Friday 28 February 2014

'Culture and Anarchy' pioneer work for Cultural studies



“Culture and Anarchy” pioneer work for cultural studies.

Matthew Arnold is a famous poet and critic of Victorian age. Arnold outlined the function of the cultural critic in his essay “Culture and Anarchy”. Arnold is a popular as a systematic critic, cultural critic. He uses the building block for cultural studies. “Culture and Anarchy” is a pioneer work for ‘Cultural Studies’. It becomes content and draws attention towards ‘Cultural Studies’.
Arnold’s views published in his essay ‘Culture and Anarchy’ about culture, anarchy, three classes of society, Hebraism, Hellenism are become necessary and important in establishing cultural studies. As an important and pioneer work for cultural studies, we have to first understand Arnold’s views in his work ‘Culture and Anarchy’ which is given below.

What is Culture? (‘Sweetness and Light’):
In this essay Matthew Arnold tries to say the idea of culture. He introduces culture as,

 “The whole scope of essay is to recommend culture as the great help out of our present difficulties; culture being a pursuit of our total perfection by means of getting to know, on all the matters which most concern us, ‘the best which has been thought and said in the world.’ And through this knowledge, turning a stream of fresh and free thought upon our stock notions and habits, which we now follow staunchly but mechanically...”

To show the importance of culture he gave an example of American culture. He proposes to try and enquire in the simple unsystematic way, what culture really is, what good it can do, what is our own special need of it. And he seeks to find some plain ground on which a faith in culture may rest securely.
Arnold believes that culture is a study of perfection. He further adds that,
“To conceive of true human perfection as a harmonious perfection, as a general perfection, developing all sides of our humanity and as a general perfection, developing all sides of society.”
Culture is considered not merely as the endeavour to see and learn this, but also to make it prevail, the moral, social and beneficent character of culture becomes manifest. As religion, culture is also places in an internal condition. Character perfection is recommended in culture. Perfection of culture is not possible while the individual remains isolated.
Thus, the notion of perfection as culture brings us to conceive it: a harmonious perfection, a perfection in which the characters of beauty and intelligence are both present, which unites ‘the two noblest of things-sweetness and light’.
Arnold connects his ideas of sweetness and light with culture and explains with the Greek words ‘aphuia and euphoria’. Because of that central idea, this first chapter is called “sweetness and light” which is about the introduction of Culture.

What is Anarchy? (Doing as one likes):
As we already saw that Arnold, in the first chapter- ‘sweetness and light’ has tried to show that culture is the study and pursuit of perfection; and sweetness and light are the main characters. But hitherto he has been insisting chiefly on beauty or sweetness, as character of perfection. To complete his design, it evidently remains to speak also of intelligence, or light, as a character of perfection.
In this second chapter, Arnold throws some light on Anarchy and also explains dangers of anarchy- doing as one likes. In this chapter to bring some points of anarchy, he speaks of light as one of the characters of perfection, and of culture as giving us light.
He further says about danger of personal liberty that, it is said that a man with the theories of sweetness and light is full of antipathy against the rougher or coarser movements going on around him, that he will not lend a hand to the humble operation of uprooting evil by their means, and therefore the believers in action grow impatient with him. But what if rough and course action, ill-calculated action, or action with sufficient light is bane on the society? In this case, to refuse to lend a hand to the rougher and courser movements going on round, is surely the best and in real truth the most practical line.    
Freedom of doing as one likes was one of those things which English thus worshipped in it, without enough regarding the ends for which freedom is to be desired. Arnold agrees with the prevalent notion that it is a most happy and important thing for man merely to be able to do as he likes. But the problem is ‘on what he is to do as he likes, we do not lay so much stress.’
Arnold fears very right happiness of an Englishman to do what he likes may drift the entire society towards anarchy. Arnold gives another example Hyde Park protesters and dissenters to prove how chaotic the world becomes as one likes. Arnold blames the strong belief in freedom for such anarchy in society.
He further says that, if culture brings light, and light shows us that there is nothing so very blessed in merely ‘doing as one likes’, that the worship of machinery, that the really blessed thing is to like what right reason order, and to follow her authority, then one has got a practical benefit of culture. The urgent need of society is the much-wanted principle, ‘a principle of authority’, to counteract the tendency to anarchy, which seems to be threatening society.
Arnold puts question that, ‘who should be entrusted with authority?’ as giving answer he verbalizes that, “by our everyday selves, we are separate, personal... anarchy presents itself as a danger to us, and we know not where to turn.” Arnold gives the answer of question that, 
“it is ‘our best selves’ to whom the authority must be given. Because it is truest friend and when anarchy is a danger, to this authority we may turn with sure trust, culture suggests one to us in our best self.”
These are the ideas of Arnold on Anarchy and authority.  

Three classes (the Barbarians, the Philistines and the populace):
In the third chapter of ‘culture and anarchy’ Matthew Arnold gave his views on the three classes of society. These three classes of England are the Aristocrats, the Middle class and the Working class. He shows the virtues and defects of all three classes in the essay.
The Aristocrats (Barbarians):
Arnold calls this class the ‘Barbarians’. They have personal liberty and anarchical in their tendencies. They have their own individualism. Outwards qualities like politeness grace in manners come directly inculcated by the Aristocrats from the Barbarians. Their culture is skin-deep, external and lacking in inwards virtue.
The Middle class (Philistine):
In a German sense, Philistine means the uncultured people. They are worldly-wise men, busy in trade and commerce. They have brought all economic prosperity and progress in the country. Thus, they are the empire builders in long; they would bring all material prosperity.
The Working class (Populace):
The working class are helper of the empire builders. They are raw and half developed. They are being exploited by the Philistine and the Barbarians so long. Because of their awakening, their poverty and squalor dawned. They become politically conscious and coming out from obscurities.
Thus, Arnold finds a sort of caste system in England consisting of the Barbarians, the Philistine and the Populace. Yet there is something common factor in all the three classes is a common basis of human nature. From above the basis of culture must be founded- sweetness and light.
There is no rigid division in society- these classes come up or go down the social ladder as individual strive to attain perfection in any of these three freak division of society. Then it is essential that man must strive to seek human perfection to establish his best self and culture would in the end, find its public recognition. These are Arnold’s views about three classes of society.

Hebraism and Hellenism:
Arnold discusses, in the inception of the topic, doing and thinking. His general views about human beings are that they prefer to act rather than to think. He talks about the great idea to know and the great energy to act. Both are the most potent forces and they should be in harmony by the light of reason. So, they are Hebraism and Hellenism.
Arnold discusses that, the supreme idea with Hellenism or the Greek spirit is to see things as they really are. And the supreme idea of Hebraism or the spirit of bible is conduct and obedience. Hebraism studies the universal order and observes the magnificence of god apparent in the order, whereas Hellenism follows with flexible activity.
Thus, the root idea of both is the desire for reason and will of God, and the desire of love of God. Thus, Hellenism acquires spontaneity of consciousness with a clearness of mind, and Hebraism achieves a strictness of conscience with its clarity of thought. In brief, Hebraism shows stress on doing rather than knowing. It is primarily ideas is absolute obedience to the will of God.
In conclusion, it must be added that the rule of life should be based on the theory of Hellenism and Hebraism because the final aim of both is man’s perfection or salvation. Thus, Arnold represents his ideas on human nature and also presents their aim of perfection in chapter four of the essay ‘Culture and anarchy’.   

Porro Unum Est Necessarium:
The title is in Latin, which means “But one thing is necessary”. One banal system of action, issuing out of the very concept of democrat existence is the liberal notion of doing freely as one likes. The idea issues from the sense of liberty democracy inculcate and when pushed to extreme liberty is often turned into anarchy.
Hebraism and Hellenism these two propensities and vacillations of the mind must be resolved and must seek and find a mutual understanding and balance. Arnold warns of the besetting blindness of fanaticism either in culture or religion.
The real ‘Unum Necessarium’ for us, as Arnold insists repeatedly-for repetition is a vice with Arnold- is to come to our best at all points. So Arnold points to the very malice of his age. He says,
“One thing needful” justifying in us vulgarity, hideousness, ignorance violence, are really so many touchstones which try our one thing needful, and which prove that in the state, at any rate, in which we ourselves hate it, it is not all we want.”
Arnold deplores the confusion of thought and of practice in his age among all classes of people in England. The age boasts of British freedom, British industry and British muscularity. In all these activity one must have a standard and ideal of perfection and happiness. The trouble in Arnold’s age is a disquieting absence of some authority, and harmonious development of humanity, spontaneity of consciousness, sweetness and light is necessary for their culture in Arnold’s words.
Thus, we must be prepared to fight against the diseased spirit of cultivated time. Arnold exhorts his countrymen against the diseased spirit of cultivated inaction, to seek real culture and to let their consciousness play upon the intelligible law of things and to seek ultimately a way to true human perfection.
In this last chapter, Arnold gives some ideas about English society, its malice or its disadvantages. And also he discusses some solutions or shows ways toward perfection.

Conclusion:
Because of Matthew Arnold’s views about culture and his discussion of necessary element of culture in society, this essay becomes pioneer work for cultural studies. Importance of culture and contribution of individual are well presented in this essay ‘Culture and Anarchy’, so, it becomes path shower for ‘cultural studies’. In this essay, Arnold also puts his ideas about human nature and their aim of ‘perfection’ as culture; he also wrote what is necessary for the English culture.
Thus, we can say that, Matthew Arnold is the first cultural critic or the first systematic critic of cultural studies and his extraordinary views in the essay “Culture and Anarchy” becomes pioneer work  and open ways for cultural studies, a new branch.










    

Saturday 22 February 2014

Popular culture Vs Elite culture



Maharaja Krishnakumarsinhji Bhavnagar University
Smt. S. B. Guardy Department of English
 
Written by: Poojaba G. Jadeja
Roll No. 22
Year: 2014, semester 2
Paper: cultural studies
Topic:Popular culture Vs Elite culture


Popular culture Vs Elite culture
Introduction:
‘Cultural Studies’ is a discipline which is interested in the processes by which power relations between and within groups of human beings organizes cultural artefacts and their meanings. ‘Cultural Studies’ is a field of academic study that finds its origin now. It is a study of ‘culture’ or ‘cultures’ and power structure of society.
‘Birmingham centre for contemporary cultural studies’ (BCCCS) in UK is the centre for cultural studies. Critics like Raymond Williams, Richard Hoggart, and later Stuart Hall, Tony Bennett and others made ‘Cultural Studies’ popular.
Thus, culture and cultural elements which made ‘culture’ is an important tool for Cultural Studies. In the 1950s and 1960s a change in focus came about in cultural studies, in analysis. Scholars started taking popular culture seriously. In 1969 the department of popular culture at Bowling Green University (USA) launched the ‘journal of popular culture’.
The journal carried essays on Spiderman comics, rock music, amusement parks, the detective movies and other forms of popular culture. It is in popular culture studies that Cultural Studies finds its first movement.
Thus, Cultural Studies looks at mass or popular culture and everyday life. There was a time before 1960s when popular culture was not studied by academies. But Cultural Studies gives importance to popular culture even more than elite culture or elite arts. So, today, study of popular culture and comparison between popular and elite culture is happen widely.

Elite culture:

Elite culture is widely studied by critics. Elite culture can be defined as those “high” cultural forms and institutions that were exclusive to, and a distinguishing characteristic of, modern social elites. It is a term that particularly references the cultural tastes of the established aristocracy, the commercial bourgeoisie, educated bureaucrats and political power breakers, and the professions in the 18th, 19th, and 20th centuries.
Elite culture is very “high” and “intellectual” culture. It has very closed cultural domains, more omnivorous and not free as popular culture. Elite culture is in very few scales and it has bounded structure. It is sometimes marginalized by popular culture, but it affected on popular culture always.
In easy words we can say that, elite culture means, the literary and artistic culture of educated and wealthy ruling classes. Elite culture is institutionally expressed in universities, academies, coffee houses, libraries and Masonic lodges. These are some ways where elite culture can be recognised. And they become symbols of elite class and elite culture.
The culture of the wealthy minority section of the population was projected as the ‘standard’ or ‘true’ culture. So, academic studies would look at ‘great works of art’ or ‘classical authors’. The taste of the elite culture is also very high and standard. Some examples are classical songs, classical thought provoking intellectual documentary movies, picture and art galleries can be called as examples of elite culture. Thus, greatness, standardisation and intellectuality are important for elite culture. 

Popular culture:


Popular culture is the culture of masses. Popular culture is the set of practices, artefacts and beliefs and shared by the masses. Cultural studies started to study popular culture and now many disciplines including semiotics, rhetoric, literary criticism, film studies, anthropology, history, women’s studies, ethnic studies, and psychoanalytic approaches, critic examine such cultural media as pulp fiction, comic books, television, film advertising, popular music and computer cyber culture. They assess how such factors as ethnicity, race, gender, class region and sexuality are reshaped in popular culture.
Popular culture is the accumulated store of cultural products such as music, art, literature, television, film, radio that are consumed primarily by non-elite groups such as the working, lower or middle class.
That way, popular culture is ‘true culture’ but not a great culture. With studying popular culture, one can get true and real picture of society.     
There are four main types of popular culture analyses:  Production analysis, textual analysis, audience analysis and historical analysis. These analyses seek to get beneath the surface, denotative meanings, and examine more implicit, connotative social meanings. These approaches view culture as a narrative or story-telling process in which particular texts or cultural artefacts consciously or unconsciously link themselves to larger stories at play in the society. A key here is how texts create subject positions or identities for these who use them.
Sometimes, popular culture creates doubt to elite culture. It can so overtake and repackage a literary work that it is impossible to read the original text without reference to the many layers of popular culture that have developed around it. The popular culture reconstructs a work and can open it to unforeseen new interpretations. So, study of popular culture becomes necessary for cultural studies to know culture in a better way.
Because popular culture is culture of masses, it has not element of ‘greatness’ and ‘intellectuality’ but it reflects human nature of popular society.
Sometimes (before 1960s), popular culture was dismissed as ‘inferior’. The term ‘mass culture’ was used pejoratively. Standards of judgement and ideas of taste were formed using the elite forms, elite culture. But popular culture is for majority and ‘popular’ so; it affects ‘culture’ a lot in society. Popular culture is tended to be collective and pubic in nature that is everyone, including elites; partook in it.
 Public entertainment events fairs, festivals and carnivals, folk music, adventure stories, and popular hit movies are elements and examples of popular culture. With these elements, culture of majority and everyday life of larger number of society can be understood. 

 Popular culture Vs Elite culture: Comparison with example:

 

Popular culture is a culture for majority and Elite culture is considered and known as ‘high’ or ‘great’, ‘intellectual’ culture. And popular culture is considered as ‘law’ and ‘mass’ culture. Meanings are governed by power relations and elite culture. Elite culture controls the terms of the debate.

Elite culture, as known as great, is respected by popular culture. But elite culture rejects and insults popular culture. Non-elite views on life and art are rejected as ‘tasteless’, ‘useless’ or even stupid by elites. For example, hit films are always rejected by some elite critics and they always praise controversial and critical ‘high’ non-popular movies.
Elite culture is of literary and educated wealthy elite group. But popular culture is of common, simple, rural and unliterary people of mass or society. So, elite culture is always expressed in universities, libraries. And popular culture is unwritten and oral. Folklores, fairs and entertaining television serials are examples of popular culture.
Elite culture is always ambiguous and not simple one. But popular culture is very simple and presents human emotions and human life as it is, in a simple, understandable way. For example, classical music, philosophical literature, grammar schools, critical analyses, poetry, encyclopaedias are always liked by elites, and they show elite culture, whereas folk music, popular sports, movies, entertainer arts, news papers, novels are examples of popular culture.
Popular culture reflects real mentality, true picture of society. Elite culture reflects highness or greatness of that society. So, if we want to study real society and human nature, we should study popular culture and if we want to study goodness and intellectuality, we should study elite culture.
Elite culture is one part of popular culture but elite culture becomes different and separate from popular culture. Majority of popular culture never see or study elite culture but popular culture is a subject of study of elite culture. But after studying popular culture, many times elite culture rejects it as stupidity. And popular culture always see elite culture as respected though not study it or because they cannot study it.
For example, majority of society does not read the writing of Rabindranath Tagore or Shakespeare’s plays and these are known as respectable arts. But any critic or elite does not study famous novels of contemporary writer seriously as considering these as art and relegating them to the realm of popular culture.
Thus, popular culture is graffiti, comic books, mass cinema as opposed to art cinema, popular music as opposed to classical music, the open spaces of the city as opposed to art galleries, sports, television serials etc.
Both the cultures are important for study. Popular culture is the set of beliefs, values and practices that are widely shared. Popular culture is a true reflection of society and elite culture reflects intellectual level and greatness of society very well.
        

  


  

Thursday 20 February 2014

Literary Terms



Maharaja Krishnakumarsinhji Bhavnagar University
Smt. S. B. Guardy Department of English

Written by: Poojaba G. Jadeja
Roll No.: 22
Year: 2014, semester 2 
Topic: Literary Terms: Psychoanalytical criticism, New criticism and Diaspora   



Psychoanalytical Criticism:
To understand psychoanalytical criticism, we have to understand, psychological criticism. Psychological criticism deals with a work of literature primarily as an expression, in an indirect and fictional form, of the state of the mind and the structure of personality of the individual author. In easy words, we can say that, psychological criticism studies psychology of author through their work.

Psychological approach emerged in the early decades of the 19th century, as part of the Romantic replacement of earlier mimetic and pragmatic views by an expensive view of the nature of criticism.

There are three types of the critical procedures that are based on the assumption that the details and form of a work of literature are correlated with its author’s distinctive mental and emotional traits. These are...

1.       Reference to the author’s personality in order to explain and interpret a literary work.

2.       Reference to literary works in order to establish, biographically, the personality of the author. And

3.       The mode of reading a literary work specifically in order to experience the distinctive subjectivity of its author.

Since 1920s a widespread type of psychological literary criticism has come to be psychoanalytical criticism. Its premises and procedures were established by Sigmund Freud.

Freud had developed the dynamic form of psychology that he called “psychoanalysis” as procedure for the analysis and therapy of neuroses, but expanded it to account for many development and practices in the history of civilization, including warfare, mythology, and religion, as well as literature and other arts.

Freud gives many theories which are known as psychoanalytical criticism’s major theories and basic ideas for that criticism. Theories like, neuroses, sublimate, three stages of human mind and many other are very famous even today. 

Freud’s concepts and theories:

Freud’s brief comment on the workings of the artist’s imagination set forth the theoretical framework of “classical” psychoanalytic criticism. Freud proposes that literature and the other arts, like dreams and neurotic symptoms, consist of the imagined or fantasised, fulfilment of wishes that are either denied by reality or prohibited by the social standards of morality and propriety.

The forbidden wishes come into conflict with the ‘censor’ and are repressed by the censor into the unconscious realm of the artist’s mind, but are permitted to achieve a fantasised satisfaction in distorted forms that serve to disguise their real motives and objects from the conscious mind.

The chief mechanisms that affect these disguises of unconscious wishes are (1) condensation (2) displacement and (3) symbolism. The disguised fantasies that are available to consciousness are called by Freud the MANIFEST CONTENT of dream or work of literature; the unconscious wishes that find a semblance of satisfaction into the disguised expression he calls the LATENT CONTENT.

Freud also asserts that artists process special abilities that differentiate them radically from the patently neurotic type of personality. And so, arts make them capable of satisfying the unconscious desires that other people share with the individual artist; to meld an artistic medium into a faithful image of the creatures of his imagination, as well as satisfying artistic form.

This outline of Freud’s theory of art in 1920 was elaborated and refined, but not radically altered, by later developments in his theory of mental structures, dynamics and processes. Freud’s model of the mind is having three functional aspects:

(1) The Id: which incorporates libidinal and other innate desires.

(2) The Superego: the internalization of social standards of morality and propriety.

(3) The Ego: which tries as best it can to negotiate the conflict between the insatiable demands of the Id, the impossibly stringent requirements of the Superego, and the limited possibilities of gratification offered by reality.

Freudian critics, in a mode suggested by Freud’s later writings on the role of “ego psychology” in elaborating the manifest content and artistic form of the work of literature; that is on the way that the ego, in contriving the work, consciously  manages to mediate between the conflicting demands of Id, the superego and the limits imposed by reality.

Fredrick C. Crews (literature and psychology), James Thrope, and Norman Holland these and many other writers and critics try to explain and follow “psychoanalytic criticism” and Freudian concepts and theories about it. Psychoanalytic criticism tries to connect psychology and literary criticism. 


New Criticism:  

The term ‘New Criticism’ made current by the publication John Crowe Ransom’s ‘The New Criticism’ in 1941, came to be applied to a theory and practice that remained prominent in American literary criticism until late in the 1960s.

The movement derived in considerable part from elements in I. A. Richard’s ‘Principles of Literary Criticism’ (1924) and ‘Practical criticism’ (1929) and from the critical essays of T. S. Eliot.

In this criticism critics opposed a prevailing interest of scholars, critics, and teachers of that era in the biographies of authors, in the social context of literature, and in literary history by insisting that the proper concern of literary criticism is not with the external circumstances or effects or historical position of a work, but with a detailed consideration of the work itself as an independent entity.

New Criticism differed from another in many ways. These are given below... 

According to new critics,

(1) A poem should be regarded as an independent and self-sufficient verbal object. The autonomy of the work itself as existing for its own sake New Critics warn the reader against critical practices which divert attention from the poem itself.

(2) The principles of the New Criticism are basically verbal. That is literature is conceived to be a special kind of language whose attributes are defined by systematic opposition to the language of science and of practical and logical discourse, and the explicative procedure is to analyse the meanings and interaction of words, figures of speech and symbols. The emphasis is on “organic unity” of its overall structure with its verbal meanings.

(3) The distinctive procedure for a New Critic is explication, or close reading, the detailed analysis of the complex interrelationships and ambiguities of the verbal and figurative components within a work.

(4) The distinction between literary genres does not play an essential role in the New Criticism. The essential components of any work of literature, whether lyric, narrative or dramatic, are conceived to be words images and symbols rather than character, thought and plot.

These linguistic elements are often said to be organized around a central humanly significant and to manifest high literary value to the degree that they manifest ‘tension’, ‘irony’ and ‘paradox’ in achieving ‘reconciliation of diverse impulses’ or an ‘equilibrium’ of opposed forces. The form of work, whether or not it has characters and plot, is said to be primarily a “structure of meanings” which evolve into an integral and freestanding unity mainly through a play and counter play of “thematic imagery” and “symbolic action”.

The basic orientation and modes of analysis in the New Criticism were adapted to the contextual criticism of Eliseo Vivas and Murray Krieger.       


Critics of New Criticism:

Notable critics of this criticism were the southerners Cleanth Brooks and Robert Penn Warren, whose work ‘Understanding Poetry’ and ‘Understanding fiction’ did much to make the New Criticism the predominant method of teaching literature.

Other prominent writers of that time were Ransom, Brooks, Allen Tate, R. P. Blackmur and William K. Wimsatt, F. R. Leavis, Anne Samson. These are some New Critics who introduce method of New Criticism. The works “The Well wrought Urn”, “The Verbal Icon” and many other are related to the New Criticism.

Thus, New Criticism introduces new method of criticism with only studding work as a whole. They opposed external background studies and study of author and his historical, social background.

Diaspora: 

In literature, this term is used differently. It is a Greek word which means a scattered population with common origin in a smaller geographic area. In literary sense the meaning is different. Today, Diaspora literature becomes important for world literature.

The definition of Diaspora can be found in 1993 edition of shorter Oxford. Now, Diaspora refers to ‘anybody of people living outside their traditional homeland’.

Diaspora literature involves an idea of a homeland, a place from where the displacement occurs and narrative of journeys undertaken on account of economic compulsions.

Basically Diaspora is a minority community living in exile. The dispersal signifies the location of a fluid human autonomous space involving a complex set of negotiation and exchange between the minority and majority, being spokes persons for minority rights and their people back to home and significantly transecting the contact zone a space changed with the possibility of multiple challenges.

The term ‘Diaspora’ or ‘Exile alienation’ are synonymous and possess an ambiguous status of being both a refugee and an ambassador. The two roles being different, the Diasporic writers attempt at doing justice to both. These people migrating to another country in exile home living peacefully immaterially but lost home forever.

Looking at the diasporic literature in a broader perspective it is seen that such helps in understanding various cultures, breaking the barriers between different countries, localizing the global and even spreading universal peace.

Diasporic writings occupy a place of great significance between countries and cultures. Theories are generated and positions defined in order to construct new identities, which further negotiate boundaries and confines that relate to different temporary and special metaphors. This movement causes the dislocation and location of cultures and individuals harp upon memories.

Diasporic writers are often pre-occupied with the elements of nostalgia as they seek to locate themselves in new culture.  They write in relation with the culture of their homeland and at the same time adopt and negotiate with the cultural space of the host land.

Diasporic writers live on the margins of two countries and create cultural theories. These writers attempt to doing justice with both his duty, as refugee, he seeks security and protection and as an ambassador projects his own culture and help enhance its comprehensibility.  

The chief characteristic features of the Diasporic writings are the quest for identity, uprooting, insider and outsider syndrome, nostalgia, nagging sense of guilt etc. That’s way; Diasporic writing has its own place in literatures. Diaspora, Diasporic writings give vast contribution in literature which is very important and famous today.