Visits: Central Library, MKBU; Gandhi Smriti-Barton Museum; Barton Library (5 January ,2024)

Visits: Central Library, MKBU; Gandhi Smriti-Barton Museum; Barton Library

On January 5, 2024, we, the students of the Department of English at Maharaja Krishnakumarsinhji Bhavnagar University embarked on a series of library visits in Bhavnagar, including the Central Library of our university, the Gandhi Smriti-Barton Museum, and Barton Library. These visits were meticulously organized by the Library Committee leaders, Insiya and Pooja, serve as a crucial introduction for Juniors to the diverse resources offered by the libraries and museum.

Central Library, MKBU

The day commenced with a visit to the Central Library of MK Bhavnagar University, where PG department students take advantage of the extensive book collection. Established in 1979, the Maharaja Krishnakumarsinhji Bhavnagar University Library serves as an information hub for lecturers, students, and researchers associated with 24 postgraduate departments across constituent colleges. The library boasts an impressive collection, including over 1,57,000 books, 1547 theses, 112 periodicals (106 Indian and 6 Foreign), newspapers, bound volumes, CDs/DVDs, and a special collection of manuscripts.

Membership is open to researchers, lecturers, students, and administrative staff from the university's 26 postgraduate departments and affiliated colleges. Members receive an RFID-enabled laminated identity card, allowing PG students to borrow two books at a time. Books should be returned or renewed within 30 days, with a charge of one rupee per day for overdue books.

During the visit, the library accountant provided instructions on the online library portal, accessible through both mobile devices and university Libray computer. This tech-savvy approach facilitates easy exploration and retrieval of books of interest. Students thoroughly explored the library, including its diverse language sections, and borrowed books.

At the conclusion of the visit, instructions were provided on utilizing the library's borrowing and return machines, offering an enlightening experience. Senior students, with over a year of experience using the library, generously assisted juniors in navigating the library's resources.

At the Central Library, they also instructed us to make use of the recently launched e-library accessible to students, research scholars, and professors of our university.

Barton Museum

Following our visit to the Central Library, we proceeded to explore the Gandhi Smriti-Barton Museum. The museum is organized with the Barton Museum on the first floor and Gandhi Smriti on the second floor.

Barton Museum in Bhavnagar stands as one of the oldest museums in Saurashtra, with a rich heritage inherited from the ancient rulers of the state.

The roots of this historical institution can be traced back to 1881, during the reign of Emperor Takhtasinhji. Under the supervision of the then Deputy Minister Raobahadur Vijayashankar Gavrishankar, son of Gavrishankar Oza, the Ancient Investigation Department was established. The foundation of Barton Library and Museum was laid in 1882, and it officially opened its doors to the public in 1885.

In 1955, the museum found its new home in the specially constructed building of Gandhi Smriti Trust. Subsequently, the official administration was entrusted to the trust. Taking a significant step, the Museum Department of the state government of Gujarat initiated the formation of a museum department, bringing Barton Museum under its purview on October 28, 1982. Since then, the museum has been directly administered by the Museum Department of the Gujarat state government.

This multi-disciplinary museum boasts a diverse array of specimens, including sculptures, bronze paintings and statues, ancient coins, foundation specimens, tribal art/folk art specimens, weapons and ammunition, ancient fossils, ancient folk instruments, inscriptions, and dioramas depicting Kathi culture, among others.

Numerous artifacts and specimens have been unearthed from various villages and towns in Bhavnagar District, such as Mahuva (Madhumati), Katpar (Kundanpur), Talaja (Taaldhwaj), Timana (Timbanak), Hathab (Hastav Prak), as well as Nesdi, Ghogha, Budhels, Shihor, etc. These specimens serve as a reflection of our rich heritage and culture.

The museum's entrance features a diorama illustrating the birth of Earth and its various developmental stages. Notably, relics of a giant animal and fossils discovered in 1936 on Piram Island in the Khambhat Bay near Ghogha Port, 14 miles from Bhavnagar, provide insight into the evolution of ancient living organisms.

The sculpture gallery showcases Hindu, Jain, and Buddhist sculptures spanning from the 7th to the 15th century. Prominent figures include Trivikram (Vishnu), Sheshshayi Vishnu, Surya (Sun), Matrukas, Bhairav, Ganesh, Brahmani, Gandharva, Garud, Parvati, Avalokiteshwar, Bodhisattva, Karyotsarg, Data Dampati, and more.

In this section, Hindu and Jain statues crafted from mixed metals are on display, highlighting noteworthy aspects of Jain foundations.

An exclusive collection of copper plates emphasizes the significance of eternal charity during the royal regime. Prominent among these are the donation plates (Daan-patra) of King Dharsen in 561 A.D., King Shiladitya III in 662 A.D., and of Dhruvsen II in 629 A.D. Additionally, the Bhatark seal of the Maitrak kings at Vallabhi stands out. Ancient inscriptions throughout this section serve as reminders of our rich historical past.

The coin collection encompasses various ruling periods, including the Hiranya pin of Rigved time, the first coins of the republic of Mathura, Yodheya, Ujjain, Takshashila, and coins from the Panchmark, Greek Kshatrap, Gupta, Rajput, Mughal, and British eras. Coins from South India and local states of Gujarat, along with collected coins of Independent India, are also prominently displayed in this section.

The museum also consists artistic collection which includes carved wooden temples, dressing tables, wooden toys from Mahuva, earthen wares from Patan, marble jewelry boxes, metal utensils, ancient locks and keys from Shihor, as well as nutcrackers of various shapes.

In the realm of agriculture, a diverse array of farming tools such as kadiyu, Khapali, Orni, Dhundhiya, Beli, Tarlu, Ghosru, Plough, and more provide insights into traditional farming practices.

The folk instrument collection of Gujarat is rich and varied, featuring string instruments like chonku, Ramsagar, Tingri, Dobru, Ravanhatho, and Sarangi. Rhythm instruments including madal, Bhilodi, Dhol, Pakhwaj, Duf, Daak, Transa, Khanjari, Nargha, Nobat, Tur, Kasi, Joda, Manjira, Thali, Machhli, Khareto, and Karges, along with other instruments like sur, sharnai, mahuvar, roli, karnaat, bhungal, naagfani, kani, tota, are showcased in this section.

The arms and ammunition section features a Tamancha from the 15th century, a model of a 17th-century armored soldier equipped with various weapons, and an array of ancient weapons like Sang, Bhala, Khanjar, Manahai, Lahori, Aasyrian Swords, Tigernali, Jamaiya, Dhariya, and Top-Bandhuk.

Exquisite carvings in ivory and an attractive swing crafted from deer horns are also on display. The museum showcases replicas of wall paintings from Shihor Darbargadh, watercolor paintings by renowned Gujarat artists, and oil paintings by the illustrious painter Raja Ravi Verma, holding an exclusive position within the museum.

Gandhi Smriti:

The Gandhi Smruti complex, fondly referred to as the Gandhi Memorial, was inaugurated in 1955 and stands at the heart of Bhavnagar, directly facing a prominent clock tower. Serving as a testament to Mahatma Gandhi's legacy, the museum was established in the same year and has become a repository for books, rare photographs, and memorabilia that chronicle the life of the Father of the Nation.

Notably, Mahatma Gandhi's association with the University of Bhavnagar, a lesser-known fact, adds a unique dimension to the significance of the Gandhi Smruti complex. This living memorial, conceived in 1955, is intricately connected to the city's central clock tower, creating a symbolic and central point for reflection.

The museum offers a handy booklet providing insights into its references, aiding in the creation of this blog as well. Photography services are available for a fee of 100 rupees, and students enjoy discounted entrance fees. The cost is 5 rupees per head for regular visitors, 50 rupees for foreigners, and 2 rupees for students.

Within the Gandhi Smruti complex, visitors can explore a dedicated Gandhi picture gallery. This gallery showcases an extensive collection of rare photos, and memorabilia that provide a comprehensive narrative of Mahatma Gandhi's life, spanning from his birth to his passing. Complementing this, a small museum featuring ancient artifacts adds historical depth to the visitor's experience.

Furthermore, an established and meticulously organized library on the same floor is a crucial element of the Smruti, providing a valuable resource for individuals in search of profound insights into Mahatma Gandhi's life and teachings. According to the librarian, this library boasts a diverse collection of books across various fields. In the past, the library held significant renown, with a vast collection that catered to the needs of students, teachers, and citizens alike. The library was once a charming hub, frequented by those seeking knowledge and information, contributing to its reputation as a cherished and respected institution within the Gandhi Smruti complex.

Barton Library

Our final stop was the Barton Library, with its establishment dating back to December 30, 1882. King Takhtsinhji Gohil inaugurated the library on the same date and named it after the English political agent Colonel L. C. Barton. To cater to the reading needs of Bhavnagar, the late Diwan Gaurishankar Oza laid the foundation for the "Shri Chhaganbhai Desai Library" in C.E. 1860. This modest beginning was the precursor to the significant establishment known as the "Barton Library," a development that would later make waves in the literary landscape of Bhavnagar.

The library boasts thousands of Gujarati books spanning various subjects, making it an integral part of the state's literary heritage. Barton Library is regarded as an indispensable part of Gujarat's history, and book enthusiasts in the region aspire for it to be recognized as the best in the country. The grand building that now houses Majiraj Kanyashala near the corporation in Navapara was originally the Barton Library in 1882. Interestingly, Mahatma Gandhi was a regular reader, adding to the library's historical significance.

The general membership for the library spans one year from April to March and requires a payment of Rs. 500, covering subscription fees, a refundable deposit, and an entry fee. Members can borrow a single book for 20 days, with a Rs. 2 per day penalty for late returns. A magazine can be borrowed with a book, and a penalty is charged for late magazine returns. 'Diwali' magazines are issuable for 7 days. Lifetime membership spans ten years, costs Rs. 2500, allows borrowing four books for 30 days each, and follows similar rules for late returns and magazine borrowing.

Learning Outcome:

The visit proved to be incredibly enriching, particularly in exploring the vast array of books available. My heartfelt thanks go out to the leaders of the library committee for orchestrating such captivating excursions. Their remarkable enthusiasm has truly inspired us all. Despite having previously visited Gandhi Smriti, Barton Museum, and Barton Library, each visit continues to unveil something new, echoing the sentiments shared by Barad sir that every encounter, whether with books, articles, museums, etc., offers a fresh perspective.

As a student deeply engrossed in the realms of language and literature, delving into history—a force that has profoundly shaped our lives—has always held a special allure. As I wandered through the museum, I found my perspectives shifting, gaining profound insights through the act of observation. For instance, the ancient carvings I encountered revealed a candid portrayal of various aspects of life, including sexuality, shedding light on the openness of ancient societies. These sculptures transcend mere artifacts; they encapsulate the essence of past civilizations—their way of life, their beliefs, and their artistic expressions.

One recurring theme emphasized by Barad sir is that every encounter with the past, be it through visiting a place or examining artifacts, offers a glimpse into the lives of people from bygone eras. Exploring Gandhi Smriti, and encountering authentic images of Mahatma Gandhi, served as a poignant reminder of their struggles, regardless of differing interpretations. Through my visits to both Barton Museum and Gandhi Smriti, I've discerned striking parallels between historical events and contemporary issues, recognizing recurrent patterns that transcend time. This historical consciousness, nurtured through the study of literature, enables us to bridge the gap between past and present occurrences.

Furthermore, the act of observation often unveils a sense of absence, as elucidated by Derrida in the concept of the metaphysics of presence. Noting what is missing prompts us to question and contemplate alternative truths. Thus, cultivating a habit of critical scrutiny becomes indispensable. These insights not only deepen our understanding gleaned from these visits but also underscore the importance of examining both historical and contemporary phenomena with a discerning eye.

[Note: I have taken some portion from my classmate Trushali Dodiya's Blog.]

Thank you so much for reading this blog...

Research Papers

Here you will find all my Research Papers which I have Presented at various Places.

1. Research Paper on Depictions of Mythology in Western and Bollywood Cinemas

Research Paper on Depictions of Mythology in Western and Bollywood Cinemas

Two-Day International Conference on ‘Revisiting History, Ethnicity and Myth in Literature’

at Amity University Rajasthan

‘Depictions of Mythology in Western and Bollywood Cinemas.’

Amity University Rajasthan organized Two-Day International Conference On REVISITING HISTORY, ETHNICITY AND MYTH IN LITERATURE (REHEM), on the day 19 & 20 October 2023. in this Conference I Presented my Paper with the topic ‘Depictions of Mythology in Western and Bollywood Cinemas.’ I attached the Presentation and also whole paper below.

Here is a Presentation:- 

Research Paper:-

Abstract:

The interplay between ancient myths and contemporary storytelling within the realm of media and cinema serves as a captivating subject analysis and examination. This research paper Delves into the dynamic relationship between mythology and modern visual narratives, shedding light on the various ways in which mythological themes, character and narratives are reimagined, adapted, and integrated into cinematic works. By examining a diverse range of examples from both western and bollywood cinema, this study seeks to unravel the intricate connections between cultural heritage, universal themes, and the evolving artistic expressions of myth. This research paper seeks to explain the multifaceted roles that mythology plays in shaping storytelling and collective imagination. It delves into questions of authenticity, representation and the transformative power of myth as it evolves across time,space, and mediums. By examining the ways in which filmmakers reinterpret and adapt ancient myths, this study contributes to a deeper understanding of how mythology continues to captivate and inspire audiences in the digital era. Through exploration of selected films, both western and bollywood, this study analyses how filmmakers adapt myth in their films, this paper offers insights into the dynamic process of mythological storytelling and its ability to bridge temporal and cultural divides. This Research paper explores the intersection of mythology and contemporary cinema adaptations of myths. Modern cinema and filmmakers are modifying myths, this research paper explores these aspects as well.

Key Words: Mythology, Films, Western Cinema, Bollywood Cinema, Modern Cinema, Cultural Heritage.

Introduction:-

Mythology, a universal and enduring facet of human culture, has served as a wellspring of inspiration for filmmakers around the globe. From epic tales of gods and heroes to the moral fables that shape our understanding of the world, myths are a reflection of cultural values, collective memory, and the human condition. In the context of cinema, mythology becomes a dynamic and adaptive force, offering filmmakers a treasure trove of themes, characters, and motifs to weave into their narratives.

In this exploration, we delve into the contrasting approaches taken by Indian Bollywood and Western cinema in their depiction of mythology. While both traditions draw upon ancient tales to craft contemporary stories, they do so within the unique contexts of their respective cultures and cinematic styles. To illuminate this dynamic interplay, we will examine two films as emblematic examples: "Adipurush" from the heart of Bollywood and "Thor" from the annals of Western cinema.

First let’s see What is Myth?

What is Myth?

According to Joshua J. Mark Myths are a part of every culture in the world and are used to explain natural phenomena, where people came from and how their civilization developed, and why things happen as they do. At their most basic level, myths comfort by giving a sense of order and meaning to what can sometimes seem a chaotic world. What one calls “mythology” in the present day, it should be remembered, was the religion of the ancient past. The stories which make up the corpus of ancient mythology served the same purpose for the people of the time as the stories from accepted scripture do for people today: they explained, comforted, and directed an audience and, further, provided a sense of unity, cohesion, and protection to a community of like-minded believers. Campbell, J. (2008).

Types of Myth:-

Scholar Joseph Campbell, who famously advocated for the study of myths, notes how mythology is the underlying form of every civilization and the underpinning of each individual's consciousness. In his seminal work, The Hero with a Thousand Faces, he discusses what he calls the “monomyth”, the similarities in theme, characters, purpose, and narrative progression of myths from different cultures, at different times, around the world and throughout history.

There are many different types of myth but, essentially, they can be grouped into three:

• Etiological Myths
• Historical Myths
• Psychological Myths

1). Etiological Myths:

Etiological myths (from the Greek aetion meaning 'reason') explain why a certain thing is the way it is or how it came to be. This type of myth is usually defined as an origin story. For example, in Egyptian mythology the sycamore tree looks the way it does because it is home to the goddess Hathor, the Lady of the Sycamore. In Norse mythology, thunder is recognized as Thor's chariot racing across the heavens. Etiological myths can offer explanations for why the world is the way it is – as in the story from Greek mythology of Pandora's Box which explains how evil and suffering was released into the world – or how a certain institution came to be – as in the Chinese myth of the goddess Nuwa who kept creating human beings over and over and over until she grew tired and instituted the practice of marriage so humans could reproduce themselves. Characters in myths always serve a definite purpose whether they are explaining marriage or an epic mission or decisive battle.

2). Historical Myths:

Historical myths retell an event from the past but elevate it with greater meaning than the actual event (if it even happened). One example of this is the story of the Battle of Kurukshetra as described in the Indian epic Mahabharata in which the Pandava brothers symbolise different values and provide role models, even if they are occasionally flawed. Kurukshetra is then presented in microcosm in the Bhagavad Gita where one of the Pandavas, Arjuna, is visited on the battlefield by the god Krishna, avatar of Vishnu, to explain one's purpose in life. Whether the Battle of Kurukshetra ever took place is immaterial to the power of these two stories on a mythological level. The same can be said for the religious myths of the Abrahamic narratives of the Bible or the Siege of Troy and its fall as described in Homer's Iliad or Odysseus' journey home in the Odyssey or Aeneas' adventures in the work of Virgil.

3). Psychological myths:

Psychological myths present one with a journey from the known to the unknown which, according to both Jung and Campbell, represents a psychological need to balance the external world with one's internal consciousness of it. However that may be, the story of the myth itself usually involves a hero or heroine on a journey in which they discover their true identity or fate and, in so doing, resolve a crisis while also providing an audience with some important cultural value. Probably the best-known classical myth of this type is that of Oedipus the prince who, seeking to avoid the prediction that he would grow up to kill his father, leaves his life behind to travel to another region where he unknowingly winds up killing the man who was his actual father who had abandoned him at birth in an attempt to circumvent that same prediction. Campbell, J. (2008).

Bollywood, the thriving Indian film industry, is renowned for its diverse array of storytelling techniques and genres. Among these, the incorporation of mythology has been a longstanding tradition, contributing to the industry's rich cinematic tapestry. Filmmakers must navigate the fine line between artistic expression and cultural respect, ensuring that their adaptations do not offend or misrepresent the original myths and their cultural significance.

The representation of mythology in Bollywood is a multifaceted phenomenon that continues to evolve with the industry itself. It serves as a testament to the enduring relevance of ancient narratives in contemporary storytelling. As Bollywood filmmakers continue to explore and reimagine myth, they contribute to the preservation of India's cultural heritage while also shaping the future of Indian cinema. Balancing tradition with innovation, they offer audiences a unique blend of entertainment and cultural reflection, making mythological films an integral part of Bollywood's cinematic landscape. Mark, J. J. (2018, October 31)

Mythological films have spanned genres, and have even had subversive elements in them over the decades. Even though Adipurush is being marketed as a ‘pan-Indian’ film, most of the interest is being generated within the Hindi and Telugu industries. We take a look at the ways in which mythological narratives have evolved in these industries.

Adipurush and Ramayan:

Adipurush" is a Bollywood film that has generated significant buzz and anticipation due to its focus on mythological themes. Directed by Om Raut, the film is an adaptation of the Indian epic, the Ramayana. Let's explore how "Adipurush" engages with mythology and its significance in the context of Bollywood.

Adaptation of the Ramayana: "Adipurush" is primarily based on the Ramayana, one of India's most revered and widely read ancient epics. The Ramayana narrates the life and adventures of Lord Rama, an avatar of the god Vishnu, his wife Sita, and his loyal devotee Hanuman, set against the backdrop of a great battle against the demon king Ravana.

Modern Reimagining:

Bollywood has a long history of adapting and reimagining mythological stories, and "Adipurush" is no exception. The film seeks to present the classic tale in a visually stunning and contemporary cinematic style, employing state-of-the-art technology, special effects, and production values to bring the epic to life for modern audiences. This modern reimagining aims to appeal to a wide range of viewers, including those who may not be familiar with the original epic.

Story Line:

The narrative wastes no time in establishing characters or Ram’s aura (Prabhas as Raghav) or what led to his exile (vanvas) from Ayodhya. It focuses on Sita’s (Kriti Sanon as Janaki) treacherous abduction by Ravan (Saif Ali Khan) and the epic Ram vs Ravan battle fought for her rescue. The film pits Ram’s fearless army comprising Lakshman, Hanuman, Sugriv and their vanar sena against the menacing, and towering Ravan and his immortality. The battle scenes recreate the iconic Avengers’ huddle warding off a larger army of Ravan’s CGI rakshasas. The war (second half) is engaging and redeems a rather stagnant first half that lacks thrill or a sense of urgency that the story demands. Raut struggles to find a balance and consistency between the epic story and its superhero-verse execution. The dialogue lacks the impact that epic heroes of this stature are expected to deliver.

Saif Ali Khan’s invincible Ravan exudes main character energy in this ambitious but stoical retelling of an epic. While Prabhas (voiced brilliantly by Sharad Kelkar) maintains a heroic presence as Ram, it is Saif, with his wicked mannerisms and massive height lift that steals the show. Tanhaji: The Unsung Warrior was testament to his mastery at playing dark and delirious characters and here he raises the bar yet again. The music and background score composed by Sanchit and Ankit Balhara, as well as the songs by Ajay-Atul give a terrific boost to Saif’s monstrous portrayal of Ravan. Adipurush belongs to Saif Ali Khan and Raut succeeds in mounting the character on a massive scale.

The VFX and visual elements are acceptable but not particularly remarkable. The inclusion of 3D effects seems somewhat superfluous. Given its three-hour runtime, one wishes the narrative relied less on special effects and more on exploring the unique qualities of its beloved characters and what sets them apart. Despite a dramatic build-up, the climax falls short of leaving you with a sense of joy, fulfilment, or triumph. This film makes a sincere effort but is somewhat overshadowed by its ambitious attempt to handle a story of such grand proportions.(Vyavahare, 2023)

"Myth" in "Adipurush" serves as the foundation of the film's narrative. The Ramayana is deeply embedded in Indian culture, and its characters and themes are often seen as symbolic representations of virtuous living, righteousness, and the triumph of good over evil. By adapting and retelling this epic story, "Adipurush" continues the Bollywood tradition of exploring cultural and mythological themes that resonate with the Indian audience.

Similarities and Differences between Epic Ramayana and Film Adipurush:-

What are the Similarities and Differences between Epic Ramayana and Film Adipurush?

Similarities	Differences
1. Basic Storyline	1. Medium and Presentation
2. Character	2. Visual and cinematic element
3. Mythological themes	3. Interpretation and Creative Liberty
4. Religious and cultural significance	4. Modern Sensibilities
5. Epic Battle and Death/Ending	5. Music and Choreography

Adipurush is an EPIC DISAPPOINTMENT… Just doesn’t meet the mammoth expectations. Director Om Raut had a dream cast and a massive budget on hand, but created a HUGE MESS," Taran Adarsh tweeted. Adipurush” only really feels like a movie that was directed and not just covered during its slowly escalating finale, which pits Raghava, his brother Sesh/Laxmana (Sunny Singh), and Bajrang against Lankesh and his superhumanly fast second-in-command, Indrajit (Vatsal Sheth). Some of us looked forward to “Adipurush” because it was directed by Om Raut, whose “Tanhaji: The Unsung Warrior” also pulled itself together during splashy, climactic battle scenes. “Adipurush” still looks rough and moves gracelessly even during slow-motion battles, but at least the narrow focus of these concluding scenes gives the movie some dramatic tension. (Abrams, 2023)

In conclusion, "Adipurush" is a noteworthy Bollywood film that showcases the enduring appeal of mythological themes in Indian cinema. By bringing the Ramayana to life in a contemporary and visually spectacular manner, the film not only entertains but also reaffirms the cultural significance of these timeless stories in the hearts and minds of audiences. It serves as a testament to how mythology continues to be a source of inspiration and fascination in the world of Bollywood filmmaking.Bhaskar, A. (2023, June 17)

"Adipurush" and the Ramayana represent two distinct yet interconnected facets of storytelling. "Adipurush" offers a contemporary cinematic experience with its impressive visual effects and modern reimagining of the beloved characters from the ancient epic. It's a showcase of the evolution of filmmaking and technology, aiming to captivate audiences with its visual appeal. However, it sometimes leans heavily on these effects, potentially overshadowing the depth of the characters and the philosophical nuances found in the original Ramayana.

On the other hand, the Ramayana is a timeless epic that has transcended generations and cultures, cherished for its profound exploration of themes such as duty, love, and righteousness. It delves deep into the hearts and minds of its characters, making it a rich source of moral and philosophical reflection. While "Adipurush" may provide a thrilling cinematic experience, the Ramayana endures as a spiritual and literary masterpiece that continues to resonate with audiences worldwide, offering a more profound and enduring narrative. Ultimately, the choice between the two depends on whether one seeks the spectacle of modern filmmaking or the enduring wisdom of a timeless epic.

The Western cinema 'Thor' and Mythological figure 'Thor'

"Thor" (2011), directed by Kenneth Branagh, is a superhero film that is part of the Marvel Cinematic Universe (MCU). While the film incorporates elements of Norse mythology, it primarily draws upon the Marvel Comics version of the character Thor, who is a superhero rather than a god in the traditional mythological sense.

In Western cinema, the use of mythology as a source of inspiration is a common theme. Here are some key aspects of how "Thor" fits into the broader tradition of mythological themes in Western cinema:

1. Adaptation of Mythology:

"Thor" tales characters and themes from Norse mythology and adapts them into a modern superhero narrative. The film features Asgard, the realm of the gods, Thor's iconic hammer Mjölnir, and his father Odin, among other mythological elements. These are woven into a contemporary story, providing a bridge between ancient myths and modern popular culture.

2. Hero's Journey:

Like many mythological tales, "Thor" follows the hero's journey archetype. Thor starts as an arrogant and impulsive prince who is cast out of Asgard and must undergo a transformation to become worthy of his godly powers. This journey of self-discovery and redemption is a common theme in mythology and is a central element of the film's narrative.

3. Conflict Between Good and Evil:

Mythology often features epic battles between forces of good and evil, and "Thor" is no exception. Thor faces off against his brother Loki, who serves as the film's primary antagonist. The conflict between these two characters mirrors the rivalry and enmity found in many mythological stories.

4. Themes of Power and Responsibility:

Mythology often explores themes of power and the responsibilities that come with it. In "Thor," Thor's character arc revolves around his understanding of power and his growth into a responsible leader. This theme reflects the timeless struggle between hubris and humility found in many mythological tales.

5. Interplay of Science and Magic:-

"Thor" incorporates elements of science fiction alongside its mythological themes. The film introduces the concept of advanced technology as "magic" to explain the fantastical abilities of the Asgardians. This blending of science and magic is a common trope in modern interpretations of mythological stories.

In summary, "Thor" (2011) directed by Kenneth Branagh represents a modern interpretation of Norse mythology within the context of Western cinema. It combines traditional mythological elements with contemporary storytelling techniques, making it part of a broader tradition of adapting mythological themes for the screen.

Difference between Thor in Norse Mythology and Movies

Our favourite Marvel hero, Thor, is a character derived from Norse mythology’s god of lightning and thunder. He was the son of Jörõ and Odin. However, Norse mythology is quite a complex and intertwined belief system, and Marvel didn’t keep the character of Thor just like it was described in the mythology. The adaptation is a gist of Norse mythology in all the Thor movies.

Even when there are differences between the Norse mythology’s Thor and the Thor from Marvel movies, we cannot say that there is nothing similar between the two. It is a normal practice for the writers to alter a few characteristics of mythological characters to shape them in the modern world of superheroes.

Here are some significant differences and Similarities that one can spot between the Norse mythology’s Thor and the Thor in Marvel movies:

Similarities	Differences
1. Name and Appearance	1. Characteristics
2. Weaponry	2. Family Relationship
3. God of Thunder	3. Pop Culture References
4.Asgard	4. Complexity of Storylines
5. Famous Enemies	5. Romantic Relationship

The Thor we know from the movies is quite different from the Norse Thor, and the reasons are understandable. As a superhero, it was a need for the character to be represented as strong and thoughtful. Moreover, it has been seen for different Marvel characters that many things about them, from their looks to their personality, were altered to fit them in a superhero role. The same thing applies to Thor as well. He is presented as a hero who can use the Mjolnir just because of his worthiness and tries to be thoughtful, however in myths, none of these things were true.

Just like that, Thor’s family members also differ in the films and myths. The alteration of characters has always been a thing in Hollywood, especially when the characters are based upon mythologies or legends. This is because it is hard to show them as modern world superheroes without making some changes. No matter how many differences there are between our modern Thor and the Norse Thor, we can never stop loving Marvel’s Thor.

Conclusion:-

The exploration of mythology in cinema, spanning across diverse cultural contexts, reveals not only the enduring power of ancient narratives but also the dynamic nature of storytelling. In this comparative analysis, we have journeyed through the portrayal of mythology in Indian and Western cinema, with a specific focus on "Adipurush" and "Thor." These two films, representing their respective cinematic traditions, showcase intriguing facets of how mythological themes are adapted, contextualised, and presented to contemporary audiences.

"Adipurush," rooted in the rich tapestry of Hindu mythology, exemplifies Bollywood's ability to draw deeply from its cultural heritage. The film is a testament to the enduring resonance of epic narratives like the Ramayana and the collective cultural memory they embody. In "Adipurush," we witness the fusion of devotion and modern cinematic techniques, emphasising the power of mythological storytelling to inspire spiritual and emotional connections among Indian audiences.

On the other hand, "Thor" from the Marvel Cinematic Universe epitomises Western cinema's approach to mythology. Drawing from Norse mythology, this film places the ancient god Thor in a contemporary, superhero context. It showcases how Western filmmakers extract timeless archetypes from mythological narratives to construct modern tales of heroism, identity, and sacrifice.

In conclusion, the representation of mythology in Indian and Western cinema is a testament to the adaptability and universality of these ancient narratives. While "Adipurush" maintains its cultural specificity, deeply resonating with Indian audiences through its devotion and traditional storytelling, "Thor" takes a more global approach by extracting universal themes from Norse mythology.

Yet, both films underscore the shared human fascination with myths as a means to explore fundamental questions of existence, morality, and the human condition. They demonstrate that, whether set in the mystical realms of ancient India or the cosmic landscapes of Norse mythology, these narratives continue to captivate and inspire audiences worldwide.

As cinema continues to evolve, the representation of mythology will likely evolve as well, adapting to shifting societal values and technological advancements. However, the enduring appeal of these timeless stories, as showcased by "Adipurush" and "Thor," reminds us that mythology remains a powerful and transcendent force in the world of storytelling, bridging cultures and generations.

In the end, the cinematic portrayal of mythology reminds us that, beneath the surface of cultural diversity, we share a common human quest for meaning and understanding, and these ancient stories continue to guide us on that timeless journey.

Work Cited:-

Abrams, S. (2023, June 16). Adipurush movie review & film summary (2023). Roger Ebert. Retrieved September 18, 2023, from https://www.rogerebert.com/reviews/adipurush-movie-review-2023

Bhaskar, A. (2023, June 17). Adipurush: A look at mythological narratives in Indian cinema. The Indian Express. Retrieved September 9, 2023, from https://indianexpress.com/article/explained/explained-culture/adipurush-a-look-at-mythological-narratives-in-indian-cinema-8669557/

Campbell, J. (2008). The hero with a thousand faces. New World Library.

Difference between Thor in Norse Mythology and Movies. (n.d.). Critics Rant. Retrieved September 15, 2023, from https://criticsrant.com/difference-between-thor-in-norse-mythology-and-movies/

Mark, J. J. (2018, October 31). Mythology. World History Encyclopedia. Retrieved September 9, 2023, from https://www.worldhistory.org/mythology/

Vyavahare, R. (2023, June 16). Adipurush Review: Ramayana rides high on action over ethos in this super-heroic reboot | Adipurush Movie Review. The Times of India. Retrieved September 19, 2023, from https://timesofindia.indiatimes.com/entertainment/hindi/movie-reviews/adipurush/movie-review/101039935.cms

Thank you so much for reading this Blog.

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The Joys of Motherhood by Buchi Emecheta

This blog is written in response to the task given by Megha Ma'am. In this blog I am going to write about some points which already given to us. First I am going to write about author and about this novel.

About Buchi Emecheta:-

Buchi Emecheta: A Voice for Women, Tradition, and Change:-

Buchi Emecheta, born Florence Onyebuchi Emecheta in 1944, was a Nigerian novelist who carved a powerful voice in African literature. Her life and work bridged continents and cultures, exploring themes of gender, migration, tradition, and the fight for independence.

Early Life and Literary Beginnings:-

Born in Lagos, Nigeria, Emecheta's life was marked by challenges. Married at 16, she emigrated to London with her husband in 1962. Facing the struggles of single motherhood and navigating a new society, she began writing to document her experiences. These writings, first published in magazines, formed the basis of her debut novel, "In the Ditch" (1972).

Exploring Identity and Resilience:-

Emecheta's novels often drew inspiration from her own life and the lives of the women around her. Works like "Second-Class Citizen" (1974) and "The Bride Price" (1976) tackled issues of racism, sexism, and the economic plight of immigrant women. "The Slave Girl" (1977), inspired by her mother's experience, offered a poignant look at the horrors of slavery in Africa.

Beyond Personal Narratives:-

While personal experiences fueled her writing, Emecheta's vision extended beyond. Novels like "Destination Biafra" (1982) delved into the Nigerian Civil War, while "The Rape of Shavi" (1983) used allegory to explore colonialism's impact on Africa. Her children's books and autobiography, "Head Above Water" (1986), further showcased her versatility as a writer.

Legacy and Recognition:-

Emecheta's work garnered critical acclaim and numerous awards, including the Order of the British Empire (OBE) in 2005. Her novels are celebrated for their unflinching exploration of difficult topics, their powerful female characters, and their portrayal of the complexities of African identity.

Here are some additional points to consider when writing about Buchi Emecheta:-

• Her feminist voice challenged traditional patriarchal structures and advocated for women's empowerment.
• She navigated the complexities of cultural displacement and identity formation in her immigrant experiences.
• Her work continues to resonate with readers around the world for its raw honesty, powerful storytelling, and timeless themes.

About Novel:- 

Published in 1979, "The Joys of Motherhood" is one of Buchi Emecheta's most acclaimed novels. It delves into the life of Nnu Ego, a Nigerian woman navigating the complex expectations and struggles associated with motherhood, tradition, and societal pressures. Nnu Ego, a Nigerian woman, navigates the complexities of motherhood amidst poverty, war, and societal constraints.

Summary of novel:-

• The novel explores the burdens, sacrifices, and emotional challenges Nnu Ego faces in raising her children.
• Nnu Ego's journey unfolds against the backdrop of a changing Nigeria.
• The novel delves into the clash between traditional Igbo expectations of women's roles and the realities of a modernizing society.
• Nnu Ego's entrepreneurial spirit and independence challenge these norms, leading to both conflict and resilience.
• While constrained by patriarchal structures and cultural expectations, Nnu Ego demonstrates remarkable strength and resourcefulness.
• She fights for her children's survival, builds a business, and endures loss and betrayal, showcasing the resilience of women in difficult circumstances.
• Emecheta also uses the novel to critique societal pressures placed on women, particularly the emphasis on childbirth and the limitations placed on female autonomy.
• The impact of colonialism and war on families and communities is another key theme explored.

Central Themes:-

• The burdens and blessings of motherhood: The novel's title is ironic, highlighting the societal expectation of joy despite the immense challenges Nnu Ego faces in raising her children. It explores the sacrifices, anxieties, and emotional complexities of motherhood amidst poverty, war, and cultural restrictions.
• Navigating tradition and change: Nnu Ego's journey unfolds against the backdrop of a changing Nigeria. The novel explores the clash between traditional Igbo expectations of women's roles and the realities of a modernizing society. Nnu Ego's entrepreneurial spirit and independence challenge these norms, leading to both conflict and resilience.
• Female agency and resilience: Though constrained by patriarchal structures and cultural expectations, Nnu Ego demonstrates remarkable strength and resourcefulness. She fights for her children's survival, builds a business, and navigates loss and betrayal, showcasing the resilience of women in challenging circumstances.
• Cultural commentary and social critique: Emecheta critiques the societal pressures placed on women, particularly the emphasis on childbirth and the limitations placed on female autonomy. The novel also sheds light on the impact of colonialism and war on families and communities.

Key Points to Remember:-

• The novel is set in pre- and post-war Nigeria, primarily in Lagos.
• The narrative shifts between Nnu Ego's past and present, offering a deeper understanding of her motivations and struggles.
• Despite the "joys" in the title, the novel portrays a nuanced and often harsh reality of motherhood for Nnu Ego.
• It remains relevant today, sparking discussions about gender roles, societal expectations, and female agency in a changing world.

Here is Easy summary of this novel which explained in this video:- 

Now there are two questions and answers that I have to write.

1. Do you agree with the statement that “Emecheta attempts to expose the gender politics operating within indigenous Africa” in The Joys of Motherhood? Justify your agreement or disagreement with illustrations.

Ans:-

Yes, the statement that "Emecheta attempts to expose the gender politics operating within indigenous Africa in The Joys of Motherhood" is largely agreeable. Buchi Emecheta's novel delves into various aspects of gender dynamics and power structures within the context of indigenous African society. Here's a justification with illustrations:

1. Traditional Gender Roles: Emecheta portrays the traditional roles assigned to women in indigenous African societies, particularly in Nigeria. Nnu Ego, the protagonist, is expected to prioritize motherhood and family over personal aspirations. Her struggles and sacrifices highlight the societal expectations placed upon women to fulfill their roles as wives and mothers.

2. Male Dominance and Patriarchy: The novel exposes the patriarchal nature of indigenous African societies, where men hold significant power and authority over women. Nnu Ego's husband, Nnaife, embodies this patriarchal dominance, dictating the terms of their marriage and family life. His actions and decisions often take precedence, relegating Nnu Ego to a subordinate position.

3. **Economic Disempowerment of Women**: Emecheta explores how women in indigenous African societies are economically marginalized. Nnu Ego's lack of financial independence and reliance on her husband for support reflect the limited economic agency afforded to women. This dependence further reinforces their subordinate status within the patriarchal system.

4.Challenges to Traditional Gender Norms: Despite the pervasive gender politics, Emecheta also portrays instances of resistance and defiance against traditional gender norms. Nnu Ego's attempts to assert her independence and pursue her own aspirations, albeit within the constraints of societal expectations, demonstrate a subtle challenge to the established gender hierarchy.

5.Intersections of Gender and Colonialism: Additionally, Emecheta subtly explores how colonialism intersects with gender dynamics in indigenous African societies. The imposition of Western ideals and values often exacerbates existing gender inequalities, further complicating the struggles faced by women like Nnu Ego.

Overall, through nuanced characterizations and vivid storytelling, Emecheta effectively highlights the intricate interplay of gender politics within indigenous African contexts, making The Joys of Motherhood a compelling exploration of these themes.

2. Nnu Ego dies, at the end of the story, a lonely death “with no child to hold her hand and no friend to talk to her. She had never really made many friends, so busy had she been building up her joys as a mother” justify this statement by giving illustrations from the novel.

In "The Joys of Motherhood," Nnu Ego's lonely death serves as a poignant reflection of her life's journey and the societal expectations placed upon her as a mother. Here are some illustrations from the novel that justify this statement:

1. Neglect of Personal Relationships: Throughout the novel, Nnu Ego's primary focus is on fulfilling her role as a mother and caretaker, often at the expense of nurturing personal relationships. She dedicates herself wholeheartedly to her children, sacrificing her own desires and ambitions. This relentless devotion to motherhood leaves little time or energy for developing meaningful friendships or connections outside of her familial duties.

2. Isolation in Motherhood: Nnu Ego's sense of isolation is palpable as she navigates the challenges of motherhood largely on her own. Despite being surrounded by her children, she experiences profound loneliness, particularly as her children grow older and become increasingly distant. Her identity becomes synonymous with motherhood, leaving little room for her to cultivate other aspects of her life or forge meaningful connections beyond her role as a caregiver.

3. Lack of Support System: Throughout her life, Nnu Ego lacks a strong support system to lean on during times of need. Her relationship with her husband, Nnaife, is fraught with tension and disappointment, providing little emotional solace. Additionally, the absence of close friendships exacerbates her sense of loneliness and alienation, particularly during moments of hardship and despair.

4. Unfulfilled Expectations: Despite her unwavering dedication to motherhood, Nnu Ego's ultimate fate underscores the harsh reality of unfulfilled expectations. She envisions motherhood as the source of her joy and fulfillment, yet in the end, she finds herself alone and without the companionship she longed for. The discrepancy between her idealized vision of motherhood and the stark reality of her circumstances highlights the inherent sacrifices and hardships she endures throughout her life.

5. Cultural Pressures and Expectations: Nnu Ego's lonely death also reflects the societal pressures and expectations placed upon women in indigenous African societies. The narrative underscores the traditional roles and responsibilities assigned to women, which often prioritize motherhood above all else. Nnu Ego's inability to forge meaningful connections outside of her maternal duties is emblematic of the constraints imposed by societal norms and expectations.

In conclusion, Nnu Ego's lonely death at the end of the story serves as a poignant testament to the sacrifices and struggles inherent in her journey as a mother. Through nuanced characterization and vivid storytelling, Buchi Emecheta highlights the complexities of maternal identity and the profound loneliness that can accompany the relentless pursuit of motherhood in the face of societal expectations.

Thank you so much for reading this blog...

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