Cinema

Assignment Paper: - E-C-404  Mass Communication and Media

                                   Studies

Topic                     : - Cinema

Student’s name    : - Makwana Jayshri D.

Roll no                  : - 14

URL                      :-makwanajayshri261011.blogspot.com

Semester              : - 4

Batch                    : - 2011-12

                                  Submitted to,

                                                Dr. Dilip Barad

                                                Department of English

                                                Bhavnagar University.

Cinema

      Introduction:-

          Cinema has become the most influential art form of 20^th century from its marginal beginnings. India holds eminent position in film making in the world. It produces highest number of films every year whatever may be the quality of the film, they continues to be the popular mass media. Earlier cinema ,was a simple means of mechanical recording, preserving and reproducing mowing visual images ‘cinema’ and ‘Films’ are used interchangeably but there is a difference between these two terms. Cinema has specific means to create imaginary time and space, and utilization of these means defines how cinematic a film is! Films are made of stories dance, music, drama, photography, painting, architecture and many other things that we call cinema. Films mean the particular movies that we see with all the elements they contain and cinema means the some of the means made possible only by film technology which distinguish cinema.     

      A short history of Indian Cinema:-

              Following the screening of the Lumière moving pictures in London (1895) cinema became a sensation across Europe and by July 1896 the Lumière films had been in show in Bombay. The first full-length motion picture in India was produced by Dadasaheb Phalke, a scholar on India's languages and culture, who brought together elements from Sanskrit epics to produce his Raja Harish Chandra (1913), a silent film in Marathi. The female roles in the film were played by male actors. Young Indian producers began to incorporate elements of India's social life and culture into cinema. Others brought with them ideas from across the world. This was also the time when global audiences and markets became aware of India's film industry. As sound technology advanced the 1930s saw the rise of music in Indian cinema with musicals such as Indra Sabha and Devi Devyani marking the beginning of song-and-dance in India's films. Studios emerged across major cities such as Chennai, Kolkata, and Mumbai as film making became an established craft by 1935, exemplified by the success of Devdas, which had managed to enthrall audiences nationwide. The fourth influence was Parsi theatre, which "blended realism and fantasy, music and dance, narrative and spectacle, earthy dialogue and ingenuity of stage presentation, integrating them into a dramatic discourse of melodrama. The fifth influence was Hollywood, where musicals were popular from the 1920s to the 1950s, though Indian filmmakers departed from their Hollywood counterparts in several ways.

      Types of Cinema:-

       1. Commercial Cinema,

               It primarily aims at providing entertainment to the people. It includes the ingredients of popular cinema star system, high budget, abundance of music, song and dance. For example, films like Vaqt, Sholay, Muqhdar ka sikkandar, Hum apke Hain Kaun, are few examples of such films.

      2. Art Cinema,

               It is more realistic and relevant to the needs of people and society. This form is not very popular. It is all called ‘parallel cinema’, ‘alternative cinema’ or ‘new wave cinema’. These new trend films are made at low cost, outside the main stream of commercial cinema.

      3. Regional cinema,

             Regional cinema also developed almost simultaneously in thirties in Gujarat, Maharashtra, Kerala, Bengal, Karnataka, Assam, Tamil Nadu, and Andhra Pradesh e.t.c….

      Hindi Cinema:-

         The Hindi language film industry of Mumbai—also known as Bollywood—is the largest and most popular branch of Indian cinema. Hindi cinema initially explored issues of caste and culture in films such as Achhut Kanya (1936) and Sujata (1959). International visibility came to the industry with Raj Kapoor's Awara. Hindi cinema grew during the 1990s with the release of as many as 215 films. With Dilwale Dulhania Le Jayenge, Hindi cinema registered its commercial presence in the Western world. In 1995 the Indian economy began showing sustainable annual growth, and Hindi cinema, as a commercial enterprise. Institutions such as the Industrial Development Bank of India also came forward to finance Hindi films. A number of magazines such as Filmfare, Stardust, Cineblitz, etc., became popular.

      Gujarati Cinema:-

          The film industry of Gujarat started its journey in 1932. Since then Gujarati films immensely contributed to Indian cinema. Gujarati cinema has gained popularity among the regional film industry in India. Gujarati cinema is always based on scripts from mythology to history and social to political. Since its origin Gujarati cisnema has experimented with stories and issues from the Indian society.   The scripts and stories dealt in the Gujarati films are intrinsically humane. They include relationship- and family-oriented subjects with human aspirations and deal with Indian family culture. Thus, there can be no turning away from the essential humanity of these Gujarati cinema. The first Gujarati movie, Narasinh Mehta, was released in the year 1932 and was directed by Nanubhai Vakil.

      Bengali Cinema:-

                  The Bengali language cinematic tradition has had reputable filmmakers such as Satyajit Ray, Ritwik Ghatak and Mrinal Sen among its most acclaimed. Recent Bengali films that have captured national attention include Rituparno Ghosh's Choker Bali, starring Aishwarya Rai. Bengali filmmaking also includes Bangla science fiction films and films that focus on social issues. In 1993, the Bengali industry's net output was 57 films. The history of cinema in Bengal dates back to the 1890s, when the first "bioscopes" were shown in theatres in Kolkata. The 'Parallel Cinema' movement began in the Bengali film industry in the 1950s.

      Bhojpuri Cinema:-

             Bhojpuri language films predominantly cater to people who live in the regions of western Bihar and eastern Uttar Pradesh. These films also have a large audience in the cities of Delhi and Mumbai due to migration to these metros from the Bhojpuri speaking region. Besides India, there is a large market for these films in other bhojpuri speaking countries of the West Indies, Oceania, and South America. Bhojpuri language film's history begins in 1962. for example, In 2002, the film ‘war and peace; depicting scenes of nuclear testing and the September 11, 2001 attacks, created by Anand  patwardhan, was asked to  asked to make 21 cuts before it was allowed to have the certificate for release.

      Punjabi Cinema :-

         K.D Mehra made the first Punjabi film Sheila, Baby Noor Jehan was introduced as an actress and singer in this film. Sheila was made in Calcutta and released in Lahore, the capital of Punjab; it ran very successfully and was a hit across the province. Due to the success of first film many more producers started making Punjabi between 900 and 1000 movies. The average number of releases per year in the 1970s was 11; it plummeted to seven in 1996 and touched a low of five in 1997. Since 2000s the Punjabi cinema has seen a revival with more releases every featuring bigger budgets, home grown stars as well as Bollywood ssactors of Punjabi descent taking part. The cinema saw its first production of a 3d feature film in 2011 titled pehchan 3d.

      Impact of cinema on society:-

         In the last fifty years, cinema has become not only a serious art form but a field of study by itself. Continues advancements in film technology and high level of conceptualization of the film take viewer to the world outside his day-to-day world providing entertainment which as made cinema a popular medium of masses. The art of cinema has created a widespread and profound impact on the society. The Indian box office has always been energetic and enthusiastic about every production that is being released every Friday. The art of Cinema and all those who have their strong connections with the silver screen entertainment have always been acknowledged and held in high esteem in the Indian society. Cinema has almost become a religion with the increases in number of such mad followers who can be termed as ‘cine extremists’ who would do anything for the cause of cinema.

         If literature has the capability to mirror life, cinema certainly inherits the ability to mirror society and culture.  Cinema is nothing but an attempt to showcase the reality and existence of a particular culture and society on the silver screen. A cinema can have various themes and can be categorically classified as a horror film, action film, and romantic film and so on. Though such themes do fancy the Minds of Film makers it is the social and cultural impact of a film that amounts and brings credit to its success.

      TAARE ZAMEEN  PAR:-

          A fantastic film revealing the true merits of Dyslexic Kids who are gifted with  something in place of the normal qualities . This was an eye opener in terms of educating kids with dyslexic complaints and also morally supports those parents with dyslexic kids. This film is an educational treatise on how children with such complaints must be handled and encouraged.  All wrong notions about dyslexic kids were erased and clarified to the optimum after watching this film.

      MY NAME IS KHAN :-

                 A film that conveys a strong message that Terrorism is not triggered by any religion and community. No religion exercises or empowers a person to kill another in the name of community. The film shows that people are branded in the name of religion and shows how the act of a terrorist from a particular religion could manifest serious trouble on the lives of the other innocent civilians from the same religion.   

                          The above instances are a few selective and creditable examples that stand testimonial to the fact that Indian Cinemas are capable of creating a healthy and positive impact on the society. On the other hand the majority of Indian cinemas of the present age are deliberately produced for commercial aspects which sacrifices ethics and values involved in Film making. Indian Cinemas of such type create and instill notorious thoughts on its viewers who attempt to ape such thoughts and deeds in reality.  Anti social activities such as sexual and communal violence, terrorism is being triggered by such films.  Moreover such films prosper in commercial aspects sending wrong signals to such film makers who consider such productions are liked by the public. Thus it is the hands of young citizens like us to create a change in the society by boycotting such notorious films and promote worthy and notable film productions with chaste ideas and values.

             Films have a hypnotic influence on most children and adults. They imitate the heroes and heroines. They indulge in day dreaming and fantasy and when it increases. Children become unable to accept the hard realities of life. Apart from these, film creates fear, terror, sorrow, and pathos, love and passion, thrill, and stimulation. People suffer from hang over after watching a film. Thus, films have a dynamic influence on people which ultimately affects the society as a whole.

      Film censorship:-

                       What is censorship? Censorship can be broadly defined as the suppression of knowledge or ideas.Used by Governments or organisations to prevent the circulation of material. In wartime information about troop activities, future battle plans etc., will be censored. In peacetime censorship can be more problematic and controversial.The Central Board of Film Certification, the regulatory film body of India, regularly orders directors to remove anything it deems offensive, including sex, nudity, violence or subjects considered politically subversive.

For e.g.   In 2002, the film War and Peace, depicting scenes of nuclear testing and the September 11, 2001 attacks, created by Anand Patwardhan, was asked to make 21 cuts before it was allowed to have the certificate for release. Patwardhan objected, saying "The cuts that they asked for are so ridiculous that they won't hold up in court" and "But if these cuts do make it, it will be the end of freedom of expression in the Indian media." The court decreed the cuts unconstitutional and the film was shown uncut.

      Film Review and Criticism:- 

               Film criticism is the analysis and evaluation of films, individually and collectively. In general, this can be divided into journalistic criticism that appears regularly in newspapers and other popular, mass-media outlets and academic criticism by film scholars that is informed by film theory and published in journals.  Traditionally, film reviews have been seen as a way to assess the artistic merit and public appeal of a movie. Filmgoers use reviews to help them determine whether to view a particular film. As the number of film fans following the advice of reviewers grew, film companies saw profits diminish across a broader number of films. In order to counter this development, film studios increased marketing budgets and avenues of marketing to create more interest in a movie prior to the opening. There has been a decline in the readership of many reviewers for newspapers and other print publications. The vast majority of film critics on television and radio have all but disappeared over the last thirty years, as well. It can be observed that most of the discussion of film on television is focused on the amount of box office business a film does, as if financial success were the only criterion needed to define artistic success. Today arts criticism in general does not hold the same place it once held with the general public

      Advantages of Films:-

            Films as a mass medium have similar advantages as television as far as motion and manipulation of time are concerned. Motion is essential for comprehending certain concepts and messages. For example, science experiments, operation of machines or industrial plants can be shown effectively with motion. Both the media show few hours long event in few minutes. The emotional impact left by films helps in shaping personal and social attitudes.

             Film provide for viewing of phenomena at extremely close range of from a vast distance, which is not possible in television.

              Films can be used for variety of purposes such as entertainment, education, changing motivation and opinions. The messages conveyed through films are retained better due to its reality element. They allow for a creative production approach. It is possible to make different language and cultural versions of a film.

      Limitations:-

          The main limitation of the films is its fixed pace. They move at a fixed pace. Some viewers are likely to fall behind. if they are unable to keep pace with the pace of the film.

         It is very difficult to define the limits of what is “controversial” in films. For example, the film “Aandhi” was banned during the emergency period in India. People did not find anything controversial or objectionable in the film.

          The production of film or a replication of a film are costly, and require huge amount of finances. It requires highly sophisticated equipment for production as well as projection. Film production also requires trained personal such as Director, photographer, sound effects experts, and musician. e.t.c. Once the film production is complete, it is very expensive to make any changes in the film,

   Each film requires individual distribution network, which requires investment of large amount of money and time.

E-C-402 English Language Teaching - 2

Assignment Paper: - E-C-402 English Language Teaching – 2

Topic                     : - CALL

Student’s name    : - Makwana Jayshri D.

Roll no                  : - 14

URL                      :-makwanajayshri261011.blogspot.com

Semester              : - 4

Batch                    : - 2011-12

                                  Submitted to,

                                                Dr. Dilip Barad

                                                Department of English

                                                Bhavnagar University.

 

Computer - assisted Language Learning (CALL)

                 Much of the early history of computers in language learning, in the 1980s and 1990s, was concerned with keeping abreast of technological change. Mainframe computers were at first seen as the task maker: a number of content courses, particularly in English grammar and computer science were provided by the Plato system (Bitzer 1960) at many universities. At the start of twenty - first century 'multimedia' has become virtually synonymous with ' computer’. With these changes, issues in computer - assisted language learning (Call) have also evolved from an early emphasis on how to use the new technology to research on technology's effects on learning. Higgins and Johns (1984) framed the major debate of the 1980s and early 1990s over whether the computer was 'master' of or ‘slave’ to the learning process: Was the computer to be a replacement for teachers, or merely an obedient servant to student? Coincidental with the development of the multimedia personal computer were the changes in our understanding of the teaching and learning of languages. Communicative approaches, content- based learning and task based learning are all enhanced by the use of the computer. Call has branched out in many ways in communicative pedagogy. Technology–enhanced language learning was given a huge theoretical boost when Sydney papert (1993) – creator of the computer language Logo- and others applied the principles of Dewey (1938) and Piaget (1950) to the use of computers. ‘Constructivism’ involves the use of problem- solving during tasks and projects, rather than or in addition to direct instruction by the teacher. In Call this theory implies learning by using computer tools to explore simulated worlds, to build presentations and websites that reflect on personally engaging and significant topics, and to undertake authentic communication with other learners around the world. The chaotic information of the internet, with its largely native-speaker-oriented content recourses, enhances the necessity for students to deploy schema and strategies for efficient learning. Technology thus becomes an ‘environment’ for learning, as well as both tutor and tool. (Egbert and Hanson-smith 1999; see also chapter 30 of this volume)

The Emergence of Call:-

               A definition of call that accommodates its changing nature is any process in which a leaner uses a computer and, as a result, improves his or her language. Although this definition might seem unworkably large, it at least encompasses a broad spectrum of current practice in the teaching and learning of language at the computer. An awareness of this spectrum allows learners, teachers and researchers to recognize appropriate materials and methodologies and adapt others to various teaching and learning styles.

Behaviorist CALL

In the 1960's and 1970's the first form of computer-assisted Language Learning featured repetitive language drills, the so-called drill-and-practice method. It was based on the behaviorist learning model and as such the computer was viewed as little more than a mechanical tutor that never grew tired. Behaviorist CALL was first designed and implemented in the era of the mainframe and the best-known tutorial system, PLATO, ran on its own special hardware. It was mainly used for extensive drills, explicit grammar instruction, and translation tests (Ahmad, et al., 1985).

Communicative CALL

Communicative CALL emerged in the 1970's and 1980's as a reaction to the behaviorist approach to language learning. Proponents of communicative CALL rejected behaviorist approaches at both the theoretical and pedagogical level. They stressed that CALL should focus more on using forms rather than on the forms themselves. Grammar should be taught implicitly and students should be encouraged to generate original utterances instead of manipulating prefabricated forms (Jones & Fortescue, 1987; Philips, 1987). This form of computer-based instruction corresponded to cognitive theories which recognized that learning was a creative process of discovery, expression, and development. The mainframe was replaced by personal computers that allowed greater possibilities for individual work. Popular CALL software in this era included text reconstruction programmers and simulations.

Integrative CALL

The last stage of computer-assisted Language Learning is integrative CALL. Communicative CALL was criticized for using the computer in an ad hoc and disconnected fashion and using the computer made 'a greater contribution to marginal rather than central elements' of language learning (Kenning & Kenning, 1990: 90). Teachers have moved away from a cognitive view of communicative language teaching to a socio-cognitive view that emphasizes real language use in a meaningful, authentic context. Integrative CALL seeks both to integrate the various skills of language learning (listening, speaking, writing, and reading) and to integrate technology more fully into language teaching (Warschauer & Healey, 1998). To this end the multimedia-networked computer provides a range of informational, communicative, and publishing tools that are potentially available to every student.

    The Four skills, grammar, vocabulary and Call:-

                     The term “Study Skills” a general term, which encompasses a wide? Variety of traits is associated with personal growth and development ranging from attitudes to behaviours.Study Skills are skills acquired for the purpose of self-development or for a good career. On the academic front, new learning styles, networking with other students, acquiring communication skills, ability to listen to lectures with concentration, reading a book and taking notes, participating in classroom activities are some of the study skills. The focus of teaching these skills centers on the individual academic or personal growth. The basis for success in academics is hard work, disciplined studying and acquiring the ability to critically assess. As

Time is very precious, time management can also be considered as a Study Skill. Study Skills also include reading academic texts efficiently and effectively; taking notes from lectures and books; doing basic research; using library or computer-based resources; writing academic papers; taking part in discussions; presenting papers; managing study time and preparing for examinations. Encouraging students to be creative and appreciating innovation in students motivate students to excel at what they are doing. Teaching them to plan projects inculcates a sense of responsibility and helping them to manage these projects infuses a sense of accountability. By giving focus to these different types of study skills the communication skills of learners can also be developed by using CALL.

   Grammar and Vocabulary Practice:-

         Beyond naked drills and exercises, teachers find that grammar and vocabulary games can be very motivating for learners in twos or three around one computer screen; e.g. Puzzle maker allows users to on line based on their own word list.

Advantages of a CALL classroom

ü  Computer Assisted Language Learning enhances the motivation level of students.

ü  Teachers can customize any CALL program to the syllabus or course design that they are using to increase the level of proficiency in students.

ü  Computers are useful in-group activities as well as in imparting individualized instruction, which is rarely possible in a traditional classroom.

ü  There are no limitations with regard to practice-sessions or time. Students can have as many practice-sessions as they wish, repeat the tasks any number of times to acquire mastery and select the material according to their individual requirements. Thus the computer is an efficient learner-centered device.

ü  It has a powerful self-access facility and gives immense scope for self learning.

          Teachers in language classes give students exercises to write. Students most often devise or correct the scripts immediately even though they are incorrect. The computer helps to reduce this handicap. CALL software has tutorial modes, which help the students explore the correct answers and learn from the errors they make. As computers can store, access and analyze more data than books, they create a technology enabled exciting learning environment. Computers maximize learning opportunities for their students.

   ADVANTAGES

               The immediate feedback given by computers helps the students to analyze patterns in the language. The novelty that is an integral part of CALL programmers increases the motivational level of students. CALL programmes besides helping the learner to learn a foreign language or a second language, also provides some computer literacy which is becoming essential in a technological era, and could be of great help in the future training and career prospects. CALL programmes provide the information requested in a very short time, almost instantaneously. By using CALL method the students will not only learn more number of words but also the usage of those words as well. The advantage of using CALL method is that they can do the entire study skill activity at their own pace and time using their own learning styles and strategies. Also, integrating CALL with language teaching provides the learner with an opportunity to become part of the skills. They are learning and address their subject related issues by the study skills approach. Having introduced to CALL method of learning at the tertiary level, the learners will continue the exercise of study skills approach and achieve distinctive mastery in their subjects when they come to their higher semesters.

LIMITATIONS

                 The computer is a means of communication between the programmer and the user. However in this analogy, the author and the programmer do not mostly share similar concerns. While the author is bound to be a subject expert, the programmer is mostly a technician. This gap between the author and the programmer is responsible for inappropriate lesson content, poor documentation, errors in format and content, improper feedback, etc. found in some CALL materials. Likewise, in most of the software packages, there is little chance for the teacher to add or modify the existing programmes, even if he wishes too, since most of its locked to prevent pirating. And for the few of those who develop their own material, the time spent on preparation and programming can be quite lengthy running to hours and days. But, these limitations or problems should be seen in the backdrop of a development stage of computerisation. The next generation of teachers and learners will be part of a computer generation. They will take for granted the skills demanded by computer technology and handle them as coolly as switching on a tape recorder or watching a television.

      CONCLUSION

The language teacher, who has the prime objective to develop study skills in learners, seeks to make an effective use of the computer-assisted language learning method. An analysis of the methods discussed so far leads the researcher to conclude that it is ultimately the teacher who has to be more innovative, more resourceful, and more thoughtful to create awareness in students about the importance of the study skills in English and to provide opportunities to practice the language by using CALL. Computers make excellent teaching tools, especially in teaching languages in any aspect, be it vocabulary, grammar, composition, pronunciation, or other linguistic and pragmatic-communicative skills. The major benefits offered by computer in enhancing language acquisition apparently outweigh its limitations.

E-C-303 American Literature

Assignment Paper: - E-C-303 American  Literature

Topic                     : - Various themes in “The Scarlet Letter”

Student’s name     : - Makwana Jayshri D.

Roll  no                 :- 14

URL                      :-makwanajayshri261011.blogspot.com

Semester               :- 3

Batch                    :- 2010-11

                                                 

                                   Submitted to,

                                                 Dr. Dilip Barad

                                                 Department of English

                                                 Bhavnagar University.

 

 

 

 

 

 

 

Introduction:-

              Nathaniel Hawthorn is a novelist and story writer, a central figure in the American Rnaississance.His best known works include,

The Scarlet Letter (1850)

The House of the seven Gables (1851)

             Like Edgar Allan Poe, Hawthorne took a dark view of human nature.Not to be deficient in this particular, the author has provided himself with a moral, the truth, namely that the wrong doing of one generation lives into the successive ones. Nathaniel Hawthorn’s The Scarlet Letter is famous for presenting some of the greatest interpretive difficulties in all of American Literature. While not recognized by Hawthorne himself as his most important work, the novel is regarded not only as his greatest accomplishment, but frequently as the greatest novel in American literary history. After it was published in 1850, critics hailed it as initiating a distinctive American literary tradition. Ironically, it is a novel in which, in terms of action, almost nothing happens. Hawthorne's emotional, psychological drama revolves around Hester Prynne, who is convicted of adultery in colonial Boston by the civil and Puritan authorities. She is condemned to wear the scarlet letter "A" on her chest as a permanent sign of her sin. The narrative describes the effort to resolve the torment suffered by Hester and her co-adulterer, the minister Arthur Dimmesdale, in the years after their affair. In fact, the story excludes even the representation of the passionate moment which enables the entire novel.

                        Hawthorne was masterful in the use of symbolism, and the scarlet letter "A" stands as his most potent symbol, around which interpretations of the novel revolve. At one interpretive pole the "A" stands for adultery and sin, and the novel is the story of individual punishment and reconciliation. At another pole it stands for America and allegory, and the story suggests national sin and its human cost. Yet possibly the most convincing reading, taking account of all others, sees the "A" as a symbol of ambiguity, the very fact of multiple interpretations and the difficulty of achieving consensus.

                      

Themes:-

Sin, Knowledge, and the Human Condition:-

                       Sin and knowledge are linked in the Judeo-Christian tradition. The Bible begins with the story of Adam and Eve, who were expelled from the Garden of Eden for eating from the tree of knowledge of good and evil. As a result of their knowledge, Adam and Eve are made aware of their humanness, that which separates them from the divine and from other creatures. Once expelled from the Garden of Eden, they are forced to toil and to procreate—two “labors” that seem to define the human condition. The experience of Hester and Dimmesdale recalls the story of Adam and Eve because, in both cases, sin results in expulsion and suffering. But it also results in knowledge—specifically, in knowledge of what it means to be human. For Hester, the scarlet letter functions as “her passport into regions where other women dared not tread,” leading her to “speculate” about her society and herself more “boldly” than anyone else in New England. As for Dimmesdale, the “burden” of his sin gives him “sympathies so intimate with the sinful brotherhood of mankind, so that his heart vibrate[s] in unison with theirs.” His eloquent and powerful sermons derive from this sense of empathy. Hester and Dimmesdale contemplate their own sinfulness on a daily basis and try to reconcile it with their lived experiences. The Puritan elders, on the other hand, insist on seeing earthly experience as merely an obstacle on the path to heaven. Thus, they view sin as a threat to the community that should be punished and suppressed. Their answer to Hester’s sin is to ostracize her. Yet, Puritan society is stagnant, while Hester and Dimmesdale’s experience shows that a state of sinfulness can lead to personal growth, sympathy, and understanding of others. Paradoxically, these qualities are shown to be incompatible with a state of purity.     

The Nature of Evil:-

                  The characters in the novel frequently debate the identity of the “Black Man,” the embodiment of evil. Over the course of the novel, the “Black Man” is associated with Dimmesdale, Chillingworth, and Mistress Hibbins, and little Pearl is thought by some to be the Devil’s child. The characters also try to root out the causes of evil: did Chillingworth’s selfishness in marrying Hester force her to the “evil” she committed in Dimmesdale’s arms? Is Hester and Dimmesdale’s deed responsible for Chillingworth’s transformation into a malevolent being? This confusion over the nature and causes of evil reveals the problems with the Puritan conception of sin. The book argues that true evil arises from the close relationship between hate and love. As the narrator points out in the novel’s concluding chapter, both emotions depend upon “a high degree of intimacy and heart-knowledge; each renders one individual dependent . . . upon another.” Evil is not found in Hester and Dimmesdale’s lovemaking, nor even in the cruel ignorance of the Puritan fathers. Evil, in its most poisonous form, is found in the carefully plotted and precisely aimed revenge of Chillingworth, whose love has been perverted. Perhaps Pearl is not entirely wrong when she thinks Dimmesdale is the “Black Man,” because her father, too, has perverted his love. Dimmesdale, who should love Pearl, will not even publicly acknowledge her. His cruel denial of love to his own child may be seen as further perpetrating evil.

Identity and Society:-     

                         After Hester is publicly shamed and forced by the people of Boston to wear a badge of humiliation, her unwillingness to leave the town may seem puzzling. She is not physically imprisoned, and leaving the Massachusetts Bay Colony would allow her to remove the scarlet letter and resume a normal life. Surprisingly, Hester reacts with dismay when Chillingworth tells her that the town fathers are considering letting her remove the letter. Hester’s behavior is premised on her desire to determine her own identity rather than to allow others to determine it for her. To her, running away or removing the letter would be an acknowledgment of society’s power over her: she would be admitting that the letter is a mark of shame and something from which she desires to escape. Instead, Hester stays, refiguring the scarlet letter as a symbol of her own experiences and character. Her past sin is a part of who she is; to pretend that it never happened would mean denying a part of herself. Thus, Hester very determinedly integrates her sin into her life.     Dimmesdale also struggles against a socially determined identity. As the community’s minister, he is more symbol than human being. Except for Chillingworth, those around the minister willfully ignore his obvious anguish, misinterpreting it as holiness. Unfortunately, Dimmesdale never fully recognizes the truth of what Hester has learned: that individuality and strength are gained by quiet self-assertion and by a reconfiguration, not a rejection, of one’s assigned identity.

Past and present:-    

                       The clash of past and present is explored in various ways. For example, the character of the old General, whose heroic qualities include a distinguished name, perseverance, integrity, compassion, and moral inner strength, is said to be "the soul and spirit of New Englandhardihood". Sometimes he presides over the Custom House run by corrupt public servants, who skip work to sleep, allow or overlook smuggling, and are supervised by an inspector with "no power of thought, nor depth of feeling, no troublesome sensibilities", who is honest enough but without a spiritual compass.^[5]      Hawthorne himself had ambivalent feelings about the role of his ancestors in his life. In his autobiographical sketch, Hawthorne described his ancestors as "dim and dusky", "grave, bearded, sable-cloaked, and steel crowned", "bitter persecutors" whose "better deeds" would be diminished by their bad ones. There can be little doubt of Hawthorne's disdain for the stern morality and rigidity of the Puritans, and he imagined his predecessors' disdainful view of him: unsuccessful in their eyes, worthless and disgraceful. "A writer of story books!" But even as he disagrees with his ancestors' viewpoint, he also feels an instinctual connection to them and, more importantly, a "sense of place" in Salem. Their blood remains in his veins, but their intolerance and lack of humanity becomes the subject of his novel.^[5]

Civilization Versus the Wilderness:-

                     In The Scarlet Letter, the town and the surrounding forest represent opposing behavioral systems. The town represents civilization, a rule-bound space where everything one does is on display and where transgressions are quickly punished. The forest, on the other hand, is a space of natural rather than human authority. In the forest, society’s rules do not apply, and alternate identities can be assumed. While this allows for misbehavior— Mistress Hibbins’s midnight rides, for example—it also permits greater honesty and an escape from the repression of Boston. When Hester and Dimmesdale meet in the woods, for a few moments, they become happy young lovers once again. Hester’s cottage, which, significantly, is located on the outskirts of town and at the edge of the forest, embodies both orders. It is her place of exile, which ties it to the authoritarian town, but because it lies apart from the settlement, it is a place where she can create for herself a life of relative peace.

Night Versus Day:-

                   By emphasizing the alternation between sunlight and darkness, the novel organizes the plot’s events into two categories: those which are socially acceptable, and those which must take place covertly. Daylight exposes an individual’s activities and makes him or her vulnerable to punishment. Night, on the other hand, conceals and enables activities that would not be possible or tolerated during the day—for instance, Dimmesdale’s encounter with Hester and Pearl on the scaffold. These notions of visibility versus concealment are linked to two of the book’s larger themes—the themes of inner versus socially assigned identity and of outer appearances versus internal states. Night is the time when inner natures can manifest themselves. During the day, interiority is once again hidden from public view, and secrets remain secrets.

Public Guilt vs. Private Guilt

                     Perhaps the foremost purpose of The Scarlet Letter is to illustrate the difference between shaming someone in public and allowing him or her to suffer the consequences of an unjust act privately. According to the legal statutes at the time and the prevailing sentiment of keeping in accordance with a strict interpretation of the Bible, adultery was a capital sin that required the execution of both adulterer and adulteress--or at the very least, severe public corporal punishment. Indeed, even if the husband wanted to keep his wife alive after she committed adultery, the law insisted that she would have to die for it. It is in this environment that Hester commits adultery with Dimmesdale, but we come to see that the public shaming cannot begin to account for all the complexities of the illicit relationship--or the context of it. What Hawthorne sets out to portray, then, is how the private thoughts, the private torture and guilt and emotional destruction of the people involved in the affair, are more than enough punishment for the crime. We wonder whether the state or society has any right to impose law in private matters between citizens. Does adultery really have no impact upon the lives of others? If not, it should not be seen as a crime against the village. A more charitable reading of the Bible would come later in reflections on the New Testament interpretation of adultery law, namely, that the public need not step in to punish a crime when we ourselves have our own sins to be judged. Each person suffers enough already for his or her own sins.

Punishment vs. Forgiveness

                   One of the more compelling themes of the novel is embodied by Chillingworth, who seems the arbiter of moral judgment in the story, since Dimmesdale--the minister and the supposed purveyor of righteousness--is himself tainted as a party to the crime. Chillingworth is surprisingly forgiving of Hester's crime. We sense that he understands why she would forsake him. After all, he is deformed, he is older, he has not been nearby, while she is beautiful and passionate. Indeed, we get the feeling that Chillingworth's self-loathing allows him to forgive Hester, but this attribute also increases the relentlessness and rage with which he goes after Dimmesdale. In Dimmesdale, he sees the vigor and passion which Hester desires and which he himself does not possess. Like a leech, he's out to suck Dimmesdale of his life force, not just to punish the minister for the crime of fornicating with his wife, but also to symbolically appropriate Dimmesdale's virility. And as the novel continues, Chillingworth seems to grow stronger while Dimmesdale seems to weaken. That pattern continues until Dimmesdale dies in an act of defiance, his public demonstration of guilt, which essentially leaves Chillingworth stripped bare of his power to punish or forgive.