Orlando by Virginia Woolf

Can Orlando be considered an early work of queer literature? Why?

Introduction

       Virginia Woolf’s Orlando: A Biography (1928) is a novel that challenges traditional ideas about gender, identity, and sexuality. The story follows Orlando, a young nobleman in Elizabethan England who mysteriously transforms into a woman and lives for over three centuries, experiencing different historical periods and societal expectations. Woolf’s playful yet profound exploration of gender fluidity and self-identity makes Orlando one of the most groundbreaking works of its time.

      Many scholars and readers consider Orlando an early work of queer literature because it challenges the rigid binary of male and female, presenting gender as something fluid and changeable. The novel also explores themes of same-sex attraction and sexual ambiguity, which were radical ideas in the 1920s. Additionally, Orlando was inspired by Woolf’s close relationship with Vita Sackville-West, a woman known for her gender-nonconforming identity and queer relationships. Because of these elements, the novel is often viewed as a celebration of queerness and a challenge to traditional gender roles.

          However, some critics argue that Orlando does not explicitly address queer identity in the way modern queer literature does. The novel is whimsical and fantastical rather than directly political, and it does not use terms like "genderfluid" or "nonbinary," which were not widely recognized at the time. Despite this, Orlando remains a landmark text in queer literary history, as it challenges societal norms and expands the possibilities of identity beyond fixed categories.

      This essay will explore the reasons why Orlando can be considered an early work of queer literature, examining its treatment of gender, sexuality, historical context, and literary techniques. By analyzing Woolf’s innovative approach, we can understand how Orlando paved the way for future discussions about queer identity in literature.

The Historical Context: Gender and Sexuality in Woolf’s Time : 

     Virginia Woolf's Orlando is a groundbreaking novel that challenges traditional notions of gender and sexuality. Written in 1928, it tells the story of Orlando, who lives for centuries and changes sex from male to female. This transformation allows Woolf to explore the fluidity of gender and critique the rigid binaries of her time.

       In the early 20th century, society had strict expectations for men and women. Women were often confined to domestic roles, while men dominated public life. However, feminist movements were beginning to challenge these norms. Woolf herself was involved in feminist discourse, advocating for women's independence and intellectual freedom.

      Orlando reflects these feminist ideals by portraying a protagonist who transcends traditional gender roles. Orlando's transformation from male to female challenges the notion that gender is fixed and inherent. Woolf writes, "Orlando had become a woman there is no denying it. But in every other respect, Orlando remained precisely as he had been." This suggests that gender does not define one's identity, aligning with modern queer theory, which views gender as fluid and socially constructed.

      The novel also addresses the limitations placed on women writers. As a man, Orlando's literary pursuits are taken seriously, but as a woman, she faces obstacles and prejudice. This reflects the historical marginalization of women in literature and society. Scholar Jane de Gay notes that Orlando "depicts an aspiring writer (female from the seventeenth century onwards), who does not achieve any recognition until the twentieth century," highlighting the systemic barriers women faced in gaining literary recognition. 

       Woolf's portrayal of same-sex attraction and sexual ambiguity further challenges societal norms. Orlando's relationships, regardless of gender, suggest that love and desire are not confined to heterosexual norms. This subverts traditional narratives and opens up possibilities for queer identities. Scholar Janelle Pötzsch observes that Woolf's vision in Orlando aligns with a broad understanding of gender and sexuality, reflecting progressive views that challenge conventional norms. 

    The novel's playful narrative style also contributes to its subversive themes. By blending history, fantasy, and biography, Woolf disrupts traditional storytelling methods, mirroring Orlando's fluid identity. This narrative approach allows Woolf to critique societal constructs of gender and sexuality subtly yet effectively.

    Orlando serves as a pioneering exploration of gender and sexuality. Through the protagonist's transformation and experiences, Woolf critiques the rigid binaries of her time and presents a vision of identity that is fluid and multifaceted. The novel's innovative narrative and thematic depth continue to resonate, offering valuable insights into the complexities of gender and the ongoing discourse surrounding queer identities.

Gender Fluidity in Orlando :

       Virginia Woolf’s Orlando: A Biography (1928) is a groundbreaking novel that challenges rigid gender norms through the protagonist’s transformation from a man to a woman. The novel explores how gender is a social construct rather than a fixed biological reality, a concept that has become central to contemporary discussions on gender fluidity. By presenting gender as something fluid and performative, Woolf subverts traditional binaries and anticipates modern debates about gender identity. Drawing upon scholarly analyses, this discussion explores the ways in which Orlando portrays gender as an evolving and unstable category, using examples from the novel and critical interpretations.

Orlando’s Transformation and the Fluidity of Gender:-

        One of the most striking elements of Orlando is the protagonist’s sudden transformation from male to female. Woolf presents this transformation as a natural event rather than a shocking or supernatural phenomenon. She writes:

“Orlando had become a woman—there is no denying it. But in every other respect, Orlando remained precisely as he had been.” (Woolf 138)

       This passage challenges the idea that gender is the core determinant of identity. While Orlando's physical form changes, their essence remains the same, suggesting that gender is an external and socially imposed category rather than an innate quality. Woolf's casual tone regarding this transformation also normalizes gender fluidity, presenting it as something natural rather than extraordinary.

The Role of Clothing in Gender Performance :-

       Throughout Orlando, Woolf emphasizes how clothing constructs and reinforces gender identity. When Orlando dresses as a woman, society treats them differently, reinforcing the idea that gender is based on appearance rather than an intrinsic trait. Woolf writes:

“Different though the sexes are, they intermix. In every human being, a vacillation from one sex to the other takes place, and often it is only the clothes that keep the male or female likeness.” (Woolf 189)

         This passage highlights the performative nature of gender. It suggests that men and women are not fundamentally different but are conditioned to behave in particular ways through clothing and social expectations. Scholars such as Julie Kane note that “Woolf’s emphasis on attire as a defining factor of gender prefigures later feminist critiques of how fashion enforces binary gender roles” (Kane 164).

         The novel also portrays cross-dressing as an act of liberation. When Orlando moves between genders, they gain new perspectives on societal norms. As a man, Orlando enjoys privilege and freedom; as a woman, Orlando experiences legal and social restrictions. This shift critiques the arbitrary nature of gender-based discrimination.

Historical Context: Gender as a Social Construct :-

        Woolf situated Orlando across several centuries, using history to demonstrate that gender roles are socially constructed rather than biologically determined. Orlando’s experiences in different historical periods highlight how gender norms are not fixed but evolve over time.

        For example, in the 18th century, Orlando, now living as a woman, must conform to rigid expectations of femininity:

 “It was strange, perhaps, that a person who had been a man till the age of thirty should find it so dull to sit in the drawing-room with the ladies.” (Woolf 173)

       This moment reveals the absurdity of social norms that dictate behavior based on gender. While Orlando has the same mind and capabilities, they are treated differently simply because of their appearance. Scholars such as Carrol Smith-Rosenberg argue that Woolf “exposes the artificiality of gender norms by depicting a protagonist who remains intellectually unchanged despite changing genders” (Smith-Rosenberg 112).

           Additionally, Nina Auerbach’s analysis of Orlando suggests that the novel “anticipates the postmodern deconstruction of gender by showing how social institutions, not biology, define what it means to be male or female” (Auerbach 67). Through Orlando’s fluid movement across time and gender, Woolf critiques the rigid categories imposed on individuals.

The Queer Implications of Orlando:-

         Many scholars interpret Orlando as an early queer text because it resists fixed notions of gender and sexuality. Woolf’s portrayal of gender fluidity disrupts heteronormative expectations and suggests that identity is not limited to binary classifications. As Sally Greene points out, Orlando “challenges the very foundation of stable gender and sexual identity, positioning itself as a radical exploration of queer existence” (Greene 145).

      Furthermore, Orlando’s relationships remain ambiguous throughout the novel. Orlando falls in love with Princess Sasha while presenting as a man and later experiences deep emotional connections with both men and women. This fluidity in desire aligns with contemporary understandings of queerness, which reject rigid categories of attraction.

     For example, when Orlando meets Marmaduke Bonthrop Shelmerdine, a male character who also exhibits gender ambiguity, the novel presents their relationship in a playful, non-traditional manner:

 “You're a woman, Shel!” Orlando cried.

“You're a man, Orlando!” Shelmerdine answered. (Woolf 250)

   This exchange humorously acknowledges the fluidity of gender and attraction. Critics such as Maria DiBattista argue that “Woolf suggests that true love transcends gender categories, aligning with modern queer perspectives” (DiBattista 188).

Orlando’s Relevance in Contemporary Gender Studies :-

         Orlando remains relevant in contemporary discussions on gender identity, especially as society increasingly recognizes non-binary and transgender experiences. Woolf’s portrayal of a character who exists beyond rigid gender binaries resonates with modern readers who challenge traditional labels.

        Judith Halberstam’s work on gender fluidity draws connections between Orlando and contemporary trans identities. Halberstam argues that Woolf “foreshadows contemporary understandings of gender as a spectrum rather than a binary” (Halberstam 79). Similarly, Susan Stryker sees Orlando as a “proto-trans narrative that challenges essentialist views of sex and gender” (Stryker 213).

          In today’s world, Orlando provides an important literary precedent for discussions on gender diversity. The novel’s exploration of identity beyond rigid categories aligns with the lived experiences of many non-binary and transgender individuals.

Androgyny and Identity :-

     Virginia Woolf's Orlando: A Biography is a groundbreaking exploration of androgyny and identity, challenging traditional notions of gender and selfhood. Through the protagonist's transformation from male to female and the span of centuries they live through, Woolf examines the fluidity of gender and the complexities of personal identity.

Androgyny in Orlando :-

        The concept of androgyny is central to Orlando. Woolf presents androgyny not merely as a blend of male and female characteristics but as a transcendence of rigid gender binaries. Orlando's transformation from a man into a woman is depicted as a natural progression, suggesting that gender is a mutable and fluid aspect of identity. This metamorphosis allows Woolf to critique the societal constraints imposed by strict gender roles and to advocate for a more inclusive understanding of identity.

Identity Beyond Gender :-

    Orlando's journey underscores the notion that identity is multifaceted and extends beyond gender. Throughout the novel, Orlando engages in various roles and professions, experiences love and loss, and interacts with diverse cultures and societies. These experiences highlight that personal identity is shaped by a multitude of factors, including but not limited to gender. Woolf suggests that embracing the fluidity of identity can lead to a more authentic and liberated self.

Literary Critiques and Analyses :-

       Scholars have extensively analyzed Woolf's portrayal of androgyny and identity in Orlando. In "Revisiting Woolf's Representations of Androgyny: Gender, Race, Sexuality, and Nation," the author discusses how the novel challenges traditional gender binaries and explores the fluidity of identity. Another study, "Woolf's Concept of Androgyny Seen through the Lens of Bakhtin's Grotesque," examines how Woolf employs the concept of androgyny to destabilize fixed notions of sex and gender, presenting characters in a state of physical and mental ambivalence.

    Orlando serves as a profound meditation on the fluidity of gender and the complexity of identity. Through the protagonist's transformation and experiences, Woolf critiques societal constructs of gender, advocating for a more nuanced understanding of self that transcends traditional binaries. The novel remains a pivotal work in discussions about gender fluidity and androgyny, resonating with contemporary debates on identity and expression.

Virginia woolf’s inspiration: Vita Sackville west :-

       Virginia Woolf and Vita Sackville-West's relationship is a cornerstone in the study of early 20th-century literature, exemplifying how personal connections can profoundly influence literary creation. Their bond, characterized by deep affection and mutual respect, culminated in Woolf's novel Orlando: A Biography, a work that challenges traditional notions of gender and identity.

The Genesis of Their Relationship

      Virginia Woolf and Vita Sackville-West first met in December 1922. Despite their contrasting personalities—Woolf being introspective and reserved, and Sackville-West being more extroverted—their mutual admiration for each other's literary talents fostered a deep connection. Their relationship evolved into a romantic affair, enriching both their personal lives and literary endeavors.

Literary Influence and Orlando :-

      Sackville-West's influence on Woolf is most evident in the creation of Orlando: A Biography (1928). The novel's protagonist, Orlando, transitions from male to female and lives across centuries, reflecting Sackville-West's own fluid approach to gender and identity. This transformation challenges traditional gender roles and has been lauded for its exploration of androgyny and sexuality. Woolf's depiction of Orlando's ancestral home draws parallels to Sackville-West's family estate, Knole House, which she could not inherit due to the laws of primogeniture. This personal injustice is mirrored in Orlando's narrative, highlighting themes of gender and inheritance.

Impact on Woolf's Literary Career :

    The relationship with Sackville-West had a rejuvenating effect on Woolf's literary endeavors. Before their affair, Woolf had already established herself as a formidable writer with works like Mrs. Dalloway and To the Lighthouse. However, the playful and experimental nature of Orlando marked a departure from her earlier, more introspective novels. The novel's success also brought Woolf a broader readership and financial gain, alleviating some of her anxieties about her writing career.

Sackville-West's Perspective and Literary Contributions :

    While Sackville-West is often remembered in the context of her relationship with Woolf, she was an accomplished writer in her own right. Her works, including novels, poetry, and gardening columns, were popular during her lifetime. Her novel All Passion Spent (1931) is noted for its feminist themes and is considered one of her significant literary achievements.

The Evolution of Their Relationship :-

      After the romantic aspect of their relationship waned, Woolf and Sackville-West maintained a deep and enduring friendship. Their correspondence continued, reflecting mutual respect and affection. They also influenced each other's social circles, with Sackville-West becoming acquainted with members of the Bloomsbury Group, the intellectual collective that included Woolf and her contemporaries.

Legacy and Modern Interpretations :-

      The relationship between Woolf and Sackville-West has been the subject of numerous studies, biographies, and artistic interpretations. Their letters have been published, offering intimate insights into their thoughts and feelings. In recent years, their relationship was dramatized in the 2018 film Vita & Virginia, which explores their romance and its impact on their literary works.

Why is Orlando considered Queer literature today ?

    Virginia Woolf's Orlando: A Biography is considered queer literature today due to its exploration of gender fluidity, subversion of traditional gender roles, and reflection of Woolf's personal relationships. The novel portrays a protagonist who transitions from male to female and lives across centuries, challenging fixed notions of gender identity. Scholars have analyzed Orlando through various theoretical lenses, highlighting its subversive approach to gender norms and its significance in lesbian literary history.

Reference:-

de Gay, Jane. "Virginia Woolf and the Women’s Movement." Feminist Review, vol. 74, 2003, pp. 15-35. JSTOR, www.jstor.org/stable/41556201.Accessed 2 Mar. 2025.

Pötzsch, Janelle. "Revisiting Woolf’s Orlando: Gender and Genre in a Post-Butlerian Context." The Yearbook of English Studies, vol. 50, 2020, pp. 181-198. JSTOR, www.jstor.org/stable/10.5699/yearenglstud.50.2020.0181.

DiBattista, Maria. Virginia Woolf's Major Novels: The Fables of Anon. Yale University Press, 1980. https://www.worldcat.org/title/virginia-woolfs-major-novels-the-fables-of-anon/oclc/5946507.

Greene, Sally. "Queer Modernisms: Woolf and Orlando." Twentieth Century Literature, vol. 45, no. 2, 1999, pp. 140-160. JSTOR, www.jstor.org/stable/441946.Accessed 2 Mar. 2025.

Halberstam, Judith. Female Masculinity. Duke University Press, 1998. https://www.worldcat.org/title/female-masculinity/oclc/38551329.

Kane, Julie. "Clothing and Gender Performativity in Orlando." Feminist Studies, vol. 32, no. 1, 2006, pp. 160-175. JSTOR, www.jstor.org/stable/20459010.Accessed 2 Mar. 2025.

Stryker, Susan. Transgender History. Seal Press, 2008. https://www.worldcat.org/title/transgender-history/oclc/191090944.

Woolf, Virginia. Orlando: A Biography. Hogarth Press, 1928. https://www.worldcat.org/title/orlando-a-biography/oclc/470524.

Kaivola, Karen. "Revisiting Woolf's Representations of Androgyny: Gender, Race, Sexuality, and Nation." Tulsa Studies in Women's Literature, vol. 18, no. 2, 1999, pp. 235-261. https://www.jstor.org/stable/464448.Accessed 2 Mar. 2025.

Yılmaz, Victoria Bilge. "Orlando: Woolf's Concept of Androgyny Seen through the Lens of Bakhtin's Grotesque." Agathos: An International Review of the Humanities and Social Sciences, vol. 8, no. 2, 2017, pp. 85-100. https://www.proquest.com/scholarly-journals/orlando-woolfs-concept-androgyny-seen-through/docview/1965026614/se-2

Flipped Learning Activity: An Artist of the Floating World

This blog was assigned by Dr. Dilip Sir Barad. It's about An Artist of the Floating World by Kazuo Ishiguro. For further information, here is the link.Teacher's blog.And here is the background study material.

Click here

Video:- 1

1. Introduction to Kazuo Ishiguro

Kazuo Ishiguro is a Japanese-born British novelist (born on November 8, 1954, in Nagasaki, Japan).Moved to Britain in 1960, studied at the University of Kent (BA) and the University of East Anglia (MA).

Writing Style & Themes: His works explore memory, regret, nostalgia, and subtle optimism.He won the Nobel Prize in Literature (2017) for uncovering the "abyss beneath our illusory sense of connection with the world."

2. About the Novel – An Artist of the Floating World

Published in 1986, set in post-WWII Japan, showing its westernization/Americanization .The novel follows Masuji Ono, an elderly artist reflecting on his past as a propagandist during Japan’s imperialist era.He once felt proud of his work, but over time, his views change, leading to regret.

3. Narrative Strategy & the Unreliable Narrator

The novel uses first-person narration, making Masuji Ono an unreliable narrator.His memories shift, sometimes contradicting earlier statements.He justifies his past actions but later questions them, showing how memory is subjective.

4. Comparison with Orwell’s 1984

Unlike the pessimism of Orwell’s 1984 (where Winston and Julia surrender to the Party), Ishiguro’s novel has subtle optimism.The novel suggests that, despite regret, there is room for self-reflection and change.

5. Ishiguro as an Outsider Writing About Japan

He left Japan young and writes about it from a British perspective. His viewpoint is different from native Japanese authors, leading to both criticism (for not fully capturing Japan) and praise (for offering fresh insight).

    This is similar to diaspora writers like Salman Rushdie, V.S. Naipaul, Jhumpa Lahiri, and Mohsin Hamid, who write about their homelands from abroad.

Outsider Perspective: Like the alien in the film PK, an outsider can notice things insiders overlook.

6. Theme of Uprootedness and Cultural Craving

    Ishiguro, as an immigrant, may feel a deep longing for his culture, which is reflected in his works.This is common among diaspora writers, who express a craving for their homeland’s culture, language, and identity.

Video : 2 

Title Meaning:-

    The title An Artist of the Floating World is a direct translation of a specific type of painting. "Floating World" refers to a genre of Japanese art from the Edo period (1600-1867) that depicted pleasures such as entertainment, beautiful women, and actors. The protagonist, Masuji Ono, was initially proud of his nationalist paintings but later regretted them. The title suggests that the world is not permanent and constantly changes. It raises the question of whether one's values will gain or lose significance as society evolves.

Story Overview :-

     The novel follows an aging artist, Ono, as he revisits his past. He had once created paintings that supported nationalism and the war effort. However, in his later years, he regrets his contributions and questions the impact of his work. The story explores regret, responsibility, and the role of artists in political events.

Historical Context

        The story is set in Japan during the rise of nationalism and militarism, leading up to and following World War II. It mentions Emperor Hirohito and Japan's imperial rule. During this time, Japan attacked neighboring countries, and individuals were pressured to support national interests, even if it conflicted with personal beliefs. Those who had supported the war faced social disapproval, and some even committed suicide. The story also references the atomic bombings of Hiroshima and Nagasaki.

Key Characters

Masuji Ono – The protagonist, an artist who initially supported the war but later regretted his actions.

Emperor Hirohito – The ruler of Japan during the time.

Other figures include a singer and a camera company president who committed suicide due to their involvement in war propaganda.

Themes :-

Responsibility: The novel highlights that not only political leaders but also artists and propagandists share responsibility for war.

Regret: The protagonist experiences deep regret over his past actions.

Changing Values: The story questions whether one's values remain relevant as the world changes.

Nationalism vs. Individual Beliefs: The conflict between supporting one's nation and staying true to personal beliefs is explored.

Video : 3

        Unraveling 'An Artist of the Floating World': A Deep Dive into Ishiguro's Masterpiece.  Kazuo Ishiguro's "An Artist of the Floating World" is a novel that lingers long after you've turned the final page. It's a story told with quiet intensity, exploring the complexities of memory, responsibility, and the shifting sands of societal values. This video presentation delves into the heart of Ishiguro's narrative, offering a comprehensive look at the characters, plot, and the profound themes woven throughout.

The Unreliable Narrator: A Window into Ono's World :

          At the center of the story is Masuji Ono, our protagonist, narrator, and the eponymous artist. Ishiguro masterfully employs first-person narration, but with a twist: Ono is an unreliable narrator. This isn't a deliberate attempt to deceive, but rather a reflection of the human tendency to reconstruct the past through a lens of self-preservation. As the video points out, 'the story is not as important as how it is told.' We are constantly questioning Ono's perspective, wondering what he's omitting, what he's downplaying, and what he's genuinely failing to see.

         This narrative strategy creates a sense of unease, a feeling that we're only seeing a sliver of the truth. It's a testament to Ishiguro's skill that we become so invested in Ono's journey, even as we remain skeptical of his recollections.

A Cast of Characters: Echoes of the Past and Future :

The video meticulously introduces the key players in Ono's life:

Setsuko: Ono's pragmatic and somewhat strained daughter, concerned with the family's reputation in a post-war Japan.

Ichiro: Setsuko's son, embodying the Americanized youth and the generational gap that separates him from Ono.

Noriko: Ono's other daughter, whose marriage prospects serve as a catalyst for Ono's introspective journey.

Michiko and Kanji: Ono's deceased wife and son, whose absence casts a long shadow over the narrative.

Seiji Moriyama: Ono's mentor, a master of the "floating world" style of art, representing a bygone era. 

Kuroda: Ono's former student, whose fate becomes a symbol of the moral complexities of the time.

Chisu Matsuda: The nationalist who influenced Ono's shift towards propaganda art, highlighting the artist's role in political movements.

Yukio Naguchi: A composer of patriotic songs who committed suicide, a stark reminder of the devastating consequences of wartime fervor.

      These characters are not merely figures in a story; they are reflections of the societal shifts and moral dilemmas that define post-war Japan.

The Plot: A Journey Through Memory and Regret :

      The narrative unfolds through Ono's fragmented memories, triggered by Noriko's marriage negotiations. This seemingly simple plot device allows Ishiguro to explore the deeper themes of the novel:

       Ono's past as a propaganda artist comes under scrutiny, forcing him to confront the consequences of his actions.

        The delicate balance between personal responsibility and societal pressures is examined.

    The changing landscape of Japanese society, from the hedonistic "floating world" to the austere nationalism of wartime, is vividly portrayed.

The Dynamics of Art: A Mirror to Society :

     Ishiguro uses art as a lens through which to examine the complexities of human nature. The video explores the various roles that art plays in the novel:

  Art as a source of aesthetic pleasure. Art as a means of commercial success . Art as a tool for political propaganda. Art as a way to portray the life of the common people.

         Ono's journey from a painter of the "floating world" to a creator of nationalist propaganda raises profound questions about the artist's responsibility to society.

A Subtle Optimism: Looking Towards the Future :

         Despite the weight of Ono's regrets, the novel concludes with a note of subtle optimism. As he observes the younger generation, he sees a glimmer of hope for a better future. He acknowledges his past mistakes and expresses a quiet faith that the new generation will learn from the past.

        "An Artist of the Floating World" is a novel that challenges us to confront our own memories, our own responsibilities, and our own understanding of the past. It's a testament to Ishiguro's genius that he can weave such a complex and thought-provoking narrative with such understated elegance.

Video : 4 

      The video focuses on Kazuo Ishiguro’s novel An Artist of the Floating World and explores its themes, narrative style, and the role of art and artists. Here are some point :

1. Themes in An Artist of the Floating World

Title Interpretation: The protagonist, Masuji Ono, initially desires to be more than just an artist of the “floating world” (a term referring to the transient pleasures of nightlife and entertainment). He wants to create art for social change but later drifts toward nationalism and propaganda.

Marriage Negotiations: A major plot movement is the negotiation of his daughter Noriko’s marriage, which has already failed once. In traditional Japanese society, repeated failed negotiations could harm a family’s reputation.

Regret and Guilt: Ono, once a respected artist, later faces rejection. His past actions, particularly his nationalist work, lead to isolation. His students despise him, highlighting the theme of personal and societal reckoning after World War II.

2. Unreliable Narrator and Narrative Technique

      Ono's narration is deceptive he presents himself as a great artist, but as the story unfolds, we see that society resents him.

    The discussion references Wayne C. Booth’s concept of the unreliable narrator, which suggests that modern storytelling often questions the reliability of language and memory.

    Postmodernist narratives often focus on how a story is told rather than the story itself. Shakespeare is mentioned as an example of a great storyteller who took known stories but told them in unique ways.

3. Role of Art and Artist :

Art serves multiple purposes:

1. Aesthetic Pleasure – Art for beauty’s sake.

2. Commercial Purpose – Art for business and profit.

3. Nationalist/Imperial Purpose– Art used for propaganda.

4. Social Cause – Art for the poor and oppressed.

5. Art as Useless – Ono’s father and Plato’s view that artists are deceptive and unnecessary.

     The discussion warns against art becoming hegemonic when it serves political or ideological propaganda, it becomes dangerous. Art should remain independent rather than being a tool for nationalism or power.

4. Language and Manipulation

       The conversation shifts to how language can deceive people, referencing historical and political examples, including misleading statements by leaders.

    The importance of critical thinking is emphasized people should question and analyze language instead of blindly believing what they hear.

5. Nationalism vs. Blind Patriotism

   Nationalism becomes problematic when it leads to hatred or propaganda.The discussion brings up real-world examples, such as how Indian films faced backlash for including Pakistani actors and how nationalistic sentiments can be manipulated.

Video : 5 

An Artist of the Floating World by Kazuo Ishiguro, incorporating the points you emphasized:

Summary of An Artist of the Floating World :

    Kazuo Ishiguro’s An Artist of the Floating World is a novel set in post-World War II Japan, exploring themes of memory, guilt, and the consequences of one’s past actions. The story is narrated by Masuji Ono, a retired painter who once supported Japanese imperialist ideals through his art but now reflects on his past in a rapidly changing society.

Structure and Timeline

      The novel is divided into four sections, marked by specific time periods:

• October 194
• 
  
• April 19
• 
  
• November 1949
• 
  
• June 1950

      These dates indicate the post-war rebuilding of Japan and Ono’s personal struggle with his past.

Unreliable Narrator and Self-Deception

       Masuji Ono serves as an unreliable narrator, a concept introduced by Wayne C. Booth in The Rhetoric of Fiction (1961). He frequently contradicts himself, omits key details, and reinterprets past events to protect his self-image. Throughout the novel, he repeatedly addresses an implied listener, using the pronoun "you" more than 1100 times, suggesting an attempt to justify his past to others or himself.

Examples of his unreliable narration include:

   He contradicts his own memories, making it difficult to determine the truth. He downplays his role in reporting his student, Kuroda, to the authorities, which led to Kuroda’s arrest.

      He attempts to present himself as an honorable figure while subtly shifting responsibility for Japan’s war-time actions onto others.

Themes: Guilt, Betrayal, and Changing Social Values

          A major theme in the novel is guilt and personal responsibility. Ono was once a respected artist who created propaganda art supporting Japan’s militaristic expansion. However, after the war, such views are discredited, and he struggles with whether he should feel remorse.

        His betrayal of Kuroda is a central moment. As a mentor, he once encouraged Kuroda, but later, he reported him for engaging in "unpatriotic activities," leading to Kuroda’s imprisonment. Despite this, Ono does not fully acknowledge his betrayal, instead minimizing his role.

      Another key theme is the generational divide. His daughters, Setsuko and Noriko, represent modern Japan, which wants to move forward and distance itself from the past. This is evident in Noriko’s miai (marriage meeting) in April 1949, where Ono realizes that his past could negatively affect her prospects. To ease tensions with the Saito family, he makes a rare admission:

"There are some who would say it is people like myself who are responsible for the terrible things that happened to this nation of ours."

However, even in this confession, Ono’s sincerity is uncertain.

Thank you for reading 

Reference:-

Ishiguro, Kazuo. "An Artist of the Floating World." Dilip Barad, 14 Jun. 2021, https://blog.dilipbarad.com/2021/06/artist-floating-world.html

DoE-MKBU. "An Artist of the Floating World | About the author - Kazuo Ishiguro | Session 1 | Sem 2 Online Class." YouTube, 23 Feb. 2023, http://www.youtube.com/watch?v=_Zd6XLLyGvg.

DoE-MKBU. "Title of the Novel - Explained | An Artist of the Floating World | Sem 2 Online Classes | 2021 06 17." YouTube, 17 Jun. 2021, http://www.youtube.com/watch?v=htKqgRreDtg.

DoE-MKBU. "An Artist of the Floating World | About the author - Kazuo Ishiguro | Session 1 | Sem 2 Online Class." YouTube, 23 Feb. 2023, http://www.youtube.com/watch?v=_Zd6XLLyGvg.

DoE-MKBU. "An Artist of the Floating World | About the author - Kazuo Ishiguro | Session 1 | Sem 2 Online Class." YouTube, 23 Feb. 2023, http://www.youtube.com/watch?v=_Zd6XLLyGvg.

DoE-MKBU. "An Artist of the Floating World | Characters | Narrative Strategy | Plot Summary | Ending." YouTube, 14 Mar. 2023, Https://youtu.be/z1EhasEkeZ4?si=806si3juF2JKlNMu.

The Birthday Party by Harold Pinter.

This blog was assigned by Megha Ma'am. It focuses on the play The Birthday Party by Harold Pinter and its movie adaptations.Teacher's blog

Harold Pinter: 

           Harold Pinter (1930–2008) was a British playwright, screenwriter, director, and actor, widely regarded as one of the most influential dramatists of the 20th century. He was awarded the Nobel Prize in Literature in 2005 for his work, which is known for its unique blend of menace, dark humor, and sharp political commentary.

Introduction

          Harold Pinter’s The Birthday Party is not an easy story to dissect. It doesn’t provide clear answers, and that’s exactly why it continues to intrigue audiences. First staged in 1958, the play initially confused critics but later became one of Pinter’s most significant works. It blends absurdity with psychological menace, leaving viewers unsettled and searching for meaning in its cryptic dialogue and eerie silences.

         William Friedkin’s 1968 film adaptation brings this tension to the screen, preserving Pinter’s sharp, unsettling language while using cinematic techniques to heighten the claustrophobia and paranoia. Unlike a traditional mystery, where everything eventually makes sense, The Birthday Party thrives on ambiguity. Who are the strangers who arrive at the boarding house? What do they want from Stanley? Is Stanley hiding something, or is he simply a victim?

          To fully grasp the depth of this film, it helps to break the experience into three stages: before, during, and after viewing. This structured approach allows us to engage with the film’s themes, performances, and directorial choices in a meaningful way.

 

Here are the movie directed by William Friedkin.

Before Watching: Setting the Stage

          Going into The Birthday Party, it’s important to know a bit about Pinter and his style. He was known for writing “comedies of menace,” where ordinary conversations take on a sinister edge. His characters often find themselves in situations where language is used as a weapon, and power shifts occur subtly, sometimes without the audience even realizing it.

          Friedkin, on the other hand, is best known for The Exorcist (1973) and The French Connection (1971), films that thrive on suspense and intensity. His adaptation of The Birthday Party brings a similar edge, translating Pinter’s unsettling dialogue into an even more suffocating experience on screen.

Things to Keep in Mind Before Watching

Expect a slow burn—this isn’t a conventional thriller. The tension builds gradually through dialogue and pauses rather than action.

Pay attention to the characters’ conversations. What is said matters, but what’s left unsaid often matters even more.

Think about power dynamics. Who controls the conversation? Who seems to be losing control?

Watch for small, seemingly meaningless details they often carry symbolic weight in Pinter’s work.

During the Film: Observing the Details

         The story takes place in a rundown seaside boarding house where Stanley Webber, a washed-up pianist, is staying. His landlady, Meg, seems fond of him, treating him like a child and planning a birthday party for him, even though Stanley insists it’s not his birthday. Soon, two mysterious men, Goldberg and McCann, arrive. Their polite small talk quickly turns into a psychological assault on Stanley, pushing him toward a breakdown.

Cinematic Choices and Atmosphere

         Friedkin’s direction intensifies the claustrophobia of Pinter’s play. The house feels cramped and shadowy, almost trapping the characters inside. The camera lingers uncomfortably on faces, emphasizing nervous ticks, blank stares, or forced smiles.

         Sound plays a crucial role, too. The film often uses silence as a tool—long pauses that make the dialogue feel heavier. When characters do speak, their words are often repetitive and contradictory, creating a sense of confusion and instability.

Character Interactions: Power and Fear

  Stanley (Robert Shaw):

At first, he seems sarcastic and dismissive, but as the film progresses, we see his fear growing. Is he really an innocent man being hunted, or does he have a past he’s trying to escape?

Goldberg (Sydney Tafler) and McCann (Patrick Magee):

They never clearly state their intentions, but their presence is intimidating. Goldberg speaks in rehearsed, meaningless platitudes, while McCann’s silent, brooding presence is equally unsettling.

Meg (Dandy Nichols):

Her obliviousness adds to the tension. She refuses to acknowledge the growing threat in her home, almost as if she’s in denial of the reality unfolding around her.

One of the most intense scenes is the interrogation of Stanley during the so-called "birthday party." Goldberg and McCann bombard him with bizarre, nonsensical questions:

“What about the Albigensenist heresy?”

“Is the number 846 significant to you?”

None of it makes sense, but that’s the point. They overwhelm him, breaking his sense of self until he can no longer speak at all.

After the Film: What Just Happened?

         Once the credits roll, you’re left with more questions than answers. Who are Goldberg and McCann? Are they government agents? Criminals? Or do they symbolize something larger perhaps society’s crushing expectations or an unseen authoritarian force?

Key Themes to Reflect On

1. Loss of Identity: By the end, Stanley is no longer himself. Dressed in a suit, silent and obedient, he is led away by his tormentors. It’s a disturbing transformation whether he was guilty of something or not, he has been erased.

2. Language as a Weapon: The way Goldberg and McCann use words contradictions, questions that have no answers, and exaggerated politeness turns conversation into psychological warfare. They don’t need physical violence to break Stanley down; language does the job.

3. The Absurdity of Power: There’s no clear reason for the events of the film. Stanley’s fate seems arbitrary, making the story even more terrifying. It reflects how power structures can operate without logic, stripping individuals of agency for reasons they may never understand.

Comparing the Play and the Film :-

       Friedkin stays true to Pinter’s original script, keeping the dialogue intact. However, the shift from stage to screen allows for more visual storytelling subtle glances, shifting light, and lingering close-ups add layers to the characters’ interactions. While a stage production relies on the audience’s imagination, the film makes the tension even more immediate and inescapable.

Conclusion :-

        The Birthday Party is not a film that provides easy resolutions. It demands engagement, forcing viewers to question not just the plot but the very nature of power, identity, and control. Friedkin’s adaptation successfully preserves the chilling ambiguity of Pinter’s work, making it a compelling experience for anyone willing to dive into its psychological depths. If you’re looking for a straightforward story with clear villains and heroes, this isn’t it. But if you appreciate films that challenge your perception of reality, The Birthday Party is a masterpiece worth watching and revisiting.

Thank you for reading...

Reference :

Lesser, Simon O. “Reflections on Pinter’s ‘The Birthday Party.’” Contemporary Literature, vol. 13, no. 1, 1972, pp. 34–43. JSTOR, https://doi.org/10.2307/1207418. Accessed 26 Feb. 2025.

Noura. "The Birthday Party (1968) Dir. William Friedkin." YouTube, 25 Jun. 2023, Https://youtu.be/2hCfFfIeq7A?si=dANa34Hf_yn2GvAZ.

Critique of Religion | God is Power. ( 1984 - George Orwell)

This blog was assigned by Dr. Dilip Sir Barad. It's about George Orwell's novel 1984. For further information, here is the blog link.Teacher's blog

Video : 1 

The phrase "God is power" appears twice in Part 3 of 1984, first spoken by O’Brien during Winston’s interrogation and later written down by Winston himself after his complete acceptance of the Party’s ideology. This phrase encapsulates the Party’s belief that absolute power is the ultimate truth, replacing traditional religious and moral values with total loyalty to Big Brother. Orwell uses this idea to highlight how totalitarian regimes seek to dominate not just people’s actions, but their thoughts and beliefs as well.

Frequency of "God" in 1984

      The word "God" appears around eight times in the novel, each time reinforcing the Party’s ideology and its replacement of religion with state worship. The Party does not allow any belief system that exists outside of its control, even religious faith.

First Reference: The Poet in Room 101

        One of the earliest mentions of "God" occurs when a poet in Room 101 accidentally uses the word while composing a rhyme:

"God" was used to rhyme with "rod."

           For this seemingly harmless act, the poet is immediately punished, demonstrating the Party’s strict control over language and ideas. This moment also reflects the function of Newspeak, which is designed to eliminate words and concepts that could challenge the Party’s authority. By removing words like "God" from common speech, the Party ensures that religious thought and any independent belief system disappears over time.

O'Brien’s Explanation: Power as God

       During Winston’s interrogation, O’Brien expands on the meaning of "God is power" by equating divine authority with the Party’s control:

     He claims that Party members are "the priests of power," suggesting that the Party has replaced traditional religious institutions.

      O’Brien argues that power itself is divine because it allows the Party to dictate truth and control reality.

    He implies that historical religions controlled people’s minds by shaping their beliefs just as the Party does now.

       This explanation reinforces the novel’s totalitarian theme. Orwell presents a world where religious faith is irrelevant because the Party demands absolute obedience. Traditional morality, once defined by religion, is now dictated by Big Brother.

Power Over Individuals: The Destruction of Identity

      O'Brien also explains that power does not belong to individuals it exists only as a collective force. He tells Winston:

       "An individual has power only by ceasing to be an individual and merging with the Party."

      In other words, personal identity must be destroyed for power to be truly effective. The Party does not merely control people’s actions; it erases independent thought, making individuals part of a larger system where personal beliefs and free will no longer exist. Power is not just about physical control it is psychological and ideological.

      The Party’s true power lies in controlling human minds, not just their bodies. This reflects Orwell’s warning about the dangers of totalitarianism, where oppressive regimes seek to eliminate individuality and force people into absolute conformity.

Winston’s Acceptance: "God is Power"

      After enduring relentless torture and psychological manipulation, Winston finally accepts the Party’s ideology. He writes "God is power", signifying his belief that the Party’s control is absolute.He no longer questions the Party’s version of truth, history, or morality.

      He acknowledges that whatever the Party declares to be reality must be accepted without question.

      At this moment, Winston’s spirit is completely broken. The phrase "God is power" is no longer just something O’Brien tells him it is something he now believes. This symbolizes the Party’s total victory over Winston’s mind.

Significance of the Quote

1. Power as the Ultimate Truth

        "God is power" represents the Party’s core belief: power is the highest authority. The Party replaces religious faith with worship of the state.

       The novel critiques the dangers of absolute political power, showing how it can control even people’s thoughts.

2. The Party’s Aim: Replacing Religion and Morality

      Orwell compares totalitarian rule to religious dogma, where people must believe without questioning. Just as religious institutions once dictated morality, the Party now decides what is right and wrong. Big Brother replaces God as the ultimate source of truth and faith.

3. Reflection of Totalitarianism’s Corrupting Influence

     The Party’s power mirrors dictatorships throughout history that sought to control every aspect of life. The novel demonstrates how power corrupts those in control will do anything to maintain it. Orwell warns that blind devotion to any leader or ideology whether political or religious can lead to oppression.

The Novel’s Warning: The Dangers of Totalitarianism

      Orwell uses 1984 to warn against the consequences of absolute power. The Party’s dominance leads to:

Oppression and exploitation individuals lose all rights and freedoms.

The destruction of truth history and reality are rewritten by those in power.

The suppression of independent thought people are forced to believe contradictions, even when they know they are false.

The novel serves as a cautionary tale, showing how governments can manipulate ideology to maintain control over society.

Critique of Religion in 1984

The video also suggests that 1984 is not just a critique of political power, but also of religion itself:

The Party uses doublethink to manipulate beliefs, just as some religious institutions use paradoxes to enforce faith.

Orwell implies that religion and totalitarianism both demand absolute belief often without questioning.

The Party’s slogan "War is Peace, Freedom is Slavery, Ignorance is Strength" mirrors the contradictions found in religious or political ideologies that force people to accept illogical statements as truth.

While Orwell does not explicitly attack religion, he suggests that any system that demands unquestioning faith whether political or religious can be used to control people.

Conclusion :-

      In 1984, the phrase "God is power" represents the Party’s complete domination over reality. Orwell uses this concept to highlight the dangers of absolute power, the destruction of individual thought, and the replacement of religion with state ideology. By equating power with divinity, the Party ensures that Big Brother is the sole authority, eliminating any competing belief systems. The novel ultimately serves as a warning against totalitarianism, showing how blind devotion whether to a political leader, ideology, or even religious doctrine can lead to oppression and the erasure of free will.

Video: 2

The video explores the religious critiques present in 1984 by George Orwell, drawing parallels between the novel and organized religion, particularly Catholicism. While 1984 is primarily seen as a political satire, the video questions whether it can also be interpreted as a critique of religious institutions.

Parallels Between Religion and 1984 :

The discussion begins by examining how the structure of Orwell’s dystopia mirrors religious systems. The three superstates Oceania, Eurasia, and East Asia are compared to the three major Abrahamic religions: Judaism, Christianity, and Islam. The Party’s demand for absolute loyalty and belief in contradictory truths is likened to religious faith, which often requires adherence to dogma.

Confession and the Role of Power :

     The novel’s system of forced confessions bears similarities to Catholic confessions. Winston’s journey, from resisting the Party to ultimately surrendering, mirrors a religious sacramental experience that includes penance, mortification, and restoration. The Party’s control over individuals’ minds is depicted as a spiritual conversion, where believers must abandon independent thought and embrace the Party’s doctrine.

    Orwell further reinforces this connection by describing the Inner Party members as "priests of power." Power itself is treated as divine, replacing traditional religious belief with the worship of the Party. Big Brother functions as an omniscient god-like figure, always watching and guiding his followers.

Religious Symbolism in the Party’s Structure

      The Party’s pyramidal hierarchy is compared to the Christian Trinity, with different levels of authority ensuring strict control over people’s lives. Rules governing behavior, such as restrictions on sexuality and the regulation of marriage, reflect religious influence.

     Room 101, where Winston is psychologically broken, is compared to Dante’s Inferno or Purgatorio, with O’Brien acting as a Lucifer-like figure. The purpose of Room 101 is not just punishment but "purification," ensuring total submission to the Party’s ideology.

Orwell’s Personal Views on Religion

      The video also examines Orwell’s own views on religion, citing his writings where he expressed his dislike for God and Jesus. His experiences during the Spanish Civil War, where he saw the Catholic Church collaborating with fascist regimes, reinforced his skepticism toward organized Christianity. This anti-religious sentiment is also reflected in Animal Farm, where the character Moses and his tales of "Sugar candy Mountain" symbolize religion’s role in pacifying the oppressed.

Conclusion :-

       The video concludes by arguing that 1984 is not only a critique of totalitarian political systems but also a warning against the dangers of religious institutions that demand absolute obedience. It suggests that Orwell viewed both political and religious ideologies as potential threats to democracy, capable of suppressing free thought and individuality.

Thank you for reading..

Reference:-

DoE-MKBU. "Critique of Religion | 1984 | George Orwell." YouTube, 21 Feb. 2023, http://www.youtube.com/watch?v=Zh41QghkCUA.

DoE-MKBU. "God is Power | 1984 | George Orwell." YouTube, 21 Feb. 2023, http://www.youtube.com/watch?v=cj29I_MU3cA.