Hello and welcome back to NPTEL national program on Technology Enhanced Learning, a joint venture of Indian Institute of Technology and Indian Institute of Science. As you are aware this lectures are for students in engineering colleges and IITs and we are the department of humanities and social sciences. The role is quite significant because we feel that the experience of humanities subjects and social sciences subjects help you to understand life better to apply your theories better to have any human interface. I am Krishna Barua. I have been teaching literature at IIT Guwahati for the last 14-15 years and it is a pleasure to teach humanities courses to engineering students. They have a beautiful way of looking at subjects at areas which are not their own and they bring a beautiful analysis or perspective to the understanding of text. We are in the presently in the lecture series language and literature. We are now in module 5 title literary criticism and lecture 1. So, here we are in lecture 1 of literary criticism and title classical criticism. Let us enjoy history of literary criticism. After we have done genres, we have done history of English literature, what is language, what is literature, what is a text. Let us see what is literary criticism, how do we evaluate or how do we understand or appreciate a text or a literary creative work. Let us enjoy therefore, the history of literary criticism in this module. A journey we are about to undertake in this module is not only to revisit some of the profound sources of history of literary criticism. We will go to the beginning as we had done in the history of English literature. We will go come from classical criticism to the different developments that has taken place in modern times, but to locate this history within the context of the main currents of Western thought. So, literary criticism or literary theory in other words in a strict sense is the systematic study of the nature of literature and the methods for analyzing literature. One of the fundamental questions of literary theory is what is literature, what is a text, what methods and conclusions and definitions are chalked out. As for consequence the word theory has become an umbrella term for a variety of scholarly approaches to reading text informed by various trends of philosophy and sociology. So, in literary criticism you have different streams of humanities and social sense getting together and that is how we understand how we appreciate a text or how we read or interpret a text. The schools of interpretation as such will be doing and this will be something which will be quite close to your discipline because we are going into a different methodology involved in understanding a text. And act as different lenses critics use to view and talk about art literature and even culture. These different lenses allows critics to consider works of art based on certain assumption within the school of history. As we are doing classical criticism now, we will be going to the ancient Greeks and the Romans and the different lenses also allows critics to focus on particular aspects of a work they consider important. The different interpretive and epistemological perspectives that is the meaning of text of different schools of theory often arise from and so gives support to different moral and political commitments. And when we read this text in different modules or in different perspectives or different literary criticism, then we find that there is a huge world of experience that has been opened up. Suppose we read Tempest in the form of a eco ecocriticism it takes on a different form. If we see it from Marxist, then it will take on a different form and meaning. So, the whole type and meaning of the text changes according to the way that we look at the text. So, literary theory and literary criticism are interpretive tools. How we interpret a text? That help us think more deeply and insightfully about the literature that we read. It is necessary to know the grammar of how we read the text. It is ok if we are reading the text from our point of view without even having an understanding of how this has come about that is also granted. But then if you know the actual grammar of how we read the methodology of how to evaluate or to appreciate a text, then it becomes the delight becomes more marked. Over time different schools of literary criticism have developed each it with its own approaches to the act of theory. From the Greek the word theory comes from the Greek theory which indicates a view or perspective of the Greek stage which way you look into the Greek stage. To enable us to craft interpretive close critical and comprehensive reading. What you understand by close? Close reading is that when you go into the detail study of the text, how what are the dialogues there, what is the meaning of the words, what is the analysis of the linguistic connections etcetera. We might say the theory therefore, is a systematic explanation of practice. So, it has a system or a situation of practice in broader framework. It shows us the connection of practice to ideology, power structures are own unconscious to psychology or political religious attitudes or economic structures. So, this is very much where the reader is concerned in how he writes the text. It is not reads the text and it is not so much the writer, it is the reader or the audience how he will look at a drama or read a text. It is not something natural, but it is a specific historical construct. Therefore, literary theory is the body of ideas and methods we use in the practical reading of literature. So, we have to be acquainted with this understanding how we interpret a text. Literary theory is a description of the underlying principles which we have just mentioned. One might say the tools by which we attempt to understand literature. It is literary theory that formulates the relationship between author and the work. Literary theory develops the significance of race, class, gender for literary studies. Well, the English word criticism as in theory derived from the ancient Greek term critis meaning judge. So, it is a perspective as is how we evaluate or we judge a work. Perhaps the first type of criticism was that which occurred in the process of poetic creation itself in composing his poetry. A poet would have made certain judgment how he goes into the creative process. What is what the words he would choose? What will be the structure of the of the rhythm? That itself also becomes critical literary criticism. Hence, the creative act itself was also a critical act. It follows side by side parallelly involving not just inspiration, but some kind of self assessment, reflection and judgment. What to choose? What not to include? What to disregard? This itself is a very critical process and therefore, the creative act as well as the critical act follows side by side or in juxtaposition. The practice of literary theory became a profession in the 20th century, but it has historical roots that run as far back as ancient Greeks. We will be doing that the classical criticism. Aristotle's poetic is an often cited early example, whether in judging a play by Shakespeare or by Bernard Shaw or by even modern playwrights. Ancient India we have Bharata Muni's Nite Sastra. We have ancient Rome in Longinus' on the sublime. Medieval Iraq we have as well as there are several even ill mutages Kitab al-Badi. Well, so the intellectual activity is that sort of development of classical literary theory in Europe. Let us come to this lecture one on literary criticism on classical criticism was based in Athens mostly the Athenian school of criticism. It developed along with other philosophical discussion that occupied the intellectual minds during 4th and 5th century BC. Athens became a hub for intellectual exchanges due to several factors. It was not only because in philosophy, in different formulations, in political governance, but it was also in the way that they read poetry and literature and drama. So, the mythic age if we go back to the Greek myths that were there also had a great part to play in literary criticism. We find references to muses. There are dominant muses which govern each stream of thought assigned to various forms of poetry like epic, lyric, comedy, pastoral, etcetera. These muses were tendons to the patron god of poetry who was Apollo. In the 6th century we see the reference to two mythic figures related to poetry who is obvious and amphion. It would be convenient to understand here that in ancient Greece why we are talking about the mythical connections to the understanding of classical criticism. It is pertinent because it is full of myths which identify with poetry alone, with creative process alone and other forms were not evolved or taken as forms of literature. Orpheus was considered having bewitching power of poetry who could even placate the similars and gods of the dead through his poetry. As a matter of fact, poetry was considered to be first an integral part of music because people wrote poems and they sang in praise of the gods. It was peyons and everything was in praise of the rolling deity. Orphic hymns which exalt in harmony were supposed to link man with the macrocosm. Such consideration made the poet a figure that is divinely inspired. There were spiritual connections with that, with the sacred that one who was a poet was also one who was close to the gods. As the son of Zeus was taught to play in Naya by Hermes herself, such meat was created upon his wonderful gift of poetry that he could build a wall of thebes by moving the stones by his power of songs. Beautiful isn't it? So, these are interesting facts to understand the background of literary criticism. Political economic social stability gave rise to intellectual freedom during the ancient Greeks specially in Athens which enabled the development of philosophical analysis. So, it was a very vibrant hub of activity. In this regard, what Prang clearly observed is important. Few of the ancient peoples advanced far beyond the mythological age and perhaps none of them can be said to have a genuine philosophy except the Greeks. This rupture of, but when we look at this rupture from mythological entrapment provided the great a solid foundation for the development of philosophical enquiry into all matter and existence. So, it was from the mythical conceptions, from the mythical ways of looking or the domains of looking at the text or in the creative process that they came into different sort of philosophical enquiry. Soon discussion of literature and criticism began to take shape with other philosophical enquiries. So, when we go and look back into the age before Plato, the discipline of literary criticism began to emerge when poetic and verbal artworks began to be encoded in written form, from the oral to the written form. Previously, literature had existed only in oral form and was for the purpose of public performance. In sixth and fifth century, written texts began to emerge, but oral performance continued to be primary till fourth century. Andrea Nightingale observes, in this period, most written texts functioned as scripts for performance. Mind you, this was closely connected with performance, but for the educated elite, written texts took a life of its own. These individuals began to read and evaluate literature in the privacy of their own homes outside the realm of public performance. So, it was an individual activity as well as a collective activity. Verbal artworks thus became literature and this in turn led to literary criticism. In the fourth century, especially in Europe, ancient Greece, a group of professional people emerged who were called the KTI, meaning judge. These people judged the merits and demerits of arts. They were as if they could give voice to what was required for society and looked at the function in the social, ethical and artistic framework. This was very interesting. At that time in the fourth century, therefore, a group of people who were separate from the onlookers or the audience and they could evaluate texts according to the social significance or the ethical significance. Heads of literary criticism can be also traced in the writings of authors like Homer, Hesiod and Genophonist, Pinda etcetera. We will go into that. The idea of divine inspiration behind poetry which we had just said mentioned just now is suggested in the opening lines of both Iliad and Odyssey. It starts with always an invocation and therefore, divine intervention always comes as a form of a close connection with the writing of poetry. If you read Milton's Paradise Laws, you will find that it being in the in the fashion of epic poetry, it starts also with an invocation to the creative muse. Homer appeals to the muse for inspiration to other truth of the things. Hesiod in his preface to Theogony refers to the muse who bidet into him the art of divine music. So, there is one dominant deity who inspires the creative process. Both Homer and Hesiod get commanded upon the function of poetry as a tool to derive pleasure and education. Let us now as we continue in this lecture, we will find that these two tools of literary criticism to give pleasure as well as to give instruction goes hand in hand. Homer when described the shield of Achilles evoked a powerful appeal of illusionistic art. Well if we go to Jennifer Ness in 6th century BC, we find maybe he is the first critic to comment on literary works in particular. He criticized Homer and Hesiod for attributing human characteristics to God. This is what he says, but mortal suppose the gods are born, wear their own clothes and have a voice and body, but if horses or oxen or lions had hands, they would draw with their hands and accomplish such work as men. Horses would draw the figure of gods similar to horses and the oxen are similar to an oxess. So, this way evaluative way of how one looked at the way the gods were being given human attributes. Pinder on the other hand closely followed made a direct attempt to discuss poetry as a specific form. He classified poets on the ground of inspired or natural knowledge. It is part inspiration and part natural knowledge and acquired knowledge. He contrasted between the man who knows my nature and man who learns. When we will be doing Eliot and we will see that Eliot has says that you acquire knowledge only then you become a critic and this is very close to what we have the high consciousness in Wordsworth and that is natural knowledge as well as acquired knowledge as well as not inspired knowledge. He commented upon techniques which enabled a precise discourse. So, this is where we come to the crux of the matter. It is that we they evaluate what are the forms or what are the manner in which a written text is being written. He stressed on the part of a poet to know the parts that shorten. Now, going back to the first intellectual and political backgrounds which had a great important part in classical literary criticism. First recorded instances of criticism we go back to Aristophanes's play The Frogs performed in 405 BC. We may find certain trace of literary criticism here. This work is an agon or debate. It is in the form of a debate about relative merit of dramatists, Euripidus and Aeschylus. In this work Dianza's patron god of Theta he descends into Hades that is hell to bring back Euripidus to judge his dramatic merit. So, there will be a debate on who is the better dramatist between Euripidus and Aeschylus. But in the end finds Aeschylus a better dramatist. So, in Aristophanes's Frog we find he announced the standard of criticism is skill in the art. You have to have a particular skill and wise counsel for the state. Some literary tendencies of both the dramatists are brought to focus and criticize and we find here the wild whirling magnilokins of Aeschylus and the sentimentality of Euripidus are mocked at and at the end we come to the core the persuasions only trying its eloquent speech, the role of persuasive speech or the role of ruddering. Thus the frog can be seen as a work of comparative analysis and criticism of two prominent authors. We can say that this is the first instance of literary criticism in western literature. So, all these criticisms as we can see were fragmentary and did not use specific theoretical tools. The most sophisticated and coherent literary criticism of course, comes in the western world began with Plato. This was before Plato. However, Plato did not deliberately propound a theory of literature. He did not give a theory of literature as such, but his doctrine it evolved from an epistemic construction of the world and its essence. What is the nature of the world? How it is being represented? What is this essence? Greatly he was influenced by the teachings of Socrates for 70 to 399 BC and he followed a similar pattern of dialectical, dialectic which his master does does Lingley use to uncover essential soul. So, this system of dialectics started from Socrates to Plato to Aristotle. Socrates' philosophical aim was to achieve a summum bonum, the highest good in the pursuit of knowledge. So, what is the text? What is the nature of existence? What is the nature of truth? All this, what is the meaning of essence? These were the questions which were dealt in the dialogic connection in the form of dialectics. So, we come to Socrates in the 4th century BC. Socrates is considered the arts of painting, poetry, music, dancing and sculpture as imitation. So, we come to the core of classical criticism, the concept of mimesis which started from Socrates. Socrates' method was what? Mimesis is imitation. First, the method is skeptical. It begins with Socrates' real or professing knowledge of the truth of the matter under discussion. Whatever the truth or the essence, one is skeptical to it. Secondly, it is conversational. It employs the dialogues not only as a deductive device, but as a technique for the discovery of truth. Through the dialectics method, you go on discussing what is the truth, what is the essence. Then it derives a conception or definition. So, the method is conceptual. Then it becomes a concept. After the dialogic methodology, you come to a concept. In the 4th place, Socrates method is empirical or inductive. You go and apply it to different spheres. In that proposed definition are criticized by reference to particular instances. So, there is complete logic and analysis of applicability of the methods which have been discussed. Finally, the method is also deductive, not only inductive as well as deductive. From the general to the particular to the general, in that given definition is tested by drawing out its implication by deducing its consequences. So, why we have mentioned Socrates as the most remarkable forano of literary criticism is that his method is by Plato in his various undertakings. So, we come to the key figure of classical criticism Plato 428 to 347 BC. Western philosophy is a series of footnotes to Plato. This is what A. N. Whitehead said. Everything of western philosophy or western poetics as such is a footnote is a series of footnotes to Plato. We have to give him the homage to Plotto Nandilus. He laid the foundations of western philosophy. He gave initial formulations to the most basic questions and problems of what use our literature and the arts. What is the purpose of art? What is the purpose of a text? Plato's philosophy in dialogue form. Mind you, this is what you have to always concentrate or understand. This dialectics or dialogue form, the dialectical method truth by systematic questioning of received ideas and opinion. So, the others opinion and your opinion it goes on in a process of erasing or taking in different inputs. In iron, Plato examines the godlike power of poets to evoke feelings such as pleasure or fear. Yet he went on to attack this manipulation of emotions and banished poets from his ideal republic. This is a contradiction by itself. Plato's most significant contribution to philosophy is his theory of ideas. Let us come into this history of ideas now. This theory was anticipated in the ideal theory by the Pythagorean number, mysticism and most of all by the Socratic doctrine of concepts. We had just done about how this dialogue dialectics gave way to concepts and to mysticism and therefore, in this history of ideas that he had brought about, he defined forms or ideas whatever you want to present in a text or in a poem or in a drama, defined as the objects corresponding to abstract concepts are real and entities. The Platonic form is simply the reification or edification of the Socratic concept endowed with the properties of eletic being that is the essence of being. Plato's notion of ideas therefore, belong to a realm of abstract entities, a heaven of ideas separable from concrete particulars in space and time. The separation of the forms and the exemplifications is referred to as the Platonic dualism. The essence is separate from the actual form and when the form comes in it is only a replica of the replica of the replica. The forms are superior to particulars in degree of reality and value. The forms are the realities of which particulars are mere appearances. The form is a model or archetype of which the particular is only a copy. I hope you have got this point here, this notion of ideas. If you want to find therefore, in classical philosophy and link between aesthetics and representation poetry and music, literature and fine arts it is provided primarily by this concept of mimesis which was brought out by Plato who had worked upon the Socratic mode of concepts. The mimetic orientation therefore, with the basis of all classical criticism is this mimetic orientation. The exploration of art as essentially an imitation. Mimesis is imitation and imitation of aspects of the universe was probably the most primitive aesthetic theory, but mimesis is no single concept by the time it makes its first recorded appearance in the dialogues of Plato. Abraham's in mirror and the lamp has traced the evolution of mimetic theory as representation through two significant metaphors that is the mirror and the lamp which are two common and antithetic metaphors of mind. One comparing the mind to a reflector of external objects that is the mimetic and the other to a radiant projector which makes contribution to the object it perceives. So, that will go into the expressive theories not the mimetic theories. Therefore, Plato did not formally assume a role of consciously of a literary critic. However, his doubt over the reality of imaginative literature valorized an important literary term known as mimesis. For Plato all arts paintings, culture, poetry, music are all imitation are mimesis. It is imitation of pure ideas. The Platonic philosopher deals with three categories of realities. This is how it is being shown. The first category is that of eternal and unchanging ideas. The second category it reflects this is the category of sense and manifested world how the senses perceive the manifested world. The third category in turn reflect the second comprises such things as shadows images in water and mirror and in fine arts. The influence and legacy of Plato therefore, fundamental areas of Western thought literary theory continuing to the present day. So, this question of mimesis and the legacy of Plato this views on how you look at art at Western thought literary continue till today. Andrea Nightingale makes the following observation. In arguing for this Plato, Plato set forth a number of ideas that have proved central to discipline of literary criticism. First and foremost he introduced the concept of mimesis. He turns this word into a technical term and gives it a much broader range of meaning. According to Plato the artistic representation therefore, this question of imitation it becomes technical has a different stature from the people objects and events in the ordinary world. Literature does not depict the reality of its objects, but rather portrays the way they appear. So, there is this dividing line between the essence and the form. In book 10 office republic, Plato may have given us the first volume of detail and lengthy literary criticism. The dialogue between Socrates and two of his associates shows the participation of this discussion concluding that art must play a limited and very strict role in the perfect Greek republic. Richter provides a nice summary of this point. Poets may stay as servants of the state if they teach piety and virtue, but the pleasures of art are condemned as inherently corrupting to citizens. So, this famous passage from republic book 10 discussing the nature of art. I will just quote some of this. Socrates is depicted pointing out that there are three beds. The idea which is the essence of the bed and is made by realm of truth God, the bed made by the carpenter and the bed found in a painting. Well then, here are three beds. One existing in nature which is made by God as I think that. We may say for no one else can be the maker. No, there is another which is the work of the carpenter. Yes, and the work of the painter is the third. Yes, beds then are of three kinds. There are three artists superintending them, God, the maker of the bed and the painter. Yes, there are three of them. God, whether from choice or from necessity made one bed in nature and one only. Two or more such ideal beds neither ever have been or nor never will be made by God. Why is that? Because even if he had made two, a third would still appear behind them which both of them would have further idea. God knows this and he desired to be the real maker of a real bed. Therefore, he created a bed which is essentially and by nature one and only. So, this is interesting. So, we believe shall we then speak of him the natural author or maker of the bed? What is the essence then? The tragic poet is an imitator therefore, because he represents one which is only the essence and therefore, like all imitators, he tries to remove from the king and from the truth. That appears to be so. This is the interesting dialogue which goes on in the republic. Thus the poet is just like artisans, not artisans, artisans are tries to remove from reality. In his iron, Plato further relegates poetry as an improper tool for education. For instance before drawing a circle, there one must have an idea of circularity. So, in this history of ideas, in this play of ideas, the priority of the perfect form over the transient reflection or of the representation of it is called realism as opposed to nominalism. Well, so Plato's theory of mimesis called for a metaphysical reality and in its essence he considered imaginative literature cannot do justice to it. Among all the fine arts, it was certainly poetry about which Plato had most to say in the republic. He says, the arts of poetry, painting, music, dancing and sculpture, socrates says are all imitations. Plato's discussion on poetry or literature seems to be solely concentrating on theme and not on structure. He often ignores the formal structure. When we come to Aristotle, we will find that he will pay attention more or less to the structure as well as to the theme and therefore, the interpretation of text takes on different meanings. Andrea Nightingale makes the following observation. We are giving more space to Plato and Aristotle because they were the key players in this field of classical criticism and many ideas which we have inherited from them still continues to be unfocused. Nightingale makes the following observation. In arguing for this Plato, Plato set forth a number of ideas that have proved central to the discipline of literary criticism. First and foremost he introduced the concept of mimesis which we have said and he turns this into a technical term. The artistic representation has different stature from the people, objects and events in the ordinary world. Literature does not depict the reality of its objects, but rather portrays the way they appear. Thus, Plato's theory of philosophy where he made comment on literature and literature cannot achieve higher ethical goal. His then is not that of a literary critic. We have mentioned it before rather an evaluator of culture and its discourses, but that does not mean he was unaware of the power of poetry maybe because of this realization. He wanted restriction on imaginative literature. He welcomed in his ideal state composer of hymns to the god and panigrics of hymnsmen. His discussions were taken to new heights by his disciple Aristotle. So, we come to Aristotle whom we look to even when we look at how we read a drama suppose a play of Shakespeare or any other text. Aristotle great philosopher and polymer the student of Plato and teacher of Alexander the Great. So, this is how the history of ideas have gone from one scholar to the other, one philosopher to the other and the legacy is being built up on the context of how we appreciate a text or a work of art. Aristotle 384 to 322 BC defends the value of art in his poetics and his analysis of tragedy has influenced generation of critics from their analysis onwards. It is a different school of criticism altogether. Aristotle Aristotleian concept of tragedy or his concept of how he looks at drama. In poetics Aristotle breaks with his teacher Plato in the consideration of art. Aristotle considers poetry and rhetoric a productive sense not that it is less imaginative, but it has also written for a purpose. Whereas, he thought logic and physics to be theoretical sciences and ethics and politics practical sciences. He calls poetry a productive science because Aristotle saw poetry and drama as means to an end. For example, an audience enjoyment and delight he established some basic guidelines for authors to follow to achieve certain objectives. So, this is a famous painting of Plato and Aristotle. Plato's disciple Aristotle differed from his master from one significant sense though he retains Plato's idealistic principle, but rejects its transcendent nature. He believed forms are not apart from things which Plato had said, but inherent in them it has something which is inherent in the form. Matter is not to be equated with non-being, but a dynamic being. Forms or ideas cannot exist without its phenomenological manifestation where Plato's thinking can be dubbed as a form of mysticism. Aristotle on the other hand can be said to be scientific. He valued individual and material phenomena equally as Plato valued the timeless ideas. So, we come to the poetics of Aristotle. Perhaps this standpoint made him tolerant towards imaginative literature. This is very beautiful you know the way the reading of text took on such different developments, such different dimensions. His is among the first names in the world that seriously look in the formal aspects what is the form, what is the shape of a text or structure of creative literature in a detailed manner and it is it was being documented in a detailed manner. Aristotle's poetics therefore is singularly important document in the field of literary criticism. We start therefore with classical criticism. We are giving equal importance to Plato and Aristotle because they were the ones who have showed away how literary criticism should be that influence all the critics or theorists of posterity. Nicole says the found of all true study of the essential elements of dramatic form lies in the poetics of Aristotle. If you want to know what is the drama, what is the tragedy, what is the comedy you come to understand, you go to the poetics of Aristotle. Aristotle in his poetics also defines poetry as imitation not only drama as imitation, but poetry also as imitation, epic poetry and tragedy as also comedy, the trombic poetry which is sung in the praise of gods and most flute playing and live playing are all viewed as a whole modes of imitation and the objects of the imitator represents our actions. To help Arthur's achieve the objectives Aristotle developed elements of organization. So, he brought about a methodology of how to see a text and methods for writing effective poetry and drama known as the principles of dramatic construction, how modern he was, how he could talk about reader response or the way that how the audience would see a drama or how an audience could read a text. Aristotle believed that elements like language, this are the components. Language, rhythm, harmony as well as plot, character, thought, diction, song, spectacle influence the audience's catharsis. Catharsis is a sort of catharsis of emotions or satisfaction with the work and so here we see one of the earliest attempts to explain what makes an effective or ineffective work of literature. It has to be completely perched your emotions in seeing a pure tragedy or a pure creative work and only then when you have this catharsis of emotions a purging of all other emotions and sense of pity and fear comes in only then can you judge that to be a pure form of work. Aristotle's poetics may be considered as an answer to Plato's philosophical considerations, but for Aristotle as for Plato the theory of literature we come to this theory the judgment or the evaluation or the interpretation of literature is only a part of the general theory of reality. It is a reflection of reality yes, it is a representation of reality yes, but for a comprehensive understanding of Aristotle's ideas we need to take into account his idea of metaphysics, his idea of ethics and politics and rhetoric. As we have already noted Aristotle reacted against Platonic notion that world of phenomena has an ephemeral copy of the senseless ideas. He considered the change as a vital unifying force he admitted that it is a dynamic process a passage from potentiality to act. His notion of poetry therefore, has him that the pleasure that can be derived from literature the delight in the pleasure should be taken as an experience by itself and it is more rational and beneficial activity. Its own product properties and a set of objective because of this it has its own set of principles it can be rationally understood by following its set rules. So, he places poetry into general feel of human activity. He divides human activities into three main categories the theory the thought the praxis the action and poesis the production. In book 8 of politics Aristotle considered the educative value of visual and other arts the visual culture which we are so, immersed with now both poetics and rhetoric can be said as expansion of that standpoint he takes into account both pleasure and ethical principles put together. For Aristotle in his poetic also defines poetry as imitation well. So, I here in Aristotle poetics he starts like this I propose to treat of poetry in itself and its various kinds noting the essentially essential quality of each to enquire into the structure of the plot as requisite to a good poem into the number and nature of the parts of which a poem is composed and similarly into whatever else falls within the same enquiry. Following then the order of nature let us begin with the principles which come first. So, it is completely detailed methodology which he brings about in his poetics. He talks about epic poetry and tragedy comedy also and the trombic poetry and the music of the flute and the lyre in most of the forms are all in the general conception modes of imitation. They differ however, from one another in three aspects how through the medium that they represent the objects the manner or mode of imitation being in each distinct. For as there are persons who by conscious art or mere habit imitate and represent various objects through the medium of color and form it may be in visual art it may be in painting it may be in a sculpture or in a poem or again by the voice. So, in the arts above mentioned taken as a whole the imitation is produced sometimes by rhythm sometimes by language or sometimes by harmony either singly or combined. Just like Plato Aristotle admits that all arts are forms of imitation. For Aristotle imitation is not a several copy of some eternal idea as it was in Plato rather it is a creative process in itself. So, the saint itself adds dynamism to the original. In chapter 4 of the poetics he says that imitation is a fundamental human instinct and poetry is manifestation of this instinct. It is representation of the universal unlike Platonic ideas this universal are permanent modes of human thought and action. So, he gives permanence to this copies of the copies of the copies which Plato have said. So, there is in the representation also of the universal has added to the permanence of the object. Aristotle added a structural element to the essential for poetry. So, this insistence upon the concept of structure he gives new dimension to literary criticism. He gives the element of plot by plot he meant an organic structure of events which would do justice in representing the action especially in a drama according to the laws of probability and necessity. Thus Aristotle presented imitation as an aesthetic faculty. Aristotle's classification of different types of literature. This was the first time that we can talk about genres which were being formulated. What was comedy? What was tragedy? What was epic poetry? What was prose? He distinguished tragedy and comedy in other forms of literature. Aristotle considered tragedy as a serious occupation whether comedy stemmed from the imitation of common folks. It is slightly baser. One is derived from an imitation of noble soul. The other from common elements tragedy is the imitation of action arousing pity and fear and is meant to effect the catharsis of those same emotion. So, students of literature always they come and get acquainted with how to look at a tragedy. Suppose you read Shakespeare's Hamlet. You look it from Aristotle concept of tragedy or of a tragic hero. What is a tragedy? What is the plot like? Does it bring in this? The character is it being able through the action able to bring in catharsis of emotion. Aristotle concludes poetics with a discussion on which if either is superior epic or tragic mimesis. He suggests that because tragedy possesses all the attributes of an epic, possibly it possesses additional attributes such as spectacle and music is more unified and receives the aim of his mimesis. In shorter scope it can be considered as superior to epic. So, you consider the way that you look at a film or you look at a you go and see a drama or you go to a theatre. When you apply Aristotle's concept of the tragic hero or how the tragedy should be, you really get an understanding of the elements of drama. So, Aristotle offers famous definition of tragedy. Every student of literature and everyone who understands drama tries to understand drama has come across this idea definition of tragedy. Literature is about character and the character is revealed through action and he tries to identify the required stages in the progress of a plot. And so we can say that we will be doing that reader response later. This was the first literary criticism which has concentrated on reader response, reader centre approach to literature. Tragedy he says to stimulate the emotions of pity and fear. Aristotle called catharsis whereby this emotion are exercised rather than exorcised. While discussing the creative arts Aristotle does not forget to outline the crucial difference between poetry and history and philosophy. Referring to the role of a poet he says in chapter 9 of the Poetics, it is not the function of the poet to relate what has happened, but what may happen, what is possible to according to law of probability or necessity. Aristotle proposes to study poetry by analysing its components or constitutive parts. Most of the discussion of Poetics that survives mainly discussions about tragedy and epic poetry. Aristotle finds 7 major characteristics of tragedy. First it is an imitation, we have lofty thought, rhythm, harmony, it has 6 parts plot, character addiction, thought, melody and spectacles. Well this definition of tragedy which we had done is something which is very beautiful.  So, this is a question of the perfect timing or the perfect action or the perfect character development which should be there in a tragedy. As therefore, in the other imitative arts the imitation is one when the object imitated is one. So, the plot being an imitation of an action must imitate one action and that a whole there should not be too many sub plots and if there are sub plots it deters to the idea of a tragedy. The structural union of the parts being such that if any one of them is displaced or removed the whole will be disjointed and disturbed. For a thing whose presence or absence makes no visible difference is not an organic part of the whole. This was about the organic unity of a play or of a drama. In doing that he had also referred to the classical unit is in his poetics. The unity of action where a play should have one main action and that it follows with no or few subjects. Then the unity of place a play should cover a single physical space it should not be over a different locations. The unity of time the action in a play should take place over no more than 24 hours. There may be elements of surprise in a plot one of it he calls the peripitia or reversal of fortune. Adar is anachnoresis the sudden discovery of fact. Tragedy arouses the Pythian phobia when a spectator observes a man in high state or high position due to some lack of character and falls to misery which was called the haemorrhagia or tragic flaw. Like Plato Aristotle views on art heavily influenced western thought. So, it had given a legacy of different developments on mimesis. But the difference between the way the term imitation functions in Aristotle and Plato distinguishes radically their consideration of art. The debate between Platonist and Aristotleians still continue the neo-Platonist of the second century AD, the Cambridge Platonist of the later 17th century and the idealist of the romantic movement. Even today the debate continues. We come to another Roman lyric poet in 65 BC Horace who during the time of Augustus because it was a saint from the republic to the empire. He had written many treatises and his many satirists he is placed in literary criticism is well pronounced which influenced many poets in 18th century England. The classical period in English literature we had already done that in the history of English literature and Horace's promotes a style of poetic craftsmanship. How a poem should be rooted in wisdom there should be ethical insight as well as decorum. He compares the poem as a painting to the auditory senses. They have similar abilities to move. He maintains that poets specially in his arts poetica should always keep in mind the audience. He should join the instructive with the agreeable with one which is pleasing and which is agreeable. In his arts poetica he gives instruction to a budding poet how a poem should be. Thus Horace's work is more of a treaty than literary criticism. We come to Longenus and his treaty on the sublime probably in the first and third century AD and he is a particular interest for literary studies. The mention of Longenus because he explores the nature of inspiration in poetry and prose. So, specially in the Roman domain by the word sublime he means a certain elevation or loftiness in literary work. So, there has to be a loftiness and grandeur. Sublime state cannot be imitated is the kind of divine influence. He identifies the sources of the sublime as follows the grand thought the capacity for strong emotion appropriate use of figures of speech nobility of diction. You have to be really acquainted with everything dignity and elevation of composition. Longenus's method is similar to that of Matthew Arnand who in the similar fashion tend to try to judge poetry by comparing with valued works and established works of literature. So, when we come to literary criticism and aesthetic theories the diversity of aesthetic theories however makes the task of the historian a very difficult one. It is not only that answers to such questions as what is art what is poetry disagree the fact is that many theories of art cannot readily be compared at all because they lack a common ground on which to meet and clash. The history of the aesthetics if we look into it while we do literary criticism underwent a lot of changes from the age of the Greeks to the moderns. When Plato discussed beauty in the Symposium and Phedra's he was speaking not merely of physical beauty, but of beauty of human being, but also beautiful habits of the soul and of beautiful cognitions. Plotinus in his famous treatises on beauty when we took up the aesthetics which takes part in literary criticism he was also concerned primarily with metaphysical and ethical questions. But he does include in his treatment of centuries beauty the visible beauty of the works of sculpture and architecture and the audible beauty of music. All this goes to the point of how much it gives the light the sensory appeal of beauty as well as of a written text. In Augustine's speculation of beauty also their references to the various arts yet the doctrine was not primarily designed for an interpretation interpretation of the fine arts. So, this mimetic orientation that we had done till now the explanation of art as essentially an imitation of aspects of the universe was probably the most primitive aesthetic theory. But mimesis is no simple concept by the time it makes his first recorded appearance in the dialogues of Plato. The arts of poetry, painting, music, dancing, sculptures after the essays are all imitation this was what Plato had said. From the initial position that art imitates the world of appearance and not of essence it follows that works of art have a lowly stature somewhere or the order of existing things. Imitation continued to be a prominent item in the critical vocabulary for a long time after Aristotle all the way through the 18th century. In fact, the systematic importance given to the term differ greatly from critic to critic who those objects in the universe that art imitates or should imitate were variously conceived as either actual or in some sense ideal. And from the first there was a tendency to replace Aristotle action as the principle object of imitation which has elements as human character or thought or even inanimate objects. Aesthetics therefore is closely associated with poetics which denotes the theory of literary form and literary discourse. It is true that the course of aesthetic theory displays its full measure of the rhetoric and logomancy which seems an inseparable part of man's discourse about all things that matter. For discussion therefore, let us see discuss Plato's theory of mimesis and Aristotle's defense of this theory. Aristotle definition of tragedy about structure about the tragic hero Aristotle definition of the tragic hero. By now I think you had a fair idea of how all this took place the first initial way that literary criticism took place. Therefore, we find two common and antithetic metaphors of mind as M is Abraham's had written in the mirror and the lamp one comparing the mind to a reflector of external objects as a reflector and the other to the radiant projector which makes a contribution to the objects it perceives. Critical thinking therefore, like that in all areas of human interest has been in coincidental part thinking in parallels and critical argument has to that extent been an argument from analogy. The polemical tradition does not abate with the end of classical antiquity the debate goes on. Criticism of the Italian Renaissance had its famous quarrels, neoclassicism renewed the battle between the ancients and the moderns, between classicism and romanticism, another blood-eatery, philologist from Jesus Schalke to a houseman very known for their virtuosity in verbal abuse, interpretations therefore, differed. Lastly, literary theory in recent years has sought to explain the degree to which the text is more the product of culture rather than an individual author and in turn how this text helped to create the culture. Literary theory refers to any principles therefore, derived from internal analysis or from perspective of literary text or from knowledge external to the text that can be applied in multiple interpretation. So, the works cited were Ellen Bridges, The Writing Lab and The Owl at Purdue, Abraham's The Mirror and the Lamb, History of Literary Criticism Balmiras, The Beginning Theory and Introduction to Literary and Cultural Theory, Andrea Nightingale, Mimesis and Jane Greek Literary Theory and David H. Richter, The Critical Tradition and M. A. R. Habib, Modern Literary Criticism and Theory. Thank you.


soldiers of the press in and out of Hawaii move the ships the planes and the men who are carrying the fight to the Japanese in the scattered islands and on the broad sea lanes of the Pacific and with them go the correspondence of the United Press recording epic events at such remote points as New Guinea midway the Solomon's for Honolulu is as much an operations base for war correspondence as for the fleet we bring you now the story of a man who has seen as much or more of action in the Pacific than any other of the core of correspondence whose home base is Honolulu United Press correspondent William Tyree I've been covering the war in the Pacific since the day it began in fact in terms of the newspaper men passing through Honolulu since Pearl Harbor I'm looked upon as something of a veteran war correspondent you see I was transferred to Honolulu was night manager of the United Press Bureau more than a year before the Jap stage their sneak raid in Hawaii like every other American who watched the smoke billowing up from burning ships and aircraft on December 7th I was hoppin mad my first impulse was to join one of the armed forces in order to get a direct crack at the nips so I dropped in on my boss Frank from Maine late one afternoon a few days later to talk it hello Bill come on in thanks Frank if you've got a few minutes I'd like to talk over a personal problem with you certainly what's on your mind well Frank I'm still sore at the way the Japanese dragged us into this war and I've been considering enlistment I'm husky hale and hardy have no flat feet and possess the prescribed number of teeth I see I don't know just where I'd fit in but I think I'd make a passable buck private I see Bill and I can sympathize with your sentiments in fact I've even turned the same ideas over in my own mind yeah I think all of us out here who saw what happened in the harbor and at Hickam field feel pretty much the same but here's a point I'd like you to consider as you said you don't know where you'd fit in the army buck private remember okay buck private look Bill you're a trained man working on a job that's vitally important to the war effort gathering the news getting it right and getting it out it's taken six years to make a foreign correspondent of you and well you're a good one thanks the point is I'm not so sure the army could make a good buck private of you you like the sleep late of morning's too darn well no cranks remember I work nights but look I want to see the show when we start handing it back to the Japs I want to be in on that well Bill you will you're going to be accredited as UP correspondent with the Pacific Fleet that's strictly between us for the present but it's going through and you'll be seeing plenty of actions well Pacific Fleet assignment that sounds more like it well Bill as I look at it you'll be doing an important job but you can do well if you stick how about it good point and if it means a chance to really get into some action I'm still your man well I stuck and as for action I've had a year jam packed with it small operations with task forces at first then I really got into the thick of it in the coral sea I had a ringside seat for that one aboard a US cruiser I got my initiation of bombing and learned to duck when Jap planes came close enough to rake our decks with machine gun fire I saw the 33,000 ton Lexington ripped by torpedoes and bombs saw her heel over and go down and I wiped tears from my eyes as her rescued crew members watched her disappear but during that four-day engagement I also saw the beginnings of America's repayment of Japan's treachery at Pearl Harbor five months earlier I talked with an American pilot who had dropped a 1,000 pound bomb squarely on the flight deck of a Jap aircraft carrier he told me boy when that bomb hit it was terrific that Jap carrier opened up like a volcano and next day I cheered with the crew when the skipper announced the score over the ship's public address system estimates are that he has paid for the destruction of the Lexington with the loss of 23 and possibly 24 Japanese warships our service report the enemy has withdrawn and that contact has been lost so for the time being this cruiser will not get a whack at his ships but this will be a long war we will catch him again every time he steps out we'll snip off his ships then when his naval power is exhausted we can roll right up to Tokyo we will catch him again the skipper had promised it and that's what we did for weeks we were constantly on the alert everyone was convinced that the Japanese fleet was reforming to strike another blow and it came on the 4th of June our ships radio crackled with the electrifying news strong force of enemy ships cited by Navy patrol planes 700 miles off midway the ship's bugles sound general quarters and I make a dash for the bridge where I'll have access to the ship's fighter circuit radio hello Tyree you're always yelling for action so get set this looks like the blow off big pack of nips out front huh right observers say the enemy has 80 or more warcraft headed this way hey wait a minute listen our carrier sending up her planes oh look at them our comforting sight here let's cut in the fighter circuit spotted prepare to repel attack that fighter in torpedo planes 12 miles step on it I can't see anything don't be impatient even at 300 miles an hour 12 miles is a bit of a hop you know use your glasses yep here they come check now I can make them up just above the waves look at them come torpedo planes they're the bad ones tight this is it pulling up to get out hey look one of our own fighters just coming straight into our fire to get that jab oh wow the jabs down and he's zoomed up out of it man there come the torpedoes see the wake yeah hey one's gonna be close yes it's going to know it's wide 500 yards off our bow hey there comes one plane straight first my god I believe he's gonna try to crash it we got him oh boy that was too close to comfort the attack had been beaten off and I suddenly became aware that our public address system was cut in on a report from midway enemy ships including battleships carriers cruises and transports have been hit many times by our bombers we hear there are three enemy ships burning satisfactorily 170 miles off midway news comes that we've destroyed two enemy carriers and have badly damaged you remember the final score of that battle ten Japanese warships including four aircraft carriers sunk at least eight other warships damaged the jabs driven back from midway by the time we put back in at Pearl Harbor I'd made up my mind and another assignment I wanted the performance of American aircraft in the Coral Sea and at midway had given me a yen to have a closer look at air war from the belly of a bomber bent on business I asked for and got an assignment with the U.S. Air Force in the South Pacific I had the pleasure of craning my neck over the open door of the Bombay of a flying fortress I've watched her bombs fall away to dissolve and blasts of flame and smoke from Japanese installations on Bucca airfield in the northern Solomon's I'd come to think of myself as something of a case-hardened war correspondent until one day not long ago when our big B 17 sat down on Henderson Field on Guadalcanal I dropped to the runway and spotted a marine sergeant who looked like he could supply the information I wanted a sergeant deal got a minute sure buddy what do you want I just came in on that B 17 I'm a newspaper man William Tyree a good night at press let's know you hi we're supposed to have a guy down here named Francis McCarthy you know where I can locate him sure sure thing he'd be with the rest of them correspond to suppress him now come on it's not far I'll show you thanks saying by the way our McCarthy and the rest of your newshawks making out and they're doing all right and they're plenty tough if you ask me you newspaper guys ain't bright a marine me for instance if I'm gonna get it I'm gonna get it but brother I'm not asking to get myself bumped off standing on top of a hill like you dumb newspaper men with your cameras and portable typewriters I located the Guadalcanal press tent and I learned what the sergeant had meant McCarthy had been on Guadalcanal for 30 days he'd gone through two attacks of dysentery half a dozen assorted tropical complaints and had suffered a broken rib and a fall from a cliff while on patrol with the Marines Sherman Montrose a photographer for Acme news pictures had the same experiences to report except for the broken rib bombing and shelling attacks were a daily routine and life was rugged to put it mildly my first morning there will give you an idea hey Tyree come out of it it's dawn you'll miss the regular morning shelling if you don't hurry oh love of Mike McCarthy doesn't even light yet yeah well look chum we got to get out and get some breakfast and Pronto go away you hear that our Japanese neighbors are up and about they're starting the shelling already oh hello buddy hello Mac I can't seem to impress our friend here with the fact that breakfast is catches catch Canada now or never on Guadalcanal hello Tyree look max right you love it breakfast will be enough for a change pancakes without butter they serve a concoction with them that's one part sugar and nine parts and nine parts what I suspect is drainage from the crankcase of a Jeep oh yeah you'll get to wash it down with chlorinated coffee and you'll be set to start the day sounds swell well I'll admit I can't resist that few six guys in this pup tent make room for a man to stretch hey that one was close I think nothing of it Bill waiting to meet our Japanese snipers the woods are full of them they're good too yes sir they can knock the ashes off your cigarette at 200 yards can't see them either you know they perch in the trees all dressed in camouflaged green outfits and wham away at you sounds just lovely we're glad you like the idea you see that's our usual initiation for newcomers to the Guadalcanal press tent yeah come on fellas we got to get a move on let's take Tyree out and get him shot at no sorry not me I'm just passing through these parts I'm going to climb back aboard my B-17 and go out on a nice peaceful bombing raid actually I stayed three days and a good half of that time was spent in foxholes dodging bombs and shells I got that initiation by Jap snipers too I left just a short time before the Japanese made one of their biggest bids to recapture the strategic island for three days of what McCarthy described as unmitigated hell the Japanese hammered at American positions with continuous land air and sea attacks well I'm convinced that the Guadalcanal press corps has seen as much action as anyone could want and I know I've had plenty of opportunity for close contact with the enemy before this show is over I hope to have plenty more possibly even that ride to Tokyo which every sailor soldier and flyer in our armed forces is aiming for yes Tyree and McCarthy and scores of others on the worldwide staff of the United Press are seeing the great developments of this war at first hand are reporting them direct from the scenes of action they are living the adventures we bring to you in this series of programs be sure to hear the next edition of soldiers of the press and meanwhile listen for United Press news on the air look for it in your favorite newspaper it is your guarantee of the world's best coverage of the world's biggest news


This is a story of Esther Jennifer, who was recently attacked by thugs in a polling unit while performing a civic rise as a citizen of Nigeria. She is one of the main English people during election, which is suicide.  Dripping from your face, you're still voting blind. You can see the reality. I went out like every normal Nigerian, but I want to vote. In Nigeria, we write to voters to fund a matter after a referendum. However, the traditional process of voting has been played with challenges which has affected the integrity of the electoral processes. Some of these challenges include vote rigging, ballot box snatching, fund mismanagement, and election violence. According to the survey we conducted, 69.5% of the total feedbacks agreed that election in Nigeria are not free and fair, as of the 9.3% strongly support electorally voted in Nigeria. This is why our team has called up the solution by creating an electronic voting app called Credible, which is the United Nations Sustainable Development Goal System to promote free, just, peaceful and violent free elections in Nigeria, other than to encourage fund management. Credible app is the user-friendly, safe and secure voting app that allows users to vote from the comfort of their home and please build signed voting experience and results. Our app provides faster results, reduces human errors and results from distillation, other than excessive costs of printing ballot papers, in addition, prevents rigging, violence, and turns lives from the risk of charging around the world just to vote. Compared to the other apps, like IREV and IgoVote, which only allow results upload for coalition. Our app is the only app that provides a unique platform for users to vote electronically from the comfort of their homes and gives real time results. Wow, I just casted my vote with ease. Wow, wow. Credible app is the real deal. Imagine standing under the sun for hours just to cast a vote for one man. Standing under the sun for hours just to cast a vote for one man. Credible app just makes voting easy. I can just vote for the comfort of my home. Thank you, Credible. In the future, we tend to, one, activate the other electoral positions and commands. Two, design language has little to accommodate other tribes in Nigeria, like Igo, Yoruba, and Housa, and the world at large. Three, deploy our app on Google Play Store and Apple Store. Four, allow their practitioners to choose any form of collection with any organization. Five, create a USS system for people with half-smart files. We have some challenges in designing the problem to solve this problem. Choosing an athlete, the mantra, designing the problem, we have challenges in designing the user interface, we set you on a slow way, and lastly, there is a TV. Credible, give strength to be to your voice. Okay, that looked like an advert from outer space, something that cannot be realizable. But hey, this is something that has been done, and it's not just done by any person, but it's done by our own children. We are so proud of these children. By the way, those children you saw there are nine, you can guess who is nine, the bossy one. And then the other one is 12 years old. So it's my great joy and pride to introduce to you this morning on the show, Olivia Chizaram, who is 12 years old. And we're glad that you were able to join us. Welcome to the program. Thank you. And then we have Chizaram. I just want to call their first names only. Welcome to the program. Thank you. Good. They are Nigerians. They're school in Nigeria, right? Not abroad. So we are in Nigeria here, which means we have these talents here, and they developed this app. Let's begin with you, Chizaram. Give us a background to why you developed this app. I know what you have said already on the clip there, but let's get to hear it directly from you. We developed this app because Nigeria has always had electron biomass. And then we just wanted to change this. We wanted everyone's voice to be heard. We wanted everybody's voice to be heard, including those people who are being marginalized right now and all that. So how does the app work? It allows eligible voters to cast their votes from the comfort of their homes in any location while using their smartphones or other electronic devices. So you have to have a smartphone for you to be able to cast your votes? No, we're also planning on creating a U.S.S.D. system for people to have smart devices. Oh really? But now the stage we are in, you have to have a smartphone, but you are intending to do that. How long did it take you to create this app? It took about 14 weeks. 14 weeks? Yeah. To create the app. Well that's interesting, 14 weeks. What kind of background do you have?  Or you're just regular students who had a passion for something to do like this? Yeah, regular students. But you want to pursue sciences? Yes, we want to. Are you sure? Are you sure? You also want to pursue sciences? We're talking like a politician, you know, with so much authority and with your hands and all that. You want to do sciences after this? Okay. You have not decided yet. Okay, let me come back to you. Tell us about this event that you went to and marketed, so to speak, this credible app of yours. We understand you just came back from an event. You won medals and all that, and you had a position that we are really proud of. So just tell us about that event. We call social impact. So tech innovation is an organization that empowers girls to become tech savvy. Makes them leaders, innovators. Creators, problem solvers and tech entrepreneurs. Okay. Yeah, go ahead. Continue. You went, how did it start? Because the finals were held in Nigeria. So how did it start from stage one? How did you get to enroll into this tech innovation you called it? Yes. How did you enroll? How did you get to know about it? We got to know about tech innovation from our school, the Pottersland School. So when we signed up for it, we went through the past, what other people have done. So we're really impressed and really wanted to help our community. So we started thinking of problems to solve. When we now thought of the election problem, we came up with a solution by creating an electronic footing app to help solve this problem. Yeah, I can see that you are not in the same class, right? Yes. So was it where you asked to group according to your siblings or you just had to choose a partner that you liked? We group according to our siblings. Or everybody had a sister that, what of the people that didn't have sisters? They were probably friends or close, they were close. Okay, okay.  Yeah, that's it. So how was the experience like working on this app? Was it a pleasant experience? Was it a difficult experience or something? It was difficult and also pleasant. I'd like to hear the pleasant part of it. And when were making the survey and also the retreat here? When we were making the surveys and all that. So it was very pleasant to you. And if you were given opportunity to develop another app, apart from this electronic app, what would it be? Healthcare. Healthcare? Healthcare, what specific aspect of healthcare do you want? I'm not really sure, but we are still thinking of it. Okay, healthcare. Oh, you're thinking of it. It's not just like you will think about it. You have already had a light bulb moment as they call it and you're going to do something about healthcare. Yes. Now, how do you intend to use this app? Is it designed only for Nigeria or you want it to go global? We want it to go global. Okay. So what did the United Nations or whatever relevant authorities were at that event say about your app? Well, we went to AMD. They say it was a really nice idea that they wish it could really work for our community. Okay. Are you having any kind of funding for it? Are there sponsors that are willing to key into what you're doing and make sure that it is out there for people to access? No, but we hope so. You hope so? Or mommy will be doing something about that. She's your manager, right? Okay. Tell us more about challenges you have in school. This is just personal things apart from the app in school, about schooling. Why I'm bringing this up is that while we were growing up, we are the BBC generation. You know what that means? Born before computer. We didn't know much about computers. So growing up, we didn't think things like these were possible at all. So when you're talking now, there are people on the streets, people of your age that think that a lot of things are not doable.  Anything. Ladies and gentlemen, she's just looking at me like, really? Do I need to say something before someone gets to know that school is good enough?  They have been in school. They are in school. What class are you? Year five. Year five. That is primary? Yes. Five. What class are you? Year nine. Okay. So what I want to bring out here is that everything is possible if you put your mind to it. This is Chisoram and Chisoro, two people that have taken the name of Nigeria to the international scene. And before I ask them any other question, I'm calling on all the relevant authorities to look into the possibility of making this go viral and also for us in the nearest future to use apps like this developed locally by our own people and also encourage this kind of innovations in our schools. The curriculum that we operate right now and it is not meeting global standards because the people we churn out in our secondary schools, our primary schools, our universities, even some people say are not employable. But if you see the success story of these two, you know that things are possible in this country. And with a little prodding, with a little funding, with a little of everything that is needed in schools, especially public institutions, we can have a lot of people doing very great things. So now you have entered the first competition. This is your first competition. Yes. And you have been exposed to so many others, right? So you intend to also continue doing things like this. But what is your next plan? Plan to cooperate with INEG, the government, like use this app. INEG, but you have not had a contact with them yet. Yes. And you intend to do that. Yes. Okay. So if there is something we can do, we are also going to do it because we like the situation where children come up with creative ideas and we like to encourage them to do even more than that. So if you have a challenge, I'm not management, but if you have a challenge that the media can do, we'd like to also be a part of that, that is a promise that I can give you. Thank you. You're smiling right now, but we're going to do that for you. And we're encouraging everybody else who has something really innovative that they want to put out there, that we want to encourage you and whatever we can do, just reach out to Plus TV Africa. That's what we do. And we concentrate mostly on the use. We want you to succeed. We want our country to be better. And you being the leaders of tomorrow, we will do everything within our power to make that come to fruition. Now INEG is the one you want to collaborate with. And when you go into the health issue that you're going to do, you're going to also collaborate with the Minister of Health, right? And so many other things. We want to wish you luck in whatever you're doing. And by the way, if you didn't see, they have very shining medals here for both of them that they got from this technology that you call it, credible app. Is it already on the Google Play Store? No. When do you intend to put it there? Soon. Soon? How soon is soon? You're being very careful, so soon when? Before the end of the year or before the end of two years or before the end of this present administration? The end of this year. The end of this year. Are there any challenges that you're facing in trying to put it into Google Play Store? Yes. What are these challenges? It keeps rejecting it. It keeps rejecting it. Okay, so possibly we can also connect with some tech guys that may know the challenges that you're facing and see what they can do about that. Am I doing an interview or am I just giving promises to these people? I'm so excited that they are here in the studio. They have told us how they got to find out about technology. They have told us how long it took them to do this. They have told us what their aim with this material is. They have also told us what they intend to do for the future with about covered everything about this topic. But in the course of doing this, you must have had some support from XYZ, from some people. Who are the people who are your greatest supporters for you to be able to achieve this? My mentors. Your mentors? Our family members. Family members. Okay, mentors. When you say mentors, what do you mean? Teachers? Yes. Just the teachers. So how was the process to... How was the process like? I'm eating my words now. I don't even know how. I'm just rambling around. How was the process like when you were trying to develop this app? Was it such that you were spending long hours or you were doing it during school hours or you were doing it during weekends only and all that? It took you 14 weeks to achieve this. How was the process like? Like after school and during the weekends. After school and during the weekends. And your mentors were always with you? Yes. Yes. Every step of the way. Are there some that you would like to recognize on air right now? People whose names you would like to call? Yes. My mom. Yeah. Just call her name. Your mom. What's her name? Mrs. Nina Obie. Okay. And who are the mentors that you were talking about? And Ms. Olassoji. Mr. Olassoji? Ms. Ms. Olassoji. Okay. She was a mentor. Who else? My mom was also a mentor. Oh. Interesting. So the two of them are the ones that you would like to give credit to right now? Yes. Okay. I'm very happy about that. Mom, wherever you are, you can hear us. Thank you for your job well done. And Mrs. Olassoji, right? Yes. Thank you for your job well done. We need mentors in every field of endeavor. If you want to grow in whatever you're going to do, get someone to be your mentor. Even in business, that's what we have been told. And right now, Chisarum and Chisarum had mentors. Fortunately, one of them was their mom. And it's good. If you are a parent, be interested in what your children are doing. They may not be inventors like they are, but they can excel in whatever they're going to do if you are a part of their life and their journey. That is a message that should sit with you today. I would like to thank you, except you have something else that you'd like to say as a final word. You have okay. Let me start with you, Chisarum. Go ahead. Solve a problem and change the world. That's what you'd like to say. Solve a problem and change the world. What would you like to say? The world needs you. The world needs your ideas. The world needs your leadership. Let's ambristic and make a wave of change. You know what my prayer is? That you one day become a president of Nigeria.  I like the confidence and all that. But ladies, thank you so much for coming on the show. We do hope that all the relevant authorities are listening to these and everything that can be done behind the scene. We hope that it will come to fruition. Thank you so much and congratulations for the winning. You won not only for yourself, but for the entire Nigeria. So thank you so much. So ladies and gentlemen, that has been Chisarum and Chisarum, and they contested in Technovation and the won. And whether they won or not, they brought out something that is really, really important, especially for Nigeria, where elections are fraught with irregularities and there's violence. Sometimes you go wait for so many hours before you can do what you need to do. We're praying that everybody that needs to hear this and needs to do something about it is watching us right now and is going to do what needs to be done. And this is eventually where we're going to draw the curtain on the show this morning. We hope that you have a wonderful time. And if you did, let's do it again. At the same time, on Monday, have a wonderful weekend. My name is Nyam Gul. I've got you. Bye for now. Individuals, so please remember while you go. For ministry and security. Our mission is to provide a user-friendly, secure, and transparent online voting platform. Nigeria has a usual election meeting violence. Some of this includes process intimidation, suppression, violence, and decarbonisation stations. We can address this problem. This is a story of FD Jennifer, who was recently attacked by thugs in a polling unit while performing a civic right as a citizen of Nigeria. She is one of the main people in your junior election. This is so sad. In Nigeria, the right to vote is the fundamental answer to democracy. However, the exceptional process of voting played with challenges which has affected the integrity of the electoral processes. So these challenges include vote regain, balance works matching, form mismanagement, and fraud. According to the survey we conducted, 69.5% of the tools and feedbacks agreed that election in Nigeria are not free and fair. And 39.3% strongly support election reports in Nigeria. This is why our team have come up with a solution by a crazy and electrically putting out code.


Hi guys, so in today's video I want to talk about what to do in a code and specifically I'm talking about a code blue or Where someone's stops breathing or their heart stops or goes into funky rhythms and do our coding a person I've gotten asked this question a lot of times and being an ICU nurse I have gotten a lot more comfortable with codes and what to do What my roles are as a nurse what my roles are as a primary nurse and what my roles are as when I'm just walking Into a code so I kind of just want to talk about the basic basic things of what to do in a code I'm not gonna get into the certain meds and things like that This is just gonna be a basic video if you're like oh my gosh, what do I do if my patient codes and To kind of just simplify things for you So they teach this in your CPR classes But the first thing to do if you're a patient codes if you walk in on a situation and you realize your patient is not Breathing or they their heart has stopped First you have to determine which is which most of the time in adults It's a cardiac issue not always, but most of the time their heart stops before they completely stop breathing in kids It's usually the opposite So the best thing to do is if you realize your patient's not breathing One check to see if they have a pulse because if they don't have a pulse You're gonna do CPR, but if they are just not breathing and they still have a pulse Then you're gonna support their breathing.  So the first thing though besides checking to see if they have their pulse is To get more help in the room So even if you're not hundred percent sure yet what's going on call for help say I need help in room 10 Or I need help wherever make sure you say which room you are unless you're like in an open area where people can physically see you because The first time that I ever had a situation where I needed help It wasn't a code but my patient was like literally falling out of bed and I was the only one in there And I needed someone else to come help me I was like I need help and they're like all the nurses came but they're like where are you and I had to like be like I mean room 12 so always say which room you're in because it's kind of hard if there's a bunch of rooms Anyways, so call for help and while you can call for help why you are checking if there's a pulse or if they're breathing They don't have a pulse you're gonna start CPR if they're not breathing, but they have a pulse you're gonna breathe for them It's that simple and once other people get in the room Then they're going to be helping you and you're just gonna step into one roll The best thing you can do once everyone gets in the room and you're truly coding a patient You know CPR bagging them all those things is to pick a roll and stick with it If you're pushing meds, you're pushing meds if you are rotating for CPR You're rotating for CPR if you're bagging someone you're bagging someone don't hop around if you have enough resources like is If you don't have enough resources of people there then you're gonna have to rotate rolls But most of the time especially nurses I see nurses, especially we're super nosy and we want to be involved And so when you have a code there's too many people there So stick with your role also don't be afraid if there's too many people in the room And you're not doing anything.  I hope that kind of simplifies things for you a little bit I'd love to do more videos kind of more in detail on certain meds and situational videos But I think that gives you guys a good foundation for what to do Don't freak out or if you're gonna freak out try to remain calm on the outside Because that's the best thing you can do for your patients and things happen people die people code and as nurses We have to know how to intervene. Thank you after watching this video And I hope you like it give it a thumbs up and subscribe to my channel if you haven't already and I'll see you guys in the next video


Ladies and gentlemen, as always, it is a great pleasure and privilege to be back at the World Policy Conference. And I can tell you, usually moderator comes on stage and says, welcome to a very timely session, but I can tell you this time it is really heartfelt because the session, of course, is titled Climate Change. Is there still a collective will? And I couldn't have asked for two better individuals to guide us through this very timely indeed conversation a few weeks before COP28 right here in this very country to my immediate left, of course, somebody who needs very little introduction in this part of the world and increasingly beyond, nonetheless, I will give one anyway. She is, of course, the UAE Minister of Climate Change and Environment. Ladies and gentlemen, please welcome Mariam Alheri. And I'm equally delighted because when we talk about COP, obviously COP28 is the one we're all very excited about, but there was one COP, COP21 in particular, in Paris that set the standard very high for all the following ones, the Paris Climate Agreement, obviously being the main result of this. We have the president of the COP21 with us. He's currently the president of the French Constitutional Council and needless to say a former French Prime Minister. Please welcome Laurent Fabius. Madam Minister, let's dive right into it. First of all, thank you for making time. I know your schedule must be super busy. We're only a few weeks until COP28 gets underway in Dubai. And you will be hosting the world. You just told me backstage, more than 100 heads of state, including the Pope, have confirmed their attendance.  And you're also, aside from being the Minister of Climate Change and Environment, you'll also be leading the UAE delegation for COP. Give us a glimpse here. And we have the privilege of having you. So obviously I cannot pass up the opportunity of asking how are the preparations coming along? Thank you so much, Ali. Thank you for having me. And let me first say what a pleasure it is to share the stage with Laurent. And thank you so much for your time here today. I know you've had some great sessions. It is 27 days until COP28 starts. And you can imagine us as a country. We're extremely excited to welcome the world. And the time is so critical to have all countries convene in a place that is serious and committed on the climate journey. The UAE has a great track record when you look at where we are on the energy transition. As you know, we house three of the largest solar parks. We're just embarking on wind energy. We've got also the nuclear power plant. We've really diversified. And today, more than 70% of our GDP is non-oil-based. So we have a track record, the geography of the UAE, and also our bridge-building abilities with so many countries makes us really the ideal place to convene the world to talk about climate action. And as you know, we're off track. We all know that. The first global stock take will happen at COP28. This is a huge endeavor to let us know what are the gaps. How do we have to course correct? I think it's really important that everyone realizes this is the time we need to unite. This is the time when we need to look at solutions and upscaling the solutions really quickly. And for us, the solutions-based unification of the world to combat climate change is so critical. And that's why we're actually extremely excited. Preparations are underway. Ali, we can always look at what else needs to be done, but from our experiences in the other COPs, from looking at what we want to achieve in this COP, I think we're well underway. And of course we will talk more about your aspirations and expectations and the many sticking issues that will have to be addressed once COP gets underway. But you could not have been more blunt in the past and in present, saying the house is on fire. And Mr. President, that is of course something that unites us all, the collective will, at least on paper. The house is on fire. We do want to get it extinguished. Now you, of course, have been the president of COP 21 and you have been part of every single COP since then. Give us a glimpse. How has the trajectory changed throughout the years? What have been the biggest, most significant and most notable differences from COP to COP? Thank you and good morning to everybody. What are the differences between Paris in 2015 and Emirates today? There are some differences. In Paris, the objective was to have a conjunction between three different planets. And today it's true, but the planets have evolved in a different way. What do I mean? The first planet is a scientific planet. It was very important in Paris that science, IPCC and all that stuff be more understood by the general public. It was done and since Paris, I think science and technology have improved very much. Therefore, I have no doubt about this scientific planet. The second planet is much more difficult. It's civil society. As far as general public is concerned, there is a greater awareness of the climate problem. As far as the cities are concerned, the NGOs, many companies, there have been improvements. Though, and we shall probably discuss that, there are some groups which are still resisting. But the main difference is about governments. In Paris in 2015, we were lucky to have an international setting which was positive. In particular, a sort of alliance between US and China and diplomacy was such that we were able to get everybody together. Today, obviously it's a different story and it will be one of the main difficulties. Meanwhile, another difference, which is very important, is that the situation of climate is worse than it was before. Because we know that compared to Paris, there are different commitments, but the main one was about 1.5 degrees. And honestly, we are off track. And therefore, there are similarities with Paris and there are differences. But my guess is that anyway, the Emirates Cup, the Cup 28, is a decisive one because we are in danger. And we hope that this Cup will be helpful and a success. Yeah, the situation has in many ways has worsened as you have pointed out.


My background into medicine was not straightforward. I went to West Point. I was in one of the first classes of women to graduate from West Point. And I eventually made my way to Harvard Medical School and fell in love with orthopedic surgery. And I was introduced to research. And I started to become interested in combining the two and trying to solve some of these difficult to solve problems. I came to the Vail Scientific Summit this year because Vail Healthcare System with Johnny E. Ewer is a hub of translational research. I think bringing people together from different disciplines, clinicians, scientists is critically important because we're all approaching the same problem but from different viewpoints and different skill sets. This is something that has been part of my work for more than 20 years. So as a clinician scientist in orthopedic surgery, I have integrated the bench to the bedside from the time I started practice. And so it's super exciting for me to see this concept playing out in such a great fashion here in Vail.


Today, I have the distinct pleasure of speaking with Marty Weems from American Rare Earths. How are you today? Hey, doing great, Tracy. So good to see you again. You've got the perfect name, America and Rare Earths, okay? So, and I see today your stock is moving rapidly. It's up over 25% in the OTCQB. What's going on, Marty? Why is everyone paying attention to American Rare Earths? Well, you know, we've not been immune to some of the market headwinds that have impacted everyone across the board. But through that, you know, as the market is stabilized, we have continuously put out, you know, positive news flow around all the winds we've been able to achieve over the last several months. And you know, we consistently say what we're going to do and do what we're going to say. And that shows over and over again with some really exciting projects. So, you know, we just keep our head down, keep producing, keep delivering results and stock price will take care of itself. Well, and speaking, speaking to the milestones you've been achieving, I think I counted seven news releases since the beginning of June. And let's start with the assay results from Halleck Creek. And those seemed very impressive for me. Let's talk about those highlights. Yeah. So we chatted about those a little bit last time we spoke and we've come with some additional news on those, more drill results, you know, and I'd love to talk about those. You know, since we last spoke, I think we spoke last kind of the big news was our teaming for Rare Earths processing R&D and a consortium led by Lawrence Livermore National Lab. The consortium has been approved to receive up to $13 million to develop scalable, bio-based separation and purification of rare earth elements. Their goal is a modest pilot plant with this disruptive technology to produce a finished product of multiple, high-purity, discrete oxides or comparable, thus a sellable product. So we're the sole industrial team member there. But to your question, and, you know, we had also, when we spoke last, just started reporting some initial results, outstanding assay results from that maiden drilling at the Hallett Creek Rare Earth Project in Wyoming. Hallett Creek's one of our two flagship U.S.-located rare earth projects that both look to be extraordinarily large and unique in their extremely low penalty element content. We've since reported more results from that Diamondcore drilling campaign. So the news to share today along that line is that the maiden drilling results there are some of those are as high as 11,981 parts per million total rare earth content. And the grades appear very consistent to depths exceeding 100 meters. So we're not talking about a few little high-grade veins of rare earths. We're talking exceptional thickness open. It's exposed at surface and really consistent to depths exceeding 100 meters. So the majority of the drill holes average over 4,100 parts per million total rare earth content, rare earth oxides, over more than 90 meters of mineralized thickness in average across those holes. So the project remains open at depth and laterally. And that's especially exciting considering we now have over 24 square kilometers of claim control at Hallett Creek. That's a big jump from less than 100 acres when we started this just over a year ago. So across that massive surface package we've just reported more exciting surface assay results in the project area from claims we added just east of that drilling area we've been talking about. So those new surface results lead us to believe the opportunity of a maiden resource at Hallett Creek is much greater than we originally estimated in our published exploration target. So we will soon publish an updated Jork compliant exploration target for Hallett Creek to give the market an idea of what we mean when we say this project has the potential to be the largest rare earth Jork resource and development in the USA may be the largest in the Western Hemisphere. OK, so we were basically discussing how your assay results from your news release just last week about how these new claim areas are going to show significant upside and that's what you basically talked us through, correct? That's right. Yeah, right on target. OK. Now, in addition to that, I'd like to just take you back a little bit for an update on your you teamed up with the defense R&D, OK? Give us an update on that and does this this is your your deal with the critical materials Institute? Is that correct? Yeah, so I love how you've asked the question because you just highlighted a bit of confusion we're trying to clear up in the market. So actually, we have currently two R&D projects that are that are funded by government R&D funding. One is through the critical materials Institute, which is a DOE innovation hub using DOE money. So we have a consortium there that was funded back in January to do some R&D work on rare Earth's extraction separation. Now, in addition to that and separately, this consortium working under the DARPA EMBER project also funded by DOD money separately funded by DOD money different from Department of Energy money on the CMI project. The DARPA EMBER project that consortium is the one I mentioned with Lawrence Livermore National Lab funding up to $13 million to bring forward a scale pilot plant in separation extraction and separation to produce high purity product. You've touched on your technology advancements. Maybe this is an opportunity as well to help new investors to American Rare Earths understand where you are in that particular food chain. Yeah. So we'd love to do that and we say, you know, we talk about what are the core, you know, the core values of or value components value proposition of American Rare Earths. It really comes down to our assets, the projects, which are uniquely low in penalty elements, the team, you know, really great people doing great work, and then these partnerships. These partnerships are an exceptional component of what we bring to the table. We've been working hard on these and developing partnerships across extraction, separation, purification, metallization technologies. And to be able to get permitted and operationalized and take advantage of the hundreds of millions if not billions of dollars of government funding that's coming to bear in the United States, you know, to be a part of these disruptive new technology stacks is absolutely critical, we believe, both in terms of the technology and personnel.  We see a core, a core place for us to develop that talent is in our partnerships with the national laboratories and with the major research one universities that are working in this space. Ah, desert of human capital from Jack Lipton. I have an interview with him later this afternoon. I thank you for reminding me of yet another point that Jack has perhaps made along the way with me, Marty, that I may have missed. Now, American Rare Earth does not have a desert for human capital. Well, you recently announced, I believe, a retirement for one of your board members. I have been astounded by the depth of talent in your group that has been brought to our attention by global experts on ESG and critical minerals. She could be on any board in the world. Mel Sanderson has been drawing attention to your management team for us. How about we take a moment just to talk about why ARR should be a company? Anyone following this space should indeed be watching. Yeah. So as I said, it's the assets, the team, the partnership. So at the team level, that really starts with the board. We just have a fantastic board that's been had a lot of foresight in this space to see the value in developing rare earths and critical mineral projects in the United States to serve that supply chain and take advantage of non-deluded funding activities or opportunities brought forth by government R&D programs, especially in that midstream processing separation purification space. So a great example, as you mentioned, is board member Mel Sanderson, international diplomat, 20 years of the US State Department, another 14 years working for one of the biggest mining companies on the planet in Freeport, Mac Moran, doing government operations. She's been all over the world, brings extraordinary insights, both from a mining perspective as well as from an ESG perspective, and not just greenwashing, but genuine ESG insights that helps our board see where the future is going to be relative to being ESG compliant. So in the words of the great Gretzky, skate to where the puck's going to be, that's not just in terms of the market. That's also understanding where's the ESG and regulatory space potentially going to be and being prepared to manage in that space. So there are a lot of companies entering this space right now, a lot of big announcements, a lot of media attention. You've been around for a while and you have not only management with depth of experience, but depth of experience in this particular sector. Can you tell us why investors should look at American wearers and give us your top three reasons if you wouldn't mind? Yeah, I mean, consistently, it's all about the assets that are, especially because they are low in penalty elements and have a better opportunity of getting through the permitting landscape of the United States because of the extraordinarily low uranium and thorium content. And then the team, we have a great team both at the board level and the front line technical team that just continues to deliver fantastic data and help us derisk these projects. And then these partnerships that we've talked so much about today are partnerships with the National Laboratories and the Major Research One universities really put us in a unique position to bring forth a disruptive tech stack in extraction, in separation, in purification, in metallization. That is a really old technology reality in this industry that's ripe for disruption and the US government is bringing the money to bear to make that possible, not just on bench stuff in a lab but bringing forth pilot plants, demonstration plants and operationalizing at industrial scale. Well, you've heard it here at Investor Intel. And if you'd like more information on American Rare Earth, please go to their website or send us a note. We'll get it right over to Marty. Marty, thank you so much for joining us today. Yeah, thank you Tracy. Good to see you.