IGNOU MEG-05 Literary Criticism and TheoryBlock-6 Feminist Theories Complete Notes From Each Unit with Important Questions:

MEG 5 – Block-6 Feminist Theories

 

IGNOU  MEG-05 Literary Criticism and TheoryBlock-6 Feminist Theories Complete Notes From Each Unit with Important Questions:

 

 

•  Assess the contribution of Mary Wollstonecraft to the emancipation of women.
• 'From the tyranny of man... the greater number of female follies proceed.' In the light of this statement evaluate Mary Wollstonecraft's thoughts on women.
• Assess Mary Wollstonecraft's contribution to Women's rights and their education. 

·         Assess the contribution of Mary Wollstonecraft to the emancipation of women

• Draw out the ideologies set forth by Mary Wollstonecraft and Virginia Woolf as pioneer feminists. 

·         Examine Virginia Woolf's attitude to the canon i,e., ancestors in women's writings. 

•  Evaluate Virginia Woolf as a feminist critic. 

·        Analyse the strengths and limitations of Woolf’s theory with reference to class or gender.

• Analyse the components of Beauvoir's thesis to indicate (a) its strengths (b) its limitations. 
•  In placing woman as the 'other' of man, Simone de Beauvoir critically examines the issue of `alterity' in the context of women's identity. Substantiate your answer with reference to Beauvoir's The Second Sex. 
• How does Simone de Beauvoir demonstrate bias against women as man’s “other” ? Give examples.
• Comment on the significance of the title The Second Sex.

·         How does The Second Sex mark a shift in literary criticism ? Discuss.

•  Evaluate Elain Showalter's `gynocriticism' and its value in the context of feminist criticism. 
•  Feminist theories do not give sufficient attention to class conflict in society. Discuss.
•  Evaluate Elaine Showalter's contribution to feminist criticism. 
• Give reasons for Elaine Showalter's discontent with existing feminist criticism. 
• Evaluate Elaine Showalter's contribution to feminist criticism. 
• Discuss Elaine Showalter’s feminist concerns in literature. 
• Bring out the importance of Elaine Showalter’s critical model for understanding literature and society.

·         Critically analyse Elaine Showalter’s essay, ‘Feminine Criticism in the Wilderness’.

• Evaluate gyno criticism against any one other critical mode. 
• Explain the term gynocritic and give two examples. 

 

·         Discuss the problems faced by feminist theories using Kamala Das’ ‘An Introduction’.

·        Discuss some of the issues set out by feminist theories with reference to ‘An Introduction’ by Kamala Das.

• Discuss the major concerns of feminist theory. 

 

 

UNIT 1 FEATURES OF FEMINIST CRITICISM

 

Opening – Jane Austin’s – Persuasion – Women written by men and thus are fickle and unpredictable. Women never had a chance to show their side because of lack of education.

 

.. feminism is a political perception based on two fundamental premises:

 

(1)    that gender difference is the foundation of a structural inequality between women and men, by which women suffer systematic social injustice, and

(2)    (2) that the inequality between the sexes is not the result of biological necessity but is produced by the cultural construction of gender differences.

 

This perception provides feminism with . its double agenda: to understand the social and psychic mechanisms that construct and perpetuate gender inequality and then to change them.

 

Eg.

 

·         Middlemarch finds happiness much quicker than Dorothea since for her life centres around her own hearth and home like that of a much-petted kitten.

·         Fielding's publisher would want to give the readers what the latter would like to buy and read. So of course Fielding the writer creates a loving, wise woman and a man who is eternally forgiven. Thus structures of power - which are therefore described as political - operate to re-inforce gender-stereotypes.

·         There is Mr. Bennnet who 'captivated by youth and beauty, and that appearance of good humour which youth and beauty generally give marries an unbelievably silly woman who destroys the happiness of others.' There is Lydia who - fooled by an appearance of smartness thanks to his uniform - is seduced by Wickham.

 

Sex and Gender

 

the relationship indicated between sex and gender. Sex is the category based on natural or biological instinct: 'I was child and later they / Told me I grew-for I became tall .. .' In contrast gender is a culture-conditioned construct which has everything to do with the expectations and rules imposed by society on the individual

 

 

UNIT 2 MARY WOLLSTONECRAFT: A VINDICATION OF THE RIGHTS OF WOMAN

 

• Assess the contribution of Mary Wollstonecraft to the emancipation of women.2
• Draw out the ideologies set forth by Mary Wollstonecraft and Virginia Woolf as pioneer feminists. 
• 'From the tyranny of man... the greater number of female follies proceed.' In the light of this statement evaluate Mary Wollstonecraft's thoughts on women.
• Assess Mary Wollstonecraft's contribution to Women's rights and their education. 

 

Mary Wollstonecraft (1 759- 1797) belonged to a circle of intellectuals in London who were active supporters of revolutionary ideals and fervour. Supported French revolution, e secession of the American colonies from British rule, education of women & feminism

 

Work -  Vindication', namely, the education of women. This was titled Thoughts on the Education of Daughters (1787) and was followed by A Vindication of the Rights of Man (1790)

 

Position of Women:

 

Rousseau had set this education plan for women -  middle and upper-middle class women could aspire at the most to an education that would prepare them for a companionate marriage. The wife would be trained to be a pleasant companion for her husband.

 

Wollstonecraft's problems in Vindication :

 

·         Women writers in general and novelists in particular were yet to come.

·         she has hardly any women writers whom can cite with respect. She discarded 2 because they were too brainwashed under patriarchy as per Wollstonecraft.

·         she has few role-models left to recommend. Catherine Macaulay and Mrs Chapone are the only two precursors on the theme of women's education whom Wollstonecraft can feature with dignity.

·         The depressed condition of women then was marked by an enfeebling education, no career, no economic independence and no sense of a support-network with women achievers.

·         Even if there are women writers(eg. Wollstonecraft) there are no women readers so she must write to please the men readers and write stupid or docile characters. Also she had to plead men to give women education so she could write for women. Mary had no women audience. –[ given the appalling contemporary position of women and their lack of education - it is largely men who comprise the circle to which 'Vindication' is designed to appeal. After all it is they -and here lies the bitter irony - who have to be rationally persuaded to grant women the rights which are their due.]

·         The need for education is even more compelling in the case of women than it is for men.[ Untutored as women's minds are, they exist in a state of ignorance and slavish dependence on external circumstances and associations. Far from seeing the world in the clear light of reason women are condemned to the enfeebling darkness of bondage to external reality.]

 

Wollstonecraft’s The vindication’s  CONTRIBUTION

 

Immediately - 

 

For Mary Wollstonecraft, and those of her contemporaries who were concerned with I the status of women, women's rights were seen in the context of human rights in 1 general. Men and women alike must be involved in revolution. The ideals of liberty and equality were thought to apply to both men and women. If fraternity made all men brothers, then men must recognise that they had sisters as well.

 

Wollstonecraft's concern for women's rights is a subset of the issue of human rights. Women's rights are to be seen not in a compartment of their own but as part of the ongoing movement for general human emancipation of which the American and French Revolutions are other examples.

 

The related point of the nexus between the campaign for equality in gender-based issues (feminism) and class-based issues (socialism)

 

By definition there cannot be one kind of revolution without another taking place as well. Eg. People from completely different cultures - Coleridge, Thoreau and Gandhi -have shared this vision and it is one that has to include equal opportunities for women.

 

Subsequently –

 

1870's saw an explosion in the field of women's education with the founding of public schools for women and the establishment of women's college in Oxford and Cambridge.

 

UNIT 3 VIRGINIA WOOLF: A ROOM OF ONE'S OWN

 

• Draw out the ideologies set forth by Mary Wollstonecraft and Virginia Woolf as pioneer feminists. 

·         Examine Virginia Woolf's attitude to the canon i,e., ancestors in women's writings. 

•  Evaluate Virginia Woolf as a feminist critic. 

·         Analyse the strengths and limitations of Woolf’s theory with reference to class or gender.

 

 

Virginia Woolf was born in 1882. her childhood focus largely on repression and abuse. adulthood was spent largely among friends intellectuals comprising painters, writers and critics(inc. EM Forester).Along with her husband, she began a Press, an experimental venture in publishing in 1917. after a lifetime of mental disturbance she took her own life.

 

Work - A Room of One's Own in 1929

 

Critique - However radical Woolf has seemed to later readers, what struck her peers was that she was very like the age she criticised.

 

The Age - The world of Woolf in a sense is light years away from Wollstonecraft. Politically the 130-odd years saw the rise of the British empire overseas, its peak during the Victorian age and the long twilight of its decline during which Woolf was to write. Post WWI, major political change in the position of women came about with the Suffragette movement – 20yars – gave women the right to vote, women in workforce. It did not necessarily require a classical education to either read or write. In contrast Woolf has a range of 'great' women writers: Jane Austen, Charlotte and Emily Bronte and George Eliot whom she can cite.

 

The text –

 

The essay now known as A Room of One's Own, began as a two-part lecture series Woolf was invited to deliver at two colleges in Cambridge -Newnham and Girton - which at that time were both single-sex colleges that admitted only women. The lectures were presented before the Arts Society at Newnham and the ODTAA ('One Damned Thing After Another') at Girton. Both were undergraduate societies; indeed they were relaxed and informal as the name of the second society shows. Newnham and Girton were (then as now) relatively under-funded, when compared to the men's colleges of the time. The students who attended Woolf s lectures would have come largely from what today are called 'bedsits': single rooms which include a bed, a writing-desk and chairs and are intended therefore to double as sitting-room and bedroom. In contrast the men's colleges at that time would have been able to provide their students with 'sets' of two rooms per person. I mention these details because Woolf builds on them - explicitly and , implicitly - in developing her argument that to write a woman needs financial independence and a room of her own and that in these two matters (economic security and privacy) women have been traditionally disadvantaged compared to men. If this was more or less the nature and composition of Woolf s original audience, what was her position likely to have been? By this time Woolf had established herself as both a novelist and a critic of note. Her theory and practice seemed alike to set the agenda for modernism. although she addressed a university audience -remained acutely conscious all her life that she had not gone up to university. Her education had been largely self-acquired as she read on her own in her father's library.

 

A woman must have money and a room of her own if she is to write fiction.' In other words, economic independence (which she places later at five hundred pounds a year) and domestic space (privacy within the home and stretches of freedom from cares associated with it) are according to Woolf, prerequisites for women to write. She has just constructed an imaginary picture of Shakespeare's sister - as talented as the dramatist - having to kill herself because gender-bias in Elizabethan England prevented her from exploiting her talent and instead exploited her vulnerability as a woman. In contrast she says Shakespeare's own mind could develop finely to being 'incandescent [and] unimpeded.'

 

Woolf also points out that a woman writer lives under constant pressure from what later theorists would call gender and ideology. This constant strain pushes women writers, and frequently their novels and characters as well, to the point of insanity. Woolf concludes that the output of a woman writer is inherently different to that of a man even on the level of sentence-construction.

 

Contribution of Room of one’s own:

 

In its time : criticism on three counts:

 

1-      Economic independence is not essential for a writer. I have myself written long and formidable novels in bedrooms whose doors certainly had no locks (i.e., in cheap lodgings) and in the full dreadful knowledge that I had not five hundred a year of my own- or 50. Dostoevsky wrote some of the greatest novels in the world while he was continually distracted by terribly extra-artistic anxieties. Explanation - She asks for economic independence NOT as an end in itself BUT as a means to an end. WITH it a woman has at least one weapon with which to fight patriarchy. WITHOUT it patriarchy has yet another weapon with which it can enforce its dictum that a woman must not write.

2-      Class-snobbery - based on her valuing an Oxbridge education above any other. Frank Swinnerton says 'It is the view of Virginia Woolf . . . that no literary work done by any but highly educated persons of [her] own kind of culture can or should be interesting.

3-      commitment to literature-  s Herbert J. Muller's charge that Woolf s commitment to literature and feminism is not radical but trivial: 'Mrs. Woolf now has a room of her own. But what does she do in it ? . . ..Her room might well be the drawing-room of a parsonage, and she serving tea to the ladies of the parish. Explanation - Woolf puts one of her heroines is a society hostess, another is a wife and mother. Both these are gendered stereotypes that cater to what patriarchy wants and not to what radical feminism wants

4-      attacks a crucial part of her hypothesis: that somehow the environment women need for their development is inherently different to that needed for men. This is what Queenie Leavis says: '...Mrs. Woolf wants the women of her class to have the privileges of womanhood without the duties of responsibilities traditionally assumed by them, and to have the advantages of a man's education without being subsequently obliged, as nearly all men are, to justify it'

 

Subsequently –

·         First by moving these writers out of obscurity Woolf s theory makes them central to a study of an age (Behn and the eighteenth century) and to a movement (Finch and Romanticism).

·         Secondly her focus on non-'literary' kinds of writing - diaries, letters and journals - also means that more women writers are likely to be read as these have been traditionally the genres which they used.

·         Next Woolf s focus on the mental stress borne by women - as writers and subjects - has helped later theorists study such stress-patterns in fiction as a means to understand the repression of women by certain societies.

 

 

UNIT 4 'SIMONE DE BEAUVOIR: THE SECOND SEX

 

• Analyse the components of Beauvoir's thesis to indicate (a) its strengths (b) its limitations. 
•  In placing woman as the 'other' of man, Simone de Beauvoir critically examines the issue of `alterity' in the context of women's identity. Substantiate your answer with reference to Beauvoir's The Second Sex. 
• How does Simone de Beauvoir demonstrate bias against women as man’s “other” ? Give examples.
• Comment on the significance of the title The Second Sex.
• How does The Second Sex mark a shift in literary criticism ? Discuss.

 

 

As lifelong companion to the French existentialist philosopher Jean Paul Sartre, Simone de Beauvoir's (born 1908) work is often discussed as if it was merely an extension of Sartre's concerns with the conditions of human choice and freedom. More recently an attempt has been made to see de Beauvoir's work as it communicated itself to the postwar era and also something of its enduring quality as it seems to ask questions which aren't quite answered even today. The Second Sex has been described by H. M. Parshley who first translated it from French to English as 'a book on woman and her historical and contemporary situation in Western culture, which is scientifically accurate in matters of biology, comprehensive and frank in its treatment of woman's individual development and social relations

 

The Second Sex(1949)

 

Post WWII age – more women in workforce- professionals and businesswomen - empowered to choose their happiness and destiny, because they had both an income and the training to manage their money and their lives.

 

The Second Sex is I think, addressed very specifically to women and men who inherit - directly through ethnicity or indirectly through their education a Western European tradition of thought that is primarily anti-feminist. Christianity is represented by the Church Fathers. constituency is at least one generation down the road in terms of the development of feminism since that of Virginia Woolf. For now not only are women empowered with an education and the vote, they also go out to work. Women divide their time now between family and career. In one sense therefore the early battle for gainful employment outside the home - one of the issues before Wollstonecraft and Woolf - is now over.

 

Problem - 

 

·         competition between single working women and employed homemakers, each of whom may long occasionally for the life of the other.

 

·         It seems to have increased the work of women and not to have increased women's power, which is the opposite of what it was supposed to do. Paid employment outside the home has to be carried on along with unpaid employment within the home

 

·         t radicalism seems unnecessary to women in time present. 'Many of today's women, fortunate in the restoration of all the privileges pertaining to the state of the human being, can afford the luxury of impartiality - we even recognise its necessity.

 

 

 

humanity is male and man defines woman not in herself but as relative to him; she is not regarded as an autonomous being . . .. [woman] is simply what man decrees: thus she is called 'the sex' by which is meant that she appeals essentially to the male as a sexual being. For him she is sex - absolute sex, no less. She is defined and differentiated with reference to man and not he with reference to her; she is the incidental, the inessential as opposed to the essential. He is . . . the Absolute - she is the Other.

 

First, that alterity - this state of otherness - posits the superiority of the norm and the inferiority of all departures from the norm. In this case, man is seen as the norm and woman as the departure or aberration.

 

Next alterity breeds inequality. Woman is defined in relation to man, never the other way about. Then, alterity breeds hostility. When positioned against each other like this men and women are bound to see each other largely in an oppositional or adversarial relationship.

 

Finally a woman's role is conditioned entirely by the biological fact of sex. Woman is seen only as a sexual entity. This is a perspective that is both demeaning and limiting. origin in a biological fact rather than in a historical process

 

Unlike all other such categories women are numerically equal to their oppressors, men. Unlike those persecuted on grounds of race (African-Americans or Jews) women do not have a shared history.

 

[Women] have gained only what men have been willing to grant; they have taken nothing, they have only received. women's movement has always subsisted on the charity of men. Women have acquiesced in their second-class status and have not challenged it.

 

They have no past, no history, no religion of their own; and they have no such solidarity of work and interest as that of the proletariat. They are not even herded together in the way that creates community feeling among the American Negroes, the ghetto Jews.

 

UNIT 5 ELAINE SHOWALTER : 'FEMINIST CRITICISM IN THE WILDERNESS'

 

•  Evaluate Elain Showalter's `gynocriticism' and its value in the context of feminist criticism. 
•  Feminist theories do not give sufficient attention to class conflict in society. Discuss.
•  Evaluate Elaine Showalter's contribution to feminist criticism. 
• Give reasons for Elaine Showalter's discontent with existing feminist criticism. 
• Evaluate Elaine Showalter's contribution to feminist criticism. 
• Discuss Elaine Showalter’s feminist concerns in literature. 
• Bring out the importance of Elaine Showalter’s critical model for understanding literature and society.

·         Critically analyse Elaine Showalter’s essay, ‘Feminine Criticism in the Wilderness’.

• Evaluate gyno criticism against any one other critical mode. 
• Explain the term gynocritic and give two examples. 

 

Elaine Showalter(1941) American theorist, Teacher & researcher in English & Women’s Studies.

 

Work - A Literature of Their Own: Women Writers from Bronte to Lessing (1977), Feminist Criticism in the Wilderness, Toward a Feminist Poetics

 

Age – Post WWII, Berlin Blockade, the Cuban crisis, the Korean and Vietnam, Paris Spring

 

Feminist Criticism in the Wilderness,' it seems to me addresses women and men within the academy - who are anxious about a specific problem. Should feminist theories concern themselves with constructing a common methodology or should they not? Different types of theorists – Marxists, African-American, Caucasian etc. All feel threatened that the other is getting prioritized, thus feminist theory sometimes becomes secondary. The disadvantage is that by remaining unstructured, feminist theories get marginalised or made unimportant by other, more organised schools of critical theory.

 

Showalter argues that there are essentially two kinds of feminist theory. The first concerns itself with the woman as reader and may be called the feminist critique.

 

The second concerns itself with the woman as writer and may be called gynocritics. It deals with . . . woman as the producer of textual meaning, with the history, themes, genres and structures of literature by women. Its subjects include the psychodynamics of female creativity; linguistics and the problem of a female language; the trajectory of the individual or collective female literary career; literary history; and of course, studies of particular writers and works.

Its subjects include the images and stereotypes of women in literature, the omissions of and misconceptions about women in criticism, and the fissures in male constructed literary history. It is also concerned with the exploitation and manipulation of the female audience.

 

f new feminist research . . ..[We may] compare the feminist critique to the Old Testament, 'looking for the sins and errors of the past,' and gynocritics to the New Testament, seeking ' the grace of the imagination.' Both kinds are necessary . . . for only the Jeremiahs of the feminist critique can lead us out of the 'Egypt of female servitude' to 'the promised land of the feminist vision'

 

example of these two kinds of writing. Suppose I write an essay 'Stereotypes of women in Middlemarch.' I might discuss Dorothea as a failed theorist, Rosamond as a dumb blonde and Mary Garth as a wise governess. I might go on to speak of them as being prisoners of both class and gender due to the constraints of Victorian society. The essay would be primarily a feminist critique that analysed cultural and aesthetic stereotypes in classbased terms borrowed probably from Marxist theory.

 

Supposed instead my essay were to be titled 'The silencing of George Eliot in Middlemarch' I might

look at the constraints placed on Eliot by patriarchy: her thwarted attempts to shape a sentence suitable to her needs and so on. I would probably need to rely on work done in biological and linguistic criticism. This essay would be closer to gynocritics which examines the characteristic of a distinctively woman's practice of writing, and would perhaps be called gynocentric (or woman-centred) as opposed to androcentric (or male-centred).

 

The data Showalter uses to support her theory of gynocritics is based on four models:

 

Organic or biological criticism believes that biological differentiation is fundamental to understanding how women see themselves in relation to society and hence to understanding how they represent themselves in writing. Its strength is its reliance on personal experience, that verges on the confessional. Its weakness is that it promotes exclusionism based on biological difference

 

Linguistic criticism examines possible differences in the ways women and men use language, explores reasons for these differences. Its strength is the powerful emotional appeal of the notion of a women's language. Its weakness is that it does not examine whether women and men have equality of opportunity and access to a common language. Thus inadvertently it may perpetuate repression instead of obtaining freedom by I examining it.

 

Psychoanalytical feminist criticism is a model of difference based on Elaine Showalter the relationship between gender and the creative process. Pros -  It has a high degree of sensitivity when applied to specific texts, authors and groups of cultures. Its limitation as a theoretical model arises from its inability to explain social, economic or historical processes of change:

 

women's culture. (Showalter’s choice out of all 4 types.) She borrows a diagrammatic representation from anthropology to explain the theory of women's culture. Women's culture and men's culture are represented by two intersecting circles with a large area of common experience and two slight crescent shaped areas of experience. One of these is specific to women and the other is specific to men. Historically women have been the muted (or silenced) group and men the dominant group. Feminist theories (according to Showalter) need to' articulate the area specific to women and put this at the centre of women's writing. The consequences promised are (a) a rewriting of cultural and literary history so as to include women, @) a recreation of the canon and (c) an overhauling of literary classifications based on era and genre

 

Showalter’s Contribution:

 

Showalter's earlier work had attracted criticism on account of its refusal to take African-American writing into account. Barbara Smith's 'Toward a Black Feminist Criticism' complains about Showalter's persistent ignoring of any non-white female writing. Explanation - In contrast 'Feminist Criticism in the Wilderness' tries to work toward cultural open-endedness in two ways. First she speaks of two cultures: women and men - as being muted and dominant respectively and thus deliberately avoids the concept of a subculture. In a sense all women -regardless of race and class comprised the marginalised culture and this common repression makes all women one, in Showalter's cultural model. Secondly Showalter emphasises that such a gynocentric cultural model must - if it is to work - be able to take into account all the forces - ethnic, academic or economic - so as to 'plot the precise cultural locus of female literary identity'

 

The problem with gynocriticism is that it can see only one relationship between women's writing and men's writing: that which is adversarial or hostile. Therefore gynocriticism is restricted to offering a narrative of suffering in which women are seen always and only as victims. In the process gynocriticism loses the weapon it could have had to hijack the agenda of patriarchy: the weapon of laughter

 

UNIT 6 FEMINIST CONCERNS IN INDIA TODAY

 

·         Discuss the problems faced by feminist theories using Kamala Das’ ‘An Introduction’.

·        Discuss some of the issues set out by feminist theories with reference to ‘An Introduction’ by Kamala Das.

• Discuss the major concerns of feminist theory. 

 

An Introduction by Kamla Das –

 

·         First of writing in English despite a multilingual inheritance,

·         next of writing outside a political structure despite living at a moment of political interest,

·         then of writing as an Indian woman and

·         finally of writing for and from women's experience.

 

 

An Introduction' is written as a dramatic monologue in blank verse, associated with Victorian or nineteenth-century England. its target audience is urban and middle-class since in India Western cultural models are accessible chiefly to these categories of people. The use of English means also that the difficulties of translation, editing and publication that confront the writer who works in a regional language are absent. It can be taken out or extrapolated from its original context and presented as an introduction to, say, the position of Indian women to a non-Indian audience. For these reasons it might seem to accept rather than challenge the cultural assumptions of gynocriticism

 

Nationally - Indian feminisms today may well be the vexed relationship between the question of a woman's identity and that of national identity.

 

Internationally - Contemporary Indian feminist writers feel the inadequacies of Western feminist theories and the need to develop models of their own that are more culturally sensitive.

 

I don't know politics but I know the names/ Of those in power, and can, repeat them like 1 Days of the week or names of months, beginning with. Nehru. the inadequacies of the development both of power-structures and of women's movements in India. It shows that each is completely irrelevant to the other and thus is critical of both. The poem goes on to ventilate the issue of language. the artist insisting on her creative autonomy over her medium and material but also the woman refusing to allow the critical establishment to dictate to her. feminist theories are a protest against the patriarchies of the academy and the world which prescribe to a woman what she is to say and how she is to say it, I think Das's comment is gutsy. 'Don't write in English, they said, / English is not your mother tongue. Why not leave /Me alone, critics, friends, visiting cousins, / Every one of you? Why not let me speak 1 Any language I like? The language I speak/ Becomes mine, its distortions, its queernesses /All mine, mine alone.'

If you found my blog useful please do leave a comment, share with your friends and also check out my Youtube Channel for more informative content - https://www.youtube.com/channel/UC9jxfCZS_h4AVcj2Ioe7S6Q