a powerful military force, engaged in constant battles to expand their territory and defend their independence against the Mughal Empire. This backdrop of political conflict and shifting alliances shapes the personal narratives of the film's central characters.

New Historicism highlights the film's nuanced portrayal of power dynamics, particularly between the Maratha Empire and its surrounding kingdoms. The film depicts the Marathas as both conquerors and protectors, their actions driven by a complex interplay of political ambition, cultural identity, and personal loyalties.

Gender Roles and Societal Norms:

The film's exploration of gender roles and societal norms is another key aspect of a New Historicist analysis. In 18th-century India, gender roles were strictly defined, with women expected to adhere to a domestic sphere and men assuming positions of power and authority.

"Bajirao Mastani" challenges these traditional gender norms through the character of Mastani, a warrior princess who defies societal expectations to pursue her love for Bajirao. Mastani's assertion of her agency and her refusal to be confined by traditional gender roles creates a narrative tension that drives the film's central conflict.

A New Historicist Perspective on Bajirao Mastani:

In a nutshell we can say that its nuanced portrayal of historical events, cultural traditions, and personal struggles, "Bajirao Mastani" offers a rich tapestry for a New Historicist analysis. By situating the film within its historical and cultural context, New Historicism illuminates the film's exploration of power dynamics, gender roles, and the complexities of love and duty in 18th-century India. The film's enduring popularity and critical acclaim can be attributed to its ability to connect personal narratives to broader historical and cultural themes, making it a valuable text for New Historicist analysis. In Sanjay Leela Bhansali's film "Bajirao Mastani," New Historicism has shed light on the film's nuanced portrayal of power dynamics, gender roles, and the complexities of love and duty in 18th-century India.

Conclusion:

New Historicism offers a valuable framework for analyzing the relationship between a text and its historical and cultural context. By situating a text within its broader environment, New Historicism allows us to uncover the deeper layers of meaning embedded within the work and to appreciate its commentary on societal norms, cultural values, and the dynamics of power. New Historicism's emphasis on historical context allows us to gain a more comprehensive understanding of literary and cinematic works, revealing how they reflect and shape the world in which they are created. 

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Refrences:

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Chattopadhyay, Nilanjan. “Past as a Period: Historicizing 'love' in Bollywood Period Films (Bajirao Mastani).” Academia.edu, https://www.academia.edu/26987736/Past_as_a_Period_Historicizing_love_in_Bollywood_Period_Films_Bajirao_Mastani_. Accessed 27 November 2023.

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