Tuesday, September 30, 2014

Observation by Kathleen M. Bailey




Paper No:  12-A

Paper Name:  English Language Teaching – 1


NO:  27

Guided By:  Parth Bhatt.

Submitted To:  Department of English Maharaja Krishnakumarsinhji Bhavnagar University.




Topic: Observation by Kathleen M. Bailesy
Introduction:
What is observation?
                                         
Observation is an important part of learning how to teach. Much of what beginner teachers need to be aware of cannot be learned solely in the university class. Therefore classroom observation presents an opportunity to see real-life teachers in real-life teaching situations. In their reflections, many of our teacher friends mention their observations and how these observations influence the way they plan and teach. Teachers are forever reflecting and making decisions, and when they see someone else in action, in as much as they are seeing someone else, they are almost simultaneously seeing themselves. This means that observation is important at every stage of a teacher’s career. In this section we will discuss the importance and value of observation Classroom observation describes the practice of sitting in on another teacher’s class to observe, learn and reflect. Various aspects of the class can be examined, such as routines, use of time, schedule, participation, teaching strategies, management strategies, learner interest, and much more. A teacher will naturally look for support on an issue that is difficult for him or her, but it is often a great method of being exposed to a new and different approach to teaching.
Observation is important at every stage of a teacher’s career. In areas of Asia, professional development has for a very long time included what is known as demonstration lessons; a master teacher, who has perhaps prepared students with some new strategies, invites many local teachers into their classroom to observe, and following the lesson a question and answer period takes place. All of the teachers involved, regardless of whether they are master teachers or beginning teachers, have the opportunity to dialogue together and learn from one another. This is a more recent trend in North America; schools are now trying to create opportunities for teachers to observe other teachers in their subject area, either in their own school or in other schools.
Professor Bailey is currently serving as president and chair of The International Research Foundation for English Language Education (TIRF) Professor Bailey served as a member of the worldwide USIA English Teaching Advisory Panel from 1992-95, and on the Teachers of English to speakers of other Languages.(TESOL). She was a member of the editorial boards of:
·         The Modern Language Journal
·         The Asian Journal of English Teaching
·         Language Teaching Research
·         The International Journal of Language Studies.
We typically think of observations as having been seen “with our own eyes,” but in science, observations can take many forms. Of course, we can make observations directly by seeing, feeling, hearing and smelling, but we can also extend and refine our basic senses with tools: thermometers, microscopes, telescopes, radar, radiation sensors, X-ray crystallography, mass spectroscopy, etc. And these tools do a better job of observing than we can! Further, humans cannot directly sense many of the phenomena that science investigates and in such cases, we must rely on indirect observations facilitated by tools. Through these tools, we can make many more observations much more precisely than those our basic senses are equipped to handle.
In Language teaching and applied linguistics, classroom observation has historically served four broad functions. First pre-service teachers are often observed in the practicum context by teacher educators, who typically give them advice on the development of their teaching skills as a regular part of pre-service training programmers’. Second, practicing teachers are observed either by novice teachers or by colleagues, for the professional development purposes of the observer. Third, practicing teachers are observed by supervisors, course co-co-coordinator’s, department heads, principals or head teachers, in order to judge the extent to which the teachers adhere to the administration’s expectations for teaching methods, curricular coverage, class control, etc. Fourth, observation is widely used as a means of collecting data in classroom research.
            Observation, as the term is used here, refers to the purposeful examination of teaching and learning events through systematic process of data collection and analysis. Such events may occur in untutored environments or in formal instructional settings. This essay focuses on observation in language classroom environments. In each of the four contexts outlined above, teachers and learners have often been observed by outsiders. Recently, however, teachers themselves have undertaken classroom observation for a variety of reasons. These include peer observation for professional development purposes, peer coaching and action research.
            Observation in second and foreign language classrooms has been strongly influenced by the traditions of observation in first language (L1) classrooms in general education settings. Concerns that unstructured observation (whether for super vision or teacher education purposes) could be subjective or biased led to the development of ‘objective’ coding systems, called observation schedules, which were used to document observable behaviours in  classrooms, either as they occurred or with electronically recorded data.
            ‘COLT ’(Communicative Orientation of language Teaching) is an example of an observational instrument which was developed as a result of changes in language pedagogy. COLT’s categories reflect developments in communicative language teaching (CLT), such as the use of information gap activities. The data yielded by COLT both describe classroom activities and analyse the features of the communication between teachers and students. For copy of the COLT system, see Allen et al or Allwright and Bailey.
            A different direction in the emergence of new observation procedures was the development of discourse analysis as a viable subfield in linguistics. Discourse analysis examines both written and spoken texts, so discourse analytic procedures can be brought to bear on classroom speech as a data base. Sinclair and Coulthard, working with transcribed recordings of L1 classrooms in England, developed a system which was subsequently used by language researchers to analyse transcripts from L2 classrooms. The discourse analytic approach to observation spurred by Sinclair Coulthard typically yielded a finer grained analysis than did the earlier coding systems. For a copy of this system, see Sinclair and Coulthard or Allwright and Bailey. Sinclair and Coulthard also provide examples of coded classroom data.
       
            Regardless of the context, one of the problems associated with classroom observations is what Labov has called ‘the observer’s paradox’, that is by observing people’s behavior we often alter the very behavioural patterns we wish to observe. There are some steps which can be taken to overcome this paradox. For instance, when observing teachers and learners in language classrooms, it is a good idea to explain the purpose of the observation in general terms. If the learners don’t know why an observer is present, they often assume that they and their teacher are being observed for supervisory purposes. This assumption may cause them to either act out or be better behaved than usual! Also, when using an obtrusive form of data collection, such as a video camera, it can be helpful to familiarize the learners with the equipment. It’s also useful to visit the classroom often enough over time that the teacher and the students become desensitized to the presence of the observer and the recording device.
              Related to the issue of the observer’s paradox is the extent to which the observer participates in the activities being observed. There is a range of possible involvement, from being a nonparticipant observer to being a full participant observer. In its purest form, participant observation is conducted by someone who is a member of the group under investigation. Of course, a visitor observing a lesson can also participate in group work or do the exercises as well. Another issue is the extent to which observations are conducted overtly or covertly. The assumption underlying covert observations is that if people don’t know they are being observed they will behave more naturally. Some schools of education build special observation classrooms with one-way mirrors so that students and teachers can be observed unawares. Some language learners and teachers have kept daily journals as a means of recording their observations, without the other members of the class knowing that data were being collected. Normally, however, in the resulting data, people would be identified only by pseudonyms, and it is generally considered bad form to tape record or video-record people’s behavior without asking their permission.
            Lately teachers themselves have been utilizing classroom observation procedures of their own purposes. These include peer observation for professional development or a more formalized and reciprocal system of peer coaching. In peer coaching teachers engage in
            In recent years, as introspective and retrospective data have gained wider acceptability, teacher’s and language learners’ journal documenting classroom events have provided a different sort of observational data for classroom research. In some cases, such journal records are used in conjunction with other forms of observational data. For instance, Block used a combination of students’ oral diary entries, the teacher’s journal and tape recording of classes in spain in his report of teachers’ and learners differing perspectives on classroom events. Classroom observation can often help expose teachers to new methods of teaching that might not have occurred to them before hand. It may be threatening to be subject to peer observation since teachers might feel territorial and defensive in their classroom and protective of their resources and ideas. However, when it is done in a considerate and respectful fashion. Observation can   be beneficial for both the observing teacher and the teacher being observed. Below are some benefits of observation in the classroom.
            For example, it would be difficult to imagine an SL classroom without pair work activities. In other classes and other subjects one might observe group work activities; however, due to the linguistic content, there would be significant differences between the interactive exercises. In other subjects group work or a pair SL learners require much more structure in an activity than beginners in other courses, because the structure increases the likelihood of success.
            As the Accessibility of affordable audio and video recorders has increased, the use of transcripts from recordings has become much more common in classroom research. Very few researchers collect primary data with only ‘real-time’ coding these days, although many instruments originally designed for real-time coding can be used in the analysis of recordings and the resulting transcripts are subjected to coding with an observation schedule or a fine grained discourse analysis is largely a question of the researcher’s purpose.
            Producing the original transcript, however, can be a very time-consuming and tedious process. Allwright and Bailey report that it often takes up to 20 hours of transcription time to produce an accurate and complete transcription of a one hour language lesson. Depending on what one wishes to observe, transcripts can be simple orthographic renditions of speech or highly detailed linguistic representation which indicate in breaths, pauses in micro seconds, hesitations, overlaps stutter starts, hesitation and phonetic renderings of utterances. One set of suggested transcription conventions can be found in Allwright and Bailey and Van Lier offers a helpful appendix about transcription in classroom research For a more detailed treatment of transcription and coding, see the anthology edited by Edwards and Lampert.
The use of multiple data sets is an example of what is called triangulation, a concept borrowed by anthropologists as a metaphor from land surveying and navigation. idea is that one can get a better fix on a distant point by measuring it from two different starting points (hence the image of triangle). In anthropological research, triangulation refers to process of verification which give us confidence in our observations.s
Denzine Describes Four different types of triangulation:
·         Data triangulation, in which different sources of data (teachers, students, parents, etc.) contribute to an investigation.
·         Theory triangulation, when various theories are brought to bear in a study;
·         Researcher triangulation, in which more than one researcher contributes to the investigation;
·         Methods triangulation, which entails the use of multiple methods (e.g. interviews, questionarise, observation schedules, test scores, field notes, ect.) to collect data.
Triangulatrough  provides a means for researchers working with non quantified data to check on their interpretations by providing enhanced credibility through the incorporation of multiple points of view and various data sets.
Whether classroom observation is used for teacher education, supervision, teacher development or research, there are now numerous instruments and codified producers for working with observational data. In addition, in action research, peer observation and peer coaching, teachers themselves use a variety of procedures for observing classroom interaction, and analysis the data collected during observations.
The Course is interactive. Teachers sit in groups of about six per table, tasks and activities are designed to model the participatory, learner centered approach of the new curriculum and to give the teachers a lived experiences of these pedagogies. Over the three-year duration of the course, there are eight contact sessions at Rhodes university totaling 40 days that take place during school holidays at the end of each term, as well as a two-day seminar and two workshops per term as a central location near the teacher’s schools.
The purposes of visiting schools and observing lessons are threefold: firstly to give teachers support in reflecting on and improving their classroom practice; secondly, to monitor the extent to which teachers are able to implement new understandings, strategies and pedagogies introduced in the course; and thirdly, for university-based academics to observe rural Eastern Cape schools and classrooms at first hand in order to better understand the challenges facing teachers.
    The current practice, that only pre service (not in service) teacher education courses require systematic lesson observation by an academic, needs to be changed. If one accepts that a central purpose of most in service teacher education courses is to improve teacher’s classroom practice, than one must also build in some mechanism to monitor the extent to which teachers are able to implement new understandings and pedagogies introduced in the course. Finally, to create conditions for systematic and sustained improvement in schooling, it is essential that district- level officials such as Curriculum and Advisors and education Development Officers visit schools regularly and observe teachers in their classrooms in a supportive and monitoring role. These officials cannot have as their main concern systematic evaluations only. Also, as both has noted, the great silence in south African educational circles about the role of teacher unions in constraining constructive co-operation between district and school needs to be addressed openly.
Observational field notes can be used either as the sole source of data or in tandem with electronically produced recordings. In classroom observation, the observer’s field notes provide a running contemporary on the events which occur in a lesson. The field notes must be carefully prepared and detailed enough to be clear and convincing, It is the observer’s responsibility to recognize the difference between observations which are data based and his or her inferences. This is not to say that inferences or opinions need to be avoided entirely, but that they must be:
1.      Recognised as inferences or opinions by the observer.
2.      Supported by verifiable observational data
3.      Checked with the observer whenever possible.
Field notes provide a human, interpretive dimension to observational data, which is often absent in videotapes, audiotapes or observational schedules. Well written field notes provide credible documentation of interactions and cases. See Carrasco’s description of ‘Lupita’, a child whom the teacher had viewed as passive or unintelligent until the observer’s detailed description documented her interactive skills. One of the difficulties in analysis field notes and transcripts is that some key issues that emerge may not be easily quantifiable, so a content analysis may be  needed to reveal the patterns in the data. Future directions will include the use of computer programs for analyzing transcripts and observer’s field notes about classroom interaction. Some such programs are already available. They work essentially as automatic indexing systems which search for key words and phrases that have been identified by the researcher.
Conclusion:
          Observation Helped learner to observe actual peer scaffolding within the confines of the group work.. The activity where students are able to observe by documenting their own progress made so much sense, that I plan to introduce similar activity in my class. I learned the ways you can keep the discussion going by introducing new ideas and unusual statements. Teacher also provided cultural comments when students talked about Thanks giving. The idea of having a books in general. Shared discussion serves as an additional motivation. One of the important implications for teacher in Hadley (2001) is:
“Supporting students in identifying successful strategies for reading texts in the second language.”
            We compare the teacher’s post lesson critical reflections over time as an example of how their reflective capacity developed. At the beginning of the course teachers were taught the importance of reflecting on one’s practice. Initially all the teachers found reflecting on a lesson difficult to do. One teacher, Thabo, completely misunderstood the purpose. He tried to reflect on a lesson before it was taught. For the first lesson observation. He wrote his reflections while planning the lesson and presented these ‘reflections’ as part of his lesson plan. Rather than reflecting critically on what went well and what needed improvement. Many teachers simply recounted events in their lessons, as Bonisille’s Journal reflection, below, illustrates: One learner was asked to read the poem for the rest class. The teacher explained some of the poetic devices in the poem. Some of the figures of speech dealt with were alliteration, apostrophe, metaphors and smile. The learners were divided in to groups of six. Each group was given a stanza to identify figures of speech and to report back.  Many learners also found it difficult to identify the things they had done well, things which made their lessons a success and without the prompting of the facilitator they tended to focus on what needed to be changed in their lessons. Teachers also utilize classroom observation producers to conduct action research. Action research entails an iterative cycle of planning, acting, observing and reflecting. The observation phases can include all the data collection producers described above, but in this approach they are typically under the teacher’s control. Audio and video recording and teacher’s journals are among the most frequently used forms of data collection in action research observations.

Critical Interpretations of the Story: “The Cask of Amontillado”.



Paper Name:  The American Literature

Paper No: 10


NO:  27

Guided By: Heenaba Zala

Submitted To:  Department of English Maharaja Krishnakumarsinhji Bhavnagar University.




Critical Interpretations of the Story: “The Cask of Amontillado”.
Introduction:
          Edgar Allan Poe was American writer and he was more famous for his short stories. He is well known for his tales of ratiocination, his fantastical horror stories and his genre founding detective stories. Edgar Allan Poe was born in 19th January 1809 in Boston, Massachusetts, United States and He was died in 7th October 1849. Poe and his works influenced literature in the United States and around the world, as well as in specialized fields, such as cosmology and cryptography. Poe and his works appear throughout popular culture in literature, music, films and television. Poe was also known as a writer of fiction and became one of the first American authors of 19th century to become more popular in Europe than in the United States. These are the some Tales written by Edgar Alan Poe:
                                             
v  “The Black Cat”
v  “The Cask of Amontillado”
v  The Fall of the House of Usher”
v  “The Gold Bug”
v  “The Tell Tale Heart”
v  “The Masque of the Red Death”
v  “The Oval Portrait”

                      
“The Cask Of Amontillado” Written by Edgar Allan Poe. This story has been almost universally referred to as Poe’s most perfect short story. In has often been considered to be one of the world’s most perfect short stories. Furthermore, it conforms to and illustrates perfectly many of Poe’s literary theories about the nature of the short story: That is, it is short and can be read at one sitting, it is a mood piece with every sentence contributing to the total effect, it is a completely unified work and while it is seemingly simple, it abounds in ironies of many kinds. Finally, every line and comment contributes to the totality or unity of effect that Poe sought to achieve.
“The Cask of Amontillado” is the Story about Two friends and trust between them and how one friend kill his other friend for his Property. Main character of the Story is Fortunato. This story starts with these lines. These lines spoken by Fortunato’s friend Montresor:
“The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge. You, who so well known the nature of my soul, will not suppose, however, that gave utterance to a threat. At length I would be avenged this was a point definitely, settled but the very definitiveness with which it was resolved precluded the idea of risk. I must not only punish but punish with impunity. A wrong is unredressed when retribution overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has done the wrong”.
With the help of these lines we can understand the deep desire of that friend that how he was feels in security from his friend Fortnato and his properties. This story’s plot is quite simple. The first - person narrator,whom we later discover to be named montresor. Announces immediately that someone named Fortunato has injured him repeatedly and has recently insulted him.Montresor can stand no more; he vows revenge upon Fortunato. The reminder of the story deals with Montresor’s methods of entrapping Fortunato and effecting his revenge upon the fortunate Fortunato know of his hatred. Accordingly, one evening during carnival time, a time when much frivolity and celebration that he would be taking place, Montresor set his fiendish, mad plan into motion with full confidence that he would never be discovered. In fact, at the end of the story, we are certain that his atrocity will never be discovered in the story.
            Poe is Master I create the fear in reader and in audience’s mind. In this story he explains it very well. Upon a first reading of The Cask of Amontillado we might be tempted to view Montresor simply as an Unreasonable, cold blooded murdere. He presents us with only a vague understanding of his motivations and his pretense of good will and careful manipulation of Fortunato indicates the care with which he has planned Fortunato’s death. We again have a classic case of poe’s unreliable narrator, whose guilt and occasional irrationality prevents him from presenting himself truthfully to the reader. However, closer inspection shows that Montresor displays a particularly black sense of humor, with which he amuses both himself and the horrified reader as he leads Fortunato into his trap. He informs the audience of his intentions before he begins the story of his last encounter with Fortunato and Poe employs both verbal and dramatic irony to convey the darkness of the story.
            In The Cask of Amontillado Verbal irony occurs between Fortunato and Monstresor. When the literal meaning of what the speaker says contrasts heavily with the speaker’s actual message. For example, Poe gives the victim the name of Fortunato. This may mean “Fortunate” in Italian, but adds an extra element of cynical humor to Fortunate’s jovial and unsuspecting character. Montrsor’s dialogue makes particular use of verbal irony, since he is aware that Fortunato has no idea what awaits him and thus will totally misinterpret Montresor tells his victim, “My Dear Fortunato, You are luckily met”. That time Fortunato  interprets these words to mean that Montresor is fond of him and is only happy to see him because Montresor can  now carry out his murderous plans. Furthermore, the Fortunato’s fate. Other examples of verbal irony include Montresor’s showing of the trowel to Fortunato to prove he is a Mason Montresor is about to become a mason by inspiring Fortunato, but he is not a Freemason.
My Dear Fortunato, you areluckily met. How remarkably well you are looking today. But I have received a pipe of what passes for Amontillado, and I have my doubts.” “How?” said he “Amontillado, A pipe? Impossible! And in the middle of the carnival!” “I have my doubts,” I replied; “and I was silly enough to pay the full Amontillado price without consulting you in the matter. You were not to foun, and I was fearful of losing a bargain.” “Amontillado!” “As you are engaged, I am on my way to Luchresi. If any one has a critical turn it ishe. He will tell me”
“Luchresi cannot tell Amontillado from Sherry.|”
“And yet some fools will have it that his taste is a match your own.”
                            
Because both the audience and Montresor are aware of the unfortunate Fortunato’s impending death, dramatic Irony also plays a role in the comedy of horrors of “The Cask of Amontillado.” Dramatic irony is the result of the disconnect that occurs when a character namely, Fortunato is not aware of the true meaning of his own actions. The very setting of the ironic, in that Montresor has chosen the jovial carnival season to enact his murder because no one will be at his estate to witness the crime. Fortunato himself is dressed in a jester’s outfit and the jingling of his jester’s bells remind us of the atmosphere of happiness and cheer outside the catacombs. Later, as they drink the Medoc, Fortunato drinks to the dead and buried, not realizing that he is about to join them and Montresor drinks to Fortunato’s health.
“Come,” I said, with decision, “we will go back; your health is precious. You are rich, respected, admired, and beloved; you are happy, as once I was. You are a man to be missed. For me it is no matter. We will go back; you will be ill, and I cannot be responsible. Besides, there is Luchresi” “Enough,” He said; “the cough’s a mere nothing; it will not kill me. I shall not die of a cough.” “True – True,” I replied; “and, indeed, I had no intention of alarming you unnecessarily – but you should use all proper caution. A draught of this Medoc will defend us from the damps.
“Drink,” I said, presenting him the wine.
            In these lines we can see that how Montresor creates the intrigue against the Fortunato, and how Fortunato trap in that intrigue and he suffers a lot and at the end he was died. The key to the humor in the story is that despite Montresor’s sardonic jabs, Fortunato does not realize the extent of his danger until he has been chained to the granite and even then he remains too drunk to completely comprehend what has taken place for some time. After repeatedly insulting Luchesi for his lack of intellect, Fortunato shows himself to be even more the dupable fool. Because of Fortunato’s drunken and therefore unsuspicious condition, we do not know if Fortunato would have been any cleverer in his normal state. Neverthless, by the end of the story Montresor shows himself to be both the more villainous and the more intelligent being. As he tells Fortunato he comes from a family with a motto and a coat of arms that indicates a long tradition of revenge and he ignores any pangs of great sickness by blaming the damp and shutting Fortunato into the burial ground of his avenging family.


“Proceed,” I said; “Herein is the Amontillado. As for Luchresi”
“He is an ignoramus,” interprutted my friend, as he stepped unsteadily Forward, while I followed immediately at his heels. In niche, and finding an instant he had reached the extremity of the niche, and finding his progress arrested by the rock, stood stupidly bewildered. A moment more and I had fettered him to the granite. In its surface were two iron staples, distant from each other about two feet, horizontally. From one of his waist, it was but the work of a new second to secure it. He was too much astounded to resist. With drawing the key I stepped back from the recess.
“Pass your hand,” I said, “Over the wall; you cannot help feeling the nitre. Indeed, it is very damp. Once more let me implore you toreturn. No? Then I must Positively leave you. But I must first render you all the little attentions in my power.”
“True,” I replied; “the Amontillado.” As I said these words I busied myself among the pile of bones of which I have before spoken. Throwing them aside, I soon uncovered a quantity of building stone and Mortar. With these Materials and with the aid of my trowel, I began Vigorously to wall up the entrance of the niche.
            These lines are the Examples of the Verbal irony in this story. The clues to the basically ironic nature of the story can be seen in many separate details which suggest that the truth is just the opposite of the surface appearance. The central irony lies in Montresor’s coat of arms--which depicts a large human foot crushing a serpent whose fangs are embedded in the heel--and his family motto: No one harms me with impunity. There is irony also in Montresor’s criteria for a successful revenge: that a wrong is unredressed when retribution overtakes its redresser or when the avenger does not make clear that he is acting out of revengeory.
            The reader should realize, as Montresor does not, that despite his cleverness and irony, Montresor is an inhuman monster and something of a madnam Montresor’s tone throughout is jocose. Repeatedly, he baits Fortunato by playing on his vanity, suggesting that Luchesi can judge the wine as well, pretending to be his concerned friend, giving his enemy chance after chance to escape. The vaults are too damp, Fortunato has a cough, his health is precious and they should turn back. With fore knowledge, Montresor observes that Fortunato will not die of a cough and drinks to his long life. Montresor interprets his family’s coat of arms signifying, he says that no one injures him with impunity, a warning that Fortunato has ignored When he will use to wall up his enemy. Thus, Montresor plays cat and mouse with his victim. After chaining his enemy, He implores him to return then says he must render him “all the little attention in my power,” and proceeds to the masonry. Clearly, he savors every moment of his murderous revenge. When Fortunato begins to scream, Montresor reveals his own madness. Unsheathing his rapier, he thrusts about with it and then responds by echoing and surpassing the cries of his victim. At the end, he returns to his jocose tone, observing that his heart grew sick on account of “the dampness of the catacombs,” and concluding, fifty years later, “In pace requiescat”:                                                                      
            Poe’s use of color imagery is central to his questioning of Montresor’s motives. His face covered in a black silk mask. Montresor represents not blind justice but rather its gothic opposite blessed revenge. In contrast, Fortunato dons the motley-colored costume of the court fool, who gets literally and tragically fooled by Montresor’s masked motives. The color schemes here represent the irony of Fortunato’s death sentence. Fortunato, Italian for “the fortunate one,” faces the realization that even the carnival season can be murderously serious. Montresor chooses the setting of the carnival for its abandonment of social order. While the carnival usually indicates joyful social interaction, Montresor distorts its merry abandon, turning the carnival on its head. The repeated allusions to the bones of Montresor’s family that line the vaults foreshadow the story’s descent into the underworld. The two men’s underground travels are a metaphor for their trip to hell. Because the carnival, in the land of the living, does not occur as Montresor wants it to, he takes the carnival below ground, to the realm of the dead and the satanic.
The final moments of conversation between Montresor and Fortunato heighten the horror and suggest that Fortunato ultimately—and ironically—achieves some type of upper hand over Montresor. Fortunato’s plea, “For the love of God, Montresor!” has provoked much critical controversy. Some critics suggest that Montresor has at last brought Fortunato to the pit of desperation and despair, indicated by his invocation of a God that has long left him behind. Other critics, however, argue that Fortunato ultimately mocks the “love of God,” thereby employing the same irony that Montresor has effectively used to lure him to the crypts. These are Fortunato’s final words, and the strange desperation that Montresor demonstrates in response suggests that he needs Fortunato more than he wants to admit. Only when he twice screams “Fortunato!” loudly, with no response, does Montresor claim to have a sick heart. The reasons for Fortunato’s silence are unclear, but perhaps his willing refusal to answer Montresor is a type of strange victory in otherwise dire circumstances.

“He! He! He! – he! He! He!- yes, the Amontillado. But is it not getting late? Will not they be awaiting us at the palazzo, the lady Fortunato and the rest? Let us be gone.” “yes” I said, “let us be gone.” “For the love of God, Montresor!” “yes,” “I said, “For the love of God!”
But to these words I hearkened in vain for reply. I grew impatient. I called aloud “Fortunato” No answer. Icalled again “Fortunato!” No answer still. I thrust a torch through the remaining aperture and let it fall within. There came forth in return only a jingling of the bells. My heart grew sick; it was the dampness of the catacombs that made it so. I hastened to make an end of my labour. I forced the last stone into its position; I plastered it up. Against the new masonry I re erected the old rampart of bones. For the half of a century no mortal has disturbed them. In pace requiescat!
As in many of Poe's short stories, Montresor is the first-person narrator and appears to be speaking to a specific audience. However, whereas we can suppose that the narrator of "The Tell-Tale Heart" is speaking to some authority figure in order to prove his sanity, in "The Cask of Amontillado" we know very little about Montresor's audience or motivations. The only hint we have comes in the first paragraph, where he implies that his audience already knows something of Montresor's thoughts and personality. The account occurs some fifty years after the event, suggesting that a somewhat older Montresor was never discovered and has not greatly changed his opinion that the crime was justified. Montresor has shown himself to be risk averse, so his audience must be someone that he trusts, perhaps a confessor or a relative. Possibly he is at the end of his life, and now that he can no longer face any severe consequences, he has decided to tell his story. The ambiguity of the circumstances and Montresor's escaping of justice lend a sinister tone to his story, which is further backed by Poe's extensive use of irony.

Conclusion:
So we can say that the theme is revenge. It can be looked at as revenge as a driving force behind a person going so far as to commit a murder or as twisting the mind of a person who is vengeful to begin with. Such a person might be so obsessed with vengeance that he imagines reasons to obtain it.RevengeActually, themes cannot be simply summed up into one word, like "pride" or "revenge." The theme for Poe's "The Cask of Amontillado" would sound something more like, "Vengeance conquers even the highest of men," or "Revenge drives humans to great lengths," etc.The major theme is one of revenge and what the obsession with revenge can do to a person. In this story, Montresor's family prides itself on leaving no insult unavenged. Montresor's obsession with this has perhaps made him imagine that Fortunato has insulted his family just so that he, Montresor, has something to exercise his family's pride on.
The theme can also be one of pride being a person's undoing. Fortunato is proud of his ability as a judge of wines and it is his pride that leads him to his doom. Montresor's pride in his family motto may very well have led him into committing a totally unnecessary murder, by reason of his imagining the so-called injuries and insults of Fortunato.

My Profiles:




The Various Interpretations of the Play “The Birthday Party”


 The Various Interpretations of the Play “The Birthday Party”

Paper Name:  The Modernist Literature

Paper No:  9


NO:  27

Guided By:   Dr.Dilip Barad.

Submitted To:  Department of English Maharaja Krishnakumarsinhji Bhavnagar University.





The Various Interpretations of the Play “The Birthday Party”
Introduction:

          Harold Pinter was born in 1930. He was born in Hackney, a working-class neighborhood in London’s East End., the son of a tailor. His parents were Jewish born in England. Harold Pinter is an English playwright who achieved international success as one of the most complex post World War II dramatists. Harold Pinter’s plays are noted for their use of silence to increase Tension, Understatement and Cryptic small talk. Equally   recognizable are the ‘Pinteresque’ themes nameless menace, erotic fantasy, Obsession and jealousy, Family Hatred and Mental disturbance.
“I don’t know how music can influence writing, but it has been very important for me both jazz and classical music. I feel a sense of music continually in writing, which is a different matter from having been influenced by it”.
                                                         
After four more years in provincial repertory theatre under the pseudonym David Baron, Pinter began to write for the stage. The Room (1957), originally written for Bristol University’s Drama department, was finished in four days. A Slight Ache, Pinter’s first radio piece, was broad cast on the BBC in 1959. He Write the play “The Birthday Party”, His first full length play, The Birthday Party was first performed by Bristol University’s Drama department in 1957 and produced in 1958 in the West End. The Play, which closed with disastrous reviews after one week, dealt in a Kafkaesque manner with an apparently ordinary man who is threatened by strangers for an unknown reason. He tries to run away but is tracked down. Although most reviewers were hostile, Pinter produced in rapid succession the body of work which made him the master of ‘The Comedy of Menace’.
Harold Pinter’s Childhood Second World War attack on Jews by German air-raid. In the late 1950s, when Pinter wrote The Birthday Party, the developed nations of the World were deeply mired in a cold war that pitted the communist powers of the Soviet Union and Red China against the free world nations, including both the United States and the United Kingdom. Fears of a third world war, one fought with atomic weapons, were Widespread. At the beginning of the decade, war had broken out in Korea, pitting communist North Korea and its ally, Red China, against South Korea and a United Nations “Police Force” Comprised largely of American troops.
The Play “The Birthday Party” was divided in to Three Act. In this play there are some main characters Like: Stanley Webber, Meg Boles, Petey Boles, Nat Goldberg, Dermonant McCann and Lulu. The Birthday Party is full of disjointed information that defies efforts to distinguish between reality and illusion. For Example, Despite the presentation of personal information on Stanley and his two persecutors, who or what information about his background, but he offers only oblique clues as to why he has intruded upon Stanley’s life. Pinter’s Play we can interpret it with the help of this tools:
a)      The use of oral language.
b)      Non verbal devices.
c)      Symbols.


In Harold Pinter’s “The Birthday Party” has various interpretations:
*      Theme of Absurdity.
*      Shifting Identity.
*      Theme of Blindness.
*      Society’s treatment of an artist.
*      Theme of Death.
*      Theme of Growing up to adulthood from childhood.
*      A Political View.
*      Theme of power play and personality clash.
              In the Birthday Party Reality are clearly shows there, Black car shown as negative symbol. Suggesting that what is important in where the car is going. In pinter’s play we saw sensitive version by William Friedkin.. This play starts with that car and that car is just going. Where? Or why? Director or writer not specifies that but just moving like everyones life going on. That one is starting’s interpretation that life is going on  and after that scene The Birthday party opens in the living – dining area of seedy rooming house at an unnamed seaside resort in England. Petey and Meg Boles, the proprietors, converse while she prepares his breakfast and he reads the newspaper. Their talk is inane, centering on their tenant, Stanley Webber. Petey also tells her of two strangers who might come to rent a room.
Meg: “ Are they Nice?”
             Meg’s query to Petey reveals how important her delusions are to her. The play opens as Meg and Petey at breakfast. She asks Petey inane and reprtitive questions, which sets the tone of not only their marriage but also the atmosphere of the boardinghouse. They are clearly in a rut – the boardinghouse is in disrepair and they have only one boarder – but Meg wants assurance to the Contrary. Her delusion allows her escape from the tedium of her life, but it requires constant attention.
Harold Pinter is successfully creates the fear in readers mind or while watching the movie we can feel that fear with frightening effect. In this play he uses many symbols like Mirror, News paper, Door knocking. Mirror is symbol as Archetype that we can see in the Mirror what we want to see in that but that is not reality of the things that is lie of life or Unrealistic life, Form of illusion, petition. Stanley is a realistic man. He says to truth that he is not like it, to Meg when she asks about her cooking or that bread.  With this scene we can say that Stanley doesn’t want to adjust with Society, and that is conflict with Society.
“Oh Stan, that’s a lovely room. I’ve had some lovely afternoons in that room.”
            Meg decides to wake Stanley for breakfast and goes to his room. Unshaven and half - dressed, Stanley comes downstairs and sits at the table to eat. After Petey goes off to work, Stanley teases Meg about her “succulent” fried bread, but when she becomes affectionate, he gets irritated and complains that her tea is “muck” and the place is a “pigsty.” Woman as a symbol of the main stream of the house. Meg talks with Stanley. When he was upset. Although it is never openly stated, there is a strange sexually – tinged relationship between Meg and Stanley. Meg is openly affectionate with him, sometimes in mothering ways but more often in flirtatious ways. However, the cruelty with which Stanley rebukes her flirtation makes the truth ambiguous. Nevertheless, she ignores his repudiations, insisting he cares for her, her delicious of importance and beauty require that she not only believe the affair is happening, but also that he enjoys it. When Meg says the above line, she is both indicating her belief in their affair and revealing how she will reinvent his feelings to suit her delusion. It is a “lovely room,” no matter what he says.                                                                                                                                 
There is one more symbol that is Stanley’s Glass. His glass is vision that is different from the society.


“You’re a bit of a washout, aren’t you?”
Lulu is a more closer to Stanley than other character. She is described as an attractive woman in her twenties, but Stanley seems unimpressed. In Act 1 Lulu berates Stanley for not leaving the house, and for always being underfoot. When Stanley refuses to go out with her, she insults him in the above manner. The insult still contains a bit of flirtation, though, which indicates both the strange relationship between men and women in the play and her desperate desire to have someone, so strong that she even pursues the out of sorts, lethargic boarder.
In the theme of Absurdity, The Birthday Party is full of disjoined information that defies efforts to distinguish between reality and illusion. For example despite the presentation of personal information on Stanley and his two persecutors, who or what they really are remains a mystery. Goldberg, in particular, provides all sorts of information about his background, but he offers only oblique clues as to why he has intruded Upon Stanley’s life.  While the title and dialogue refer to Meg’s planning a party to celebrate Stanley’s birthday: “It’s your birthday, stan. I was going to keep it a secret until tonight,” even that “fact” is dubious, as Stanley denies that it is his birthday: “This isn’s my birthday, Meg”, telling Goldberg and MacCann: “Anyway, this isn’t my birthday. No, it’s not until next month,” adding, in response to MacCann’s saying “Not according to the lady” “Her? She’s crazy.”
Goldberg is a self centered person. He was just proud in his own self and over confident. The theme of identity makes the past ambiguous, Goldberg is called “Nat,” but in hi s stories of the past he says that he was called “simey” and also “Benny”, and he refers to MacCann as both “Dermot” and “Seamus”. Given such Contradictions, these characters’ actual names and their identities remain unclear. According to John Russel Brown, “Falsehoods are important for pinter’s dialogue, not least when they can be detected only by careful reference from one scene to another. Some of the more blatant lies are so casually delivered that the audience is encouraged to look for more than is going to be disclosed. This is a part of pinter’s two pronged tactic of awakening the audience’s desire for verification and repeatedly disappointing this desire”.
“At all events, McCann, I can assure you that the Assignment will be carried out and the mission accomplished with no excessive aggravation to you or myself.
Satisfied?”.
In this reassurance to McCann, Goldberg reveals the depth of his insidiousness. Not only do they have a sinister purpose in mind the “assignment” but they will also treat it with little personal investment. The tone is businesslike and detached, which is unsetting when we realize that Stanley is the target. This quote also reveals the difference in their characters at the top Goldberg is collected, whereas McCann is jumpy. These roles later reverse somewhat.
Theme of blindness is that man groping in the darkness and search for identity or search for existential human predicament. Like in this play Stanley fight for his identity. His vision is different from other’s vision so he is not ready to accept society’s rules and regulations and society don’t wants to accept him with his freedom.   
“ Why are you call me sir?”
Stanley’s mysterious past is alluded to in several scenes. Here Stanley tries to convince McCann that they are mistaken about his identity without ever directly admitting that they might know him. It is one of the many scenes in which characters talk around one another. When McCann refers to Stanley as “sir”, he overreacts, suggesting that the ruth of the scene is the tension beneath it and not the meaningless language they use.
As Society’s treatment of an artist Stanley is an artist whom society claims back from a comfortable, bohemian pot – out existence. His appearance in last act clean shaven dressed with collar and bowler hat symbolizes that he has accepted or is forced to accept traditional mode of living and thinking. Pinter would have experienced same as a non conventional writer, but he did not succumb to the power and it is not clear whether Stan has really succumbed or not. Last line of Petey:
Petey (Broken) Stan, don,t let them tell you what to do!”
In the theme of death that one is a process of death. Stanley first loses his broken glasses, then his speech, finally ceases to exist. Wheel – barrow and black car is symbolic of hearse where in coffin is carried for burial. He is neatly dressed up as dead body is cleaned and dressed up. Goldberg: “You’re dead, you can’t live, you can’t think, you can’t love. You’re dead.”
During the bizarre interrogation scene in act II, Goldberg gives this assessment, one of the play’s most poignant. It is poignant because it is true not only of Stanley, but ostensibly of everyone in the play, as well as of the apathetic post war Britain that Pinter was commenting on. Too many of the characters choose comfort because it is safer, but the flipside is a depressing apathy. And, as the play suggests, the truth of life never goes away and will sooner or later rear its dangerous, ugly head.
Theme of Growing up to adulthood from childhood is the process of growing up, of expulsion from the warm, Cosy world of childhood. Meg Stanley and Oedipus complex his refusal to go with Lulu strong attachment with Meg he seems to be afraid of sexuality outside of the mother son relationship. His aggression is the result of his mental crisis a struggle with self to overcome sense of guilt. Goldberg in this reference may be taken as father figure Stan’s fear is also an expression of his dread of punishment by the father figure for incestuous impulses. His going in gentleman’s dress up is symbolic of his growing adult and growing adult and going out of warm world of his childhood.
                                               
“Well it’s very very nice to be here tonight, in my house and I want to propose a toast to Stanley, because it’s his birthday and he’s lived here for a long while now, and he’s my Stanley I know him better than all the world, although he doesn’t think so. Well, I could cry because I’m so happy, having him here and not gone away, on his birthday, and there isn’t anything I wouldn’t do for him and all you good people here tonight…”
Meg’s rambling affection for Stanley explains why she has invited these strangers to his birthday party. In her simplistic fashion, she wants what is best for Stanley; she is the only person in the play who truly cares about him. However, her toast also reveals her own personal blindness. Part of his misery is her unceasing attention to him and her delusions which he must continue to entertain. When he attempts to stranger her before being taken away after his broke down, he shows her how he truly feels, which makes her delusions all the more upsetting.
A Political view of the play is A sense of shared guilt to be inactive for the cause of society to raise voice against power of nations on poor nations or by people like Hitler on innocent people. Political thaetre presents an entirely different set of problems. Sermonising has to be avoided at  all cost. Objectivity is essential. The characters must be allowed to breathe their own air. The author cannot confine and consist them to satisfy his own taste or disposition or prejudce. He must be prepared to approach them from a variety of angles, from a full and uninhibited range of perspectives, take them by surprise, perhaps, occasionally but nevertheless give them the frredom to go which way they will. This does not always work. And political satire, of course, adheres to none of these precepts, in fact does precisely the opposite, which is its proper function.
Theme of Power play and personality clash is a personality which a human being presents to the world and to himself of his qualities and abilities which may be different or quite opposite of his real self. Petey’s reading news paper to Meg his symbolic superiority over her but he is impotent to give a child birth is symbolic of asserting her personality over him and an attempt to break his personality. Stanley presents himself as successful pianist and more intelligent than people who live in boarding room but when Goldberg and McCann comes his superiority is lost and is reduced to nothingness.
Meg: “belle of the ball she really was not so but loves to present herself as such to her husband.
Goldberg, too, is shaken and knocked out at the end.
“Yes she does sometimes. Sometimes she forgets.”
Petey seems unconcerned during much of the play, but this line spoken to Goldberg in Act III, shows he knows more than he lets on. When he explains that she sometimes gives him tea and sometimes forgets, he in some ways suggests that he sees nothing more than his physical surroundings. However, considering how tea is a symbol for Meg’s affection and considering Petey’s willingness to lie to her at the end about Stanley’s disappearance, the line also has a significant subtext Petey knows that his wife walks a fine line of sanity, held together by her delusions that can distract her.
“Let’s finish and go. Let’s get it over and go. Get the thing done. Let’s finish the bloody thing. Let’s get the thing done and go!”
Usually, McCann is extremely deferential to Goldberg. Here, However, McCann is flustered and upset because of Goldberg’s seeming disinterest in the job. McCann relies on Goldberg to keep them calm and focused and Goldberg’s trouble in this Act make McCann doubly nervous. He does not want to get invested, since the job troubles him but Goldberg has seemingly gotten invested. McCann cannot handle losing his calm Mentor and so he snaps for a moment.
Conclusion:
We can say that Harold Pinter’s plays have many interpretations. His plays cannot be bound in any single definition. When he get noble prize for it that time he spoke this lines:
“I have often been asked how my plays come about. I cannot say. Nor can I ever sum up my plays, except to say that this is what happened. That is what they said. That is what they did.”

In the last act Goldberg and McCann were seating and there Stanley comes and that time he is come with some changes, with clean cloths, shaving and looking like gentleman. That time Goldberg take his glass from his hand and give him offer that we will give you all the facilities and luxurious life, but behalf of that Stanley has to lost his creativity, freedom, his nature, his art, and we can say his vision towards life after that he cannot live his life on his own rules but he has to live on their rules. If he accept it than and then society or rigidity accept it.  So at the end we can see this type of all interpretations in the play. This is the theatre of the absurd play so in this play we can see the nothingness and absurdity in the play.

My Profiles: