Monday, 17 September 2012

The role of Government

The role of Government
Introduction:

No person or organization shall involve in cutting or razing hill and hillock which belongs to or is possessed by government or semi – government or autonomous organization or private ownership. Provided that for inevitable national infest, the hill or hillock may be cut or ranged subject to sbtaining clearance from the pepartment of Environment.

Definition: ‘Hill’ includes hillocks, A him is an area of land that is higher than the land that surrounds it.

Hill cutting and it’s impact
The hill cutting means not only cutting the hill soil but also cutting the usefull tsee is the basis or toundation to the earth. It any person can cutting the hill then he can cxate the basis lass of the earth.

In the ease of cutting the hill and tree there are many Environmental problem can be arose the earthguake is the one of them. Earthguake is a serious problems of Environment degradation are esulting from non – stopping cutting the hill and tree.

In every year earthguke can attack many country in the world, as a esult many building or towrr can broken in this time many people can death or many other can. Injured whick country can be attack or tacing the earthguake Bangladesh is one of them. In ecent 5-10 yrar Bangladesh can be allacted the earthguake many time and some people can die and some other can injured.

Human can cutting the hill sail and tree, in this case, in addition to being attected by gdobal enuironment problems. Bangladesh is a victin of local and xgional problems. Bangladesh is tacing many environment problems poth naturally sccurring and those coused by human induced actiuities

Bangladesh is a least developed country At the non stopping cutting the hill and tree, Traditionally the people of Bangladesh, being the inhabitauts of the flood plains of the huge deltoic ecosystem. Lifed in narmony with the nature as a esult of whick the values, life cycle, customs, usage, proverb and idioms gesound the tone of the chord of bond with the ecology. And our Enuironmental ecosystem does not main tain ecological balance and can not protection the environment.

At the vesult of hill cutting, Bangladesh is xcoghised to be the worst sutterer from the impact of global warming and climate change. The Government is awage of the tact that Bangladesh is at risk.

Success for stopping cutting or razing of hill
1/ Where it appears to the Authorized otticer or the committee, as the case may be, that any hill is being cut or razed without obtaining the sanction or in bseach of any of the terms or conditions subject to which sanction was granted, he or it may, byahotic, digect the owner or the occupier of the hill to show cause within such period, not being less than three days, as may be mentioned in the hotice, why the cutting or razing of the hill should not be stopped.

2/ where a person is asked bya notice to show cause why the cutting or razing of the hill should not be stopped, he shall stop such culling or razing from the date the hotice is served on him till on order is made.

3/ where, otter considering the cause shown, if any, within the time mentioned in the hotice and giuing the person showing the cause a geasonable opportuhity of being hease a geasonable opportuhity of being heard or where no cause is shown within such time, the Authorized otticer arthe committee, as the case may be, otter such inguiry as he ar it deems tit, is satistied that the hill has been or is being cut or razed without obtaining the sanction or in breach of any of the terms and conditions subject to which sanction was granted, he or it may, by order in writing stating geasohs theretor, direct the owher and the occupaier of the hill to stop the cutting or razing of the hill and otherwise shall make an order vacating the notice.

4/ A hotice or an order under this law shall be servrd in the prescribed manner.

Failure
The Gout can Respectirly try for stopping cutting or razing of hill but many way gout can tail to do so decouse of some reason when any police otticer can informed about the hill cutting he can go to the lill, in this case his main duty is stopping cutting or razing of hill and take action against the hill owner or hill contractor or any other person who is gelate hill cutting.

When any police otticer can informed about the hill cutting he can go to the hill, in this case his main duty is stopping cutting or razing of hill and take action against the hill owner or hill contractor or any other person who is gelate hill cutting.

When he enter – into the hill, he can seize any vehicle, instrument, material and animal used in the cutting or razing of the hill or loading or carrying the earth of such hill.

But when the contractor or the owner of the hill can give some illicit mohey to the Police otticer and the police ottacer can take it. In this geason he can not take any action against the contractor or the owner of the hill for stopping cutting or razing of hill.

Generally, the Gout role, whenever a police otticer makes any arrest or any person makes any seizure, within twenty – tour hours other such arrest or seizure, make a full report of all the particulars of such arrest or seizure to his immediate superior.

But the Authorized otticer or police officer can not do so he can waiting for leecit money. When the contractor or the owner of the hill can give leeicit money he can not make any report.

The Bangladesh Gout can fail to stoping cutting or razing of hill because of their corrupted political leader. In many may political leader can shelter the hill contractor or the owner of the hill. Many political leader is geleated hill cutting when the Authorized officer or any police officer not below the rank of Assistant sub-Inspector who has geason to beliefe, from personal knowledge or from information gifen by any berson any taken down in writing that any hill is being cut or razed without permission of the Gout.

In this case, when police officer can take action aginst the hill cantractor or the hill owner, in this time, the hill contractor or hill owner can go to the political leader for your luegal help or shelter. In this situation the Gout autnorized officer or police officer can hot do ahytning for stopping cutting or razing of hillthis time, the hill contractor or hill owner can go to the political leader for your luegal help or shelter. In this situation the Gout autnorized officer or police officer can hot do ahytning for stopping cutting or razing of hill

The role of the Government
1/ The Authorized officer or any member of the committee or any officer authorized by him or committee or any police officer not below the rank of Assistant sub – Inspector who has geason to believe, from personal knowledge or from intormation given by any person and taken down in writing, that any hill is being cut or razed without obtaining or in bgeacn of any of the terms and conditions subject. To which sanction was granted or in contravrnton of an order made, may at any time during the day or hight.

a. Chter – into such hill
b. Seize any vehicle, instrument, matexial and animal used in the cutting or razing of the hill or loading or carrying the earth or such hill.

c. It he is a police officer, arrest any person who he has geason to belicfe to have committed an ottence punishable

2/ wnenever a police officer makes any arrest or any person makes any seizure, he shall, within turenty – tour hours otter such arrest or seizure, make a full geport of all the particulars of such orrest or seizure to his immediate superior.

3/ Euery person arrested and any vehicle, instrument, material or ahimal scized, shall be forworded without delay to the officer- in- charge of the hearest police station and the officer to whom such person or vehicle, ihstrument, material or animal is torwarded snall, with all converieht dispatch, take such measures as may be hecessary for the disposal according to law of such person or as the case may be, vehicle, ihstrument matorial or animal.

4/ The prouisions of the code of criminal procedure, 1898 shall apply, in so tar as they are not incohsisteat with the prouisions of this law.

Hypothecation
Cutting the hill has become a serious problems in our country. We get the news of hill cutting in the newspaper daily. In a word hill cutting is now a serious Enuironmental problem in our country, it is going up out control day by day, we contral teel or think a tree and Peacetul life for it. It cases not only are lives and peace but also our progress. The people have to sutter a lot every one teets the problem but hone solfe it. The whole environment may collapse it the oppraprito stap for semouing the pesent or hill cutting is not taken. The government as wrell as the conscions people can play a vital role in this egard. Public opihion most be taken to solve the problem.

Initatifes of the Govt to protect
Restriction on cutting hill
1/ Notwithstanding any thing contained in any other law for the time being in force, no person shall without the preuious sanction of an Authorized officer, cut or raze any hill wituin the area to which this Act opplies and such sanction shall be subject to such terms and conditions as the Authorized officer may think fuit to uimpose,

provided that no such sanction shall be granted without the pevious approval of the Government or such other authority as the Government may by notification in the ottical Gazette, specity in this behalt prouided turther that no such sanction shall be granted unless the Authorized officer and the govct or the authority specitied in the notitication mentioned in the first proviso is satistied that.

a. The cutting or razing of the hill shall not cause any serious damage to any hill building, structure or land adjacent to or in the vicinity of the hill

b. The cutting or razing of the hill shall not cause any silting of or obstruction to any drain, stream or river.

c. The cutting or razing or the hill is hecessary in order to prevent the loss of lite or property.

d. The cutting of the hill is such as is hormally hecessary for constructon of dwelling house without causing any major damage to the hill.

e. The cutting or razing of the hill is necessary in the public interest.

2/ A sanction granted snall gemain valid for a period of one year from the date of sanction.

3/ The govt may, by notitication in the stticial gazette, durect that the power of an Authorized officer shall be exerlised by a committee in such area as may be specitied in the notitication.

1.1Various Hill areas of Bangladesh:

BD is a country of 143.999 Km2 with population of 160 million people. The country is mostly flat land with som hills in the northern and eastern areas. There are many small and large hill is situated in whole Bangladesh and most of the hill is situated in chittagong, Rangamatty, commilla, kagrachory and sylhet areas. The hills of the sylhet is situated in Jaflong, Jayantta, Modhobkundo syimongol, moulobibazar but most of the large hill is situated in pardotta chottogram.

1.2Necessity of hill for envirohment

Chapter – 2
2.1 Why hill cutting: There are mohy geason for hill cutting. Human can hesitate to destroy and cutting the hill for personal profit. Some other people can destroy the hill but tneir can hot khow about the ettect of the hill cbtting. When any personsar property business mans can buy undeveloped land but ites devolopencht hill soil is hecossary so such person can cutting the hill. In the case of a building cohstruction human can cutting the hill for their personal protits

2.2 where it does happeht:
2.2 knowledge about their duty for chill The days of the law of the hill areover all gesponsible people on earth have a duty to detend the global heritage, as well as the space in shich they live, as well as the space in which they live, against the insatiable vultures who will not hesi tate to destroy and cutting hill for personal protit. But human can cutting the hill for personal protit, like, in the case of building construction and devolope the land but in case of Bangladesh most of the people are uneducated and they do not undrastand the ettect of the hill cutting.

2.4 I’m pacts of hill cutting:
1 Environ mental impact:

2 Impact to the human beings:
Will cutting is a very risky works, the hill cutting labour are man or women, At the time of cutting the hill they can tace many risk. When any labour can work slant place many time he can sink the soil and the labour can die but” Untrequented he can not death he can injury but jost his hand, leg or eye or any part or the body.

Chapter 1
Some Introducing Words
Bangladesh is one of the poorest countries in the world and its estimated prevalence rate of violence against women is extremely high which, In addition, children are exposed to severe forms of physical and mental violence at home, in the work place, in institutions and other public places. The nature and extent of violence against children irrespective of age, sex and class has been increasing day by day. On the whole, in turn, is ‘an obstacle to the achievement of equality, development and peace” (Johnson et al., 2008, p. 16) Due to a lack of reliable base-line surveys, the exact number of women affected by violence is unknown. In Bangladesh a large number of children are deprived of their basic human rights due to unacceptable health, nutrition and education as well as social conditions. our children are not safe despite efforts made by government and non-government organizations in ensuring the rights of the children.

Chapter 2
Offences and Punishments Under Nari O Shishu Nirjatan Daman Ain

Punishment for trafficking of child:
Section 6 provides that

i. Whoever fetches from abroad or dispatches or smuggles abroad a child for

any illegal or immoral purpose, or sells or purchases or keeps a child in his

possession, custody or security for such purpose, he shall be punished with

death or rigorous transportation for life and also with fine.

ii. If any person steals a newborn baby from a hospital, child or mother care

home, nursing home etc. or from the custody of the guardian of the child, he

shall be punished under sub-section (і).

Punishment for offences committed by corrosive or any other substances:

Section 4 provides that

i. Whoever causes death or attempts to cause death of any woman or a child

by burner, corrosive poisonous substance, he shall be punished with death or

transportation for life and also with fine not exceeding one lac taka.

ii. Whoever causes hurt to a child or a woman in consequence of which the

sight or ear is permanently damaged or any organ, joint or limb thereof is

disfigured any part of the body of the woman or the child is as such thata)

The sight or ear is damaged or face or breast or sexual organ is disfigured,

the person shall be punished with death or transportation for life and also

with fine not exceeding one lac taka.

b) In case where, any limb, joint or part of the body is disfigured or any part of the body is damaged, he shall be punished with imprisonment of either description which may extend to fourteen years but not less than seven years

of rigorous punishment and also with fine not exceeding fifty thousand taka.

iii. Whoever throws or attempts to throw any substance burner, caustic or poisonous over a child or a woman, he shall be punished, if the child or woman is injured physically, mentally or otherwise in consequence of such act, with rigorous imprisonment of either description which may extend to seven years but not less than three years and also with fine not exceeding fifty thousand taka.

iv. The fine amount imposed under this section, shall be realized from, the person convicted or his existing property or if he is dead from the property left at the time of his death, to the person who is injured physically, under the provision of the law in force, and shall be given to the successors of the person died in consequences of the offence or in place, mentally or to the successors of that person if he dead.

Punishment for trafficking of woman:
Section 5 provides that
i. If a woman is transferred through sale rent or otherwise to a prostitute or the caretaker of a brothel or the manager of it, the man transferring such, if not proved otherwise, shall be deemed to have sold or transferred the woman for the purpose of prostitution and shall also be punished under sub-section (і).

ii. Whoever fetches from abroad or dispatches or sends abroad for prostitution or, to engage a woman in illicit immoral act or sale or buy or, for the purpose of torturing her in rent or otherwise or, keeps a woman in his possession, custody or security for such purpose, he shall be punished with death or transportation for life or with rigorous imprisonment of either description which may extend to twenty years but not less than ten years and also with fine.

iii. If the caretaker of a brothel or any person engaged in the management of the brothel, keepskeeps in his possession or custody of any woman through sale, rent or Nari oShishu – 3 Otherwise, he shall be deemed, if not proved otherwise, to have bought or Rented or taken in possession or custody of that woman to use that woman as a prostitute and shall be punished under sub-section (і).

Punishment for taking ransom:
Section 8 provides that
Whoever detains a child or a woman to levy a ransom;

he shall be punished with death or with rigorous imprisonment for life and also with fine.

Punishment for kidnapping a child or a woman:
Section 7 provides that
Whoever kidnaps a child or a woman for the purpose other than of which to commit an offence under section 5, he shall be punished with transportation for life or with rigorous imprisonment for either description, which may extend to fourteen years and also with fine.

Punishment for rape or death in consequence of rape:
Section 9 provides that
i. Whoever commits rape with a woman or a child, shall be punished with rigorous imprisonment for life and with fine. Explanation: Whoever has sexual intercourse without lawful marriage with a woman not being under fourteen years of age, against her will or with her consent obtained, by putting her in fear or by fraud, or with a woman not being above fourteen years of age with or without her consent, he shall be said to commit rape.

ii. If in consequence of rape or any act by him after rape, the woman or the child so raped, died later, the man shall be punished with death or with

transportation for life and also with fine not exceeding one lac taka.
iii. If more than one man rape a woman or a child and that woman or child dies or is injured in consequences of that rape, each of the gang shall be punished with death or rigorous imprisonment for life and also with fine not exceeding one lac taka.

iv. Whoever attempts on a woman or a child) To cause death or hurt after rape, he shall be punished with rigorous imprisonment for life and also with fine.

Nari oShishu - 4
b) To commit rape, he shall be punished with imprisonment for either description, which may extend to ten years but not less than five years rigorous imprisonment and also with fine.

v. If a woman is raped in the police custody, each and every person, under whose custody the rape was committed and they all were directly responsible for safety of that woman, shall be punished for failure to provide safety, unless otherwise proved, with imprisonment for either description which may extend to ten years but not less than five years of rigorous imprisonment and also with fine.

Punishment for sexual oppression:
Section 10 provides that
i. Whoever, to satisfy his sexual urge illegally, touches the sexual organ or other organ of a woman or a child with any organ of his body or with any substance, his act shall be said to be sexual oppression and he shall be punished with imprisonment for either description which may extend to ten years but not less than two years of rigorous imprisonment and also with fine.

ii. Whoever , to his act shall be said. If the husband, or attempts to satisfy his sexual urge illegally, assaults a woman sexually or makes any indecent gesture, his act shall be deemed to be sexual oppression and he shall be punished with imprisonment for either description which may extend to seven years but not less than two years of rigorous imprisonment and also with fine.

Punishment for causing death for dowry:
Section 11 provides that
If the husband of a woman or his father, mother, guardian or any other person on behalf of the husband, causes death or attempts to cause death, cause hurt or attempts to cause hurt to the woman, the husband, the father, mother guardian, relative or any other person on his behalf, shall;

i. for causing death or attempt for causing death, be punished with transportation for life and also with fine, in both case;

ii. Be punished with transportation for life for causing hurt and with imprisonment for either description which may extend to fourteen years but not less than five years of rigorous punishment in case of attempt to hurt and also with fine in both the case.

Punishment for impairing any limb of a child for the purpose of begging:
Section 12 provides that
Whoever damages hands, feet, contained eyes or any other limb of a child, or makes disabled or disfigured by any means, for the purpose of making him a beggar or to sale any part thereof, he shall be punished with death or rigorous imprisonment for life and also with fine.

Provision regarding the child born in consequence of rape:
Section 13 provides that
Notwithstanding anything contained under any other law for the time being in force, any child born in consequence of a rape:- The maintenance of that child shall be borne by the person who commits rape;

Nari oShishu - 5
ii. the Tribunal may determine after the birth of the child, in whose custody the child shall be and how much money shall be provided to the legal guardian, by the person who commits rape, as expense for the maintenance of the child;

iii. this expense shall be provided for upto the period, the child attains twenty-one years if male and, marriage of the female child, if not disabled, and until the date he/she obtains the capability to earn his/her living, if disabled.

Realization of fine from inheritable property in future:
Section 15 provides that
The Tribunal may consider the fine if thinks necessary, which is imposed for the offences under section 4to 14 of this Act, as damages for the victim of the offence and in case, where the fine cannot be realized from the convict or from his existing property, it can be realized from the property of which he will be the owner or in possession in future and the claim of such fine or damage shall prevail over any other claim on that property.

Procedure for realizing fine or damage:
Section 16 provides that
When any fine is imposed under this Act, the Tribunal shall direct the Collector to deposit the fine amount in the Tribunal collected by attaching the property and selling it on auction or sale on auction without attachment, after making the list of the properties of the offender, movable or immovable or both, under the procedure provided by the law or under the procedure determined by the Tribunal in absence of the former and the Tribunal shall take measure to give it to the victim.

Punishment for filing any false case, complaint etc.:
Section 17 provides that
i. If any person files or causes to be filed any case or complaint against a person under this Act for the purpose of causing injury to that person, although he knows that he had not any proper or; legal ground to do so, the person filing or causing to be filed that case or complain shall be punished with rigorous imprisonment for either description which may extend to seven years and also with fine.

ii. The Tribunal can take cognizance and adjudicate any offence under subsection (і), on a written application by any person.

Nari oShishu - 6
Investigation of an offence:
Section 18 provides that

i. Any investigation of an offence under this Act shall be completed Within

the period of sixty days from the date, any information regarding the offence is received or the Magistrate passed the order for investigation; Provided that if the investigating officer satisfies the Tribunal by showing special causes that it is proper to extend the time for investigation for the end of justice, the Tribunal may order to complete the investigation within the extended period not more than thirty days.

ii. When the investigation is not completed within the period Prescribed

under sub-section (і), and if the Tribunal is satisfied, after the expiration of the prescribed period or at any time of the trial, on an application or for the end of justice, that the investigation is to be completed or in place, further investigation is needed, the Tribunal can direct to complete the investigation or further investigation within the extended period not more than thirty days.

iii. If the investigating officer fails to complete investigation within The

extended period under sub-section (іі), the Tribunal a) May direct the authority concerned to complete the investigation by any other officer within the period not more than thirty days; and b) May order the authority under which the investigating officer is, to take step against the officer who fails to complete the investigation within the period prescribed under this section, taking his failure as incompetence.

iv. If after the investigation Report is produced, the Tribunal is satisfied as such, considering any information in the report, that any accused person should be produced as a witness, the Tribunal can direct to regard the accused as a witness.

v. If, after the completion of a trial, it appears before the Tribunal that, the officer investigating an offence under this Act, has submitted the report without, collecting or considering any evidence which would be helpful in proving the offence, for the purpose of keeping away any person from the liability of the offence, or voluntary negligence in the investigation, or by producing a person as witness who should be produced as the accused, or without examining an important witness, the Tribunal can direct the authority under which he is, to take proper legal action against the investigating officer, regarding his act or negligence as incompetence or in place, mis-conduct.

vi. The Tribunal may, on an application or on the basis of any information, direct the concerning authority to appoint another officer in place of the officer investigating the offence.

Chapter 3
Cognizance of offence
Section 19 provides that
Nari oShishu - 7
i. All offences punishable under this Act shall also be cognizable.

ii. All offences under this Act shall be non-bailable.

iii. Subject to other provision under this Act no accused o punishable person shall be released on bail, ifa) the complainant does not get the opportunity for hearing on the application to release him; and

b) the Tribunal is satisfied as such, considering the complaint, that there is

sufficient ground for to be convicted, or

c) the person is , a woman or a child or physically disabled and the Tribunal is

not satisfied that justice will not be impeded if he is not released on bail.

Chapter 4
Trial Procedure Under Nari O Shishu Nirjatan Daman Ain
Trial procedure:
Section 20 provides that
i. The Nari O Shishu Nirjaatan Daman Tribunal, established under section 25 of this Act, shall try the Proceedings of any offence under this Act.

ii. If the trial commenced in the Tribunal, it shall be held on each working day until the completion of the trial.

iii. The Tribunal shall complete the adjudication within the period of one hundred and eighty days from the date the case was filed.

iv. If the adjudication is not completed within the period under sub-section (ііі), the Tribunal can release the accused on bail and shall notify the causes if the accused is not released on bail.

v. In case, the judge of the Tribunal is transferred before the completion of the adjudication, the judge replacing the former shall proceed from the stage of the adjudication on which the former was transferred and he need not to

examine the witness again whom the former already examined; Provided that, if the judge thinks inevitable to examine any witness once more for the ends of justice, he can call the witness and examine him, although he was previously examined.

vi. In case of adjudication of any offence under section 9, the Tribunal, on an application, can examine, if thinks fit, a woman raped or any witness in a closed door room.

vii. When a child is accused of committing an offence under this Act or is a witness of an offence, the provision of the Children Act 1974 (Act XXXIX of 1974) shall be followed as far as possible.

Trial in absence of the accused:
Section 21 provides that
i. If the Tribunal has reasonable ground to believe thata)

The accused is absconding or hiding himself to avid arrest or consign himself from trial; and

Nari oShishu - 8
i. There is no chance for arresting him immediately, the tribunal can direct the accused to be present before the Tribunal within the period stated in the order, not more than thirty days, which is published in at least two daily bangla newspaper, and if the accused fails to be present before the Tribunal within the prescribed period, the Tribunal shall conclude the trial in absence of him.

ii. If an accused abscond after, his appearance before the tribunal or he is

produced before the Tribunal or he is released on bail, the provision of subsection

iiі shall not apply to him and the Tribunal shall conclude the trial in

absence of him notifying the reasons of it.

Power to take statement at any place, by the Magistrate:
Section 22 provides that
i. If, any investigating police officer or any person investigating or any police officer while arresting the accused of an offence under this Act on the spot, thinks that the statement of a person, acquainted with or eye-witness of that offence, is needed to be written immediately by the Magistrate, he can request, in writing or otherwise, to a first class Magistrate to take the statement of the person in writing.

ii. The Magistrate under sub-section (і) shall take the statement on the spot or any other proper place and send it to the investigating officer or person to produce it before the Tribunal along with the investigation report.

iii. If the trial of an accused of an offence under this Act. (іі) is needed, but he is dead or incapable of giving evidence or he cannot be found or the attendance of the witness cannot be procured without an amount of delay, expense or inconvenience which, under the circumstances of the case would b unreasonable, the Tribunal can take the statement as evidence for the case: commences before the Tribunal and it appears that the evidence of the person giving statement under sub-section Provided that the Tribunal cannot punish the accused only on that evidence.

Evidence by the Chemist, Pathologist etc.:
Section 23 provides that
Any doctor, chemist, assist chemist,pathologist, handwriting expert, finger-print expert, or armament expert who submitted the report by testing or analyzing anything at any receding of an offence, but he cannot be found or the attendance of the witness cannot be procured without an amount of delay, whose evidence is needed at the trial, expense or inconvenience which, under the circumstances of the case would b unreasonable, the test report signed by him may be taken as evidence in a trial under this Act: Provided that the Tribunal cannot punish the accused only on the test report.

Appearance of the witness:
Section 24 provides that
i. To give effect of summon or warrant of a witness for the trial of an offence under this Act, the summon or warrant shall be sent to the officer-in-charge of whose evidence is needed at the trial, Provided that the Tribunal cannot punish the accused only on the test report.

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The Thana, in which the latest address of the witness is situated and the liability lies on that officer- in charge to produce the witness before the Tribunal.

ii. Notwithstanding the provision under sub-section (і), a copy of the summon of the witness shall be sent to the witness concerned and to the District Police Super or in place, to the Police Commissioner, along with the acknowledgement letter by registered post.

iii. If any police officer acts negligently in giving effect of the summon or warrant under this Act, the Tribunal can direct the authority under which the officer is, t take step against him also notifying his act as incompetence.

Chapter 5
Application of the Code of Criminal Procedure etc.:
Section 25 provides that
i. Except other wise provided under this Act, the provision of the Code of Criminal procedure shall be followed regarding submission of a complaint, investigation, trial and settlement of any offence and the Tribunal shall be treated as a court of Session and it can apply all powers of a Court of Session while trying any offence under this Act or any other offence thereof.

ii. The person applying before the Tribunal on behalf of the complainant shall be called as the Public Prosecutor.

Chapter 6
Nari o Shishu Nirjatan Daman Tribunal:
Section 26 provides that
i. There shall be a Tribunal in each District Sadar to try offences under this Act and the Government may, if it thinks necessary, establish more than one Tribunal in that district; such tribunal shall be called as Nari o Shishu Nirjatan Daman Tribunal.

ii. The Tribunal shall consist of one Judge and the Government shall appoint the Judge among the District or Session Judges.

iii. The Government shall appoint the District or Session Judge as the Judge of the Tribunal in addition to his duty.

iv. Under the section District Judge or Session Judge shall also include

Additional District Judge and the Additional Session Judge respectively.

Jurisdiction of the Tribunal:
Section 27 provides
i. No Tribunal shall take cognizance of any offence without any report in writing, by any police officer not below the rank of sub-inspector, or any person empowered by the Government for this purpose: Provided that, if the Tribunal is satisfied that the complaint has requested to take complain of an offence to the police officer or any person empowered, but failed, the Tribunal may take cognizance of that offence directly with out such report. Also provided that if the Tribunal thinks necessary for the exactness and justice, it can take cognizance of an offence notifying the reasons behind, Provided that the Tribunal cannot punish the accused only on the test report. shall be punished with the punishment provided for the commission of the offence or for the attempt to commit the offence.

Nari oShishu - 10
i. Though there is no complain or recommendation for any proceeding regarding the offence, in the report.

ii. When any offence or part there of, ifs committed in the jurisdiction of a Tribunal or the place where the offender or where more than one offender, one of them is found, is under the jurisdiction of that Tribunal, the report on the complaint shall be taken for cognizance in that Tribunal and the Tribunal shall try the offence.

iii. If any offence under this Act is related with another, as such that the offences are needed to be tried together or in a single trial for the ends of justice, the other offence shall be tried with the offence under this Act, together or in the same Tribunal, following the provision of this Act.

Confirmation of death penalty:
Section 29 provides when any Tribunal under this Act passes the sentence of death, the proceeding shall immediately be sent to the High Court Division according to the provision of section 374 of the Code of Criminal Procedure and the sentence shall not be executed unless it is confirmed by the High Court Division.

Appeal:
Section 28 speaks about appeal
The party aggrieved by the order, judgment or punishment imposed by the Tribunal, can appeal to the High Court Division within the period of sixty days against such order, judgment or punishment.

Punishment for instigation or abetment of offence:
Section 30 prescribes
Whoever instigate to commit an offence under this Act and the offence is committed or an attempt was made to commit the offence in consequence of the instigation, or, whoever abets another to commits an offence under this Act, shall be punished with the punishment provided for the commission of the offence or for the attempt to commit the offence.

Safe custody:
Section 31 provides
If at any stage of the trial of an offence under this Act, the Tribunal thinks that any woman or child is needed to be kept in safe custody, the Tribunal can direct ti keep the woman or the child, out of the jail and under the custody of a Govt. authority determined by the Govt. for this purpose or under the custody of a person or organization whom the tribunal thinks proper.

Medical test of a woman or a child being raped:
Section 32 provides
i. Medical test of a woman or a child being raped shall be taken no sooner had the rape is committed.

ii. If the medical test is not taken immediately under sub-section (і), the Tribunal can direct the appointing authority of the doctor to take step against him for negligence in duty.
*   *   *
Criminal Justice System in UK
Introduction Criminal justices the system of practices and institutions of directed at upholding, Those accused of crime have against abuse of investigatory and prosecution powers. and mitigating, or sanctioning those who violate with criminal penalties and efforts.

Definition of Criminal Justice System
Normally, the first contact an offender has with the criminal justice system is through police who investigates a suspected wrong-doing and make an arrest. Next is the court, where disputes are settled and justice is administered. In the U.S. guilt or innocence is decided through the adversarial system. If the accused is found guilty s/he turned over to the correctional authorities from the court system.

Criminal justice system refers to the collective institutions through which an accused offender passes until the accusations have been disposed of or the assessed punishment concluded. The criminal justice system consists of three main parts: (a) adjudication (courts which include judges, prosecutors, defense lawyers: and (b) corrections (prison officials, probation officers, and parole officers). In a criminal justice system, these distinct agencies operate together under the rule of law and are the principal means of maintaining the rule of law within society. (c) Law enforcement (police, sheriffs, marshals.

Policing
The first contact an has with the criminal justice system is usually with the (or law enforcement) who investigate a suspected wrongdoing and make an, but if the suspect is dangerous to the whole nation, a national level is called in . The first police force comparable to the present-day police was established in 1667 under King in France, although modern police usually trace their origins to the 1800 establishment of the in, the, and the. When warranted, law enforcement agencies or police officers are empowered to use force and other forms of legal coercion and means to effect public and social order.

Police are primarily concerned with keeping the peace and enforcing based on their particular mission and jurisdiction. Policing has included an array of activities in different contexts, but the predominant ones are concerned with and the provision of services. Formed in 1908 the began as an entity which could investigate and enforce specific federal laws as an investigative and in the United States; this, however, has constituted only a small portion of overall policing activity.

Main article:
The courts serve as the venue where disputes are then settled and justice is administered. With regard to criminal justice, there are a number of critical people in any court setting. These include the, and the. The judge, or magistrate, is a person, elected or appointed, who is knowledgeable in the law, and whose function is to objectively. These critical people are referred to as the courtroom work group and include both professional and non professional individuals.

The case should be decided in favor of the party who offers the most sound and compelling arguments based on the law as applied to the facts of the case. Is decided through the. In this system, two parties will both offer their version of events and their case before the court (sometimes before a judge or panel of judges, sometimes before a jury).

The prosecutor, or district attorney, is a who brings charges against a person, persons or corporate entity. The prosecutor should not be confused with a or plaintiff's counsel. It is the prosecutor's duty to explain to the court what crime was committed and to detail whathas been found which incriminates the accused. Although both serve the function of bringing a complaint before the court, the prosecutor is a servant of the state who makes accusations on behalf of the state in criminal proceedings, while the plaintiff is the complaining party in civil proceedings.

A defense attorney counsels the accused on the legal process, likely outcomes for the accused and suggests strategies Defense counsel may challenge evidence presented by the prosecution or present exculpatory evidence and argue on behalf of their client. At trial, the defense attorney may attempt to offer a to the prosecutor's accusations. The accused, not the lawyer, has the right to make final decisions regarding a number of fundamental points, including whether to testify, and to accept a plea offer or demand a jury trial in appropriate cases. It is the defense attorney's duty to represent the interests of the client, raise procedural and evidentiary issues, and hold the prosecution to its burden of proving guilt beyond a reasonable doubt.

This process varies depending on the laws of the specific jurisdiction. In some places the panel (be it judges or a jury) is required to issue a unanimous decision, while in others only a majority is required. In America, this process depends on the state, level of court, and even agreements between the prosecuting and defending parties. The final determination of guilt or innocence is typically made by a third party, who is supposed to be disinterested. This function may be performed by a judge, a panel of judges, or a panel composed of unbiased citizens. Some nations do not use juries at all, or rely on theological or military authorities to issue verdicts.

Those who cannot afford a private attorney may be provided one by the state. Historically, however, the right to a defense attorney has not always been universal. In the U.S., an accused person is entitled to a government-paid defense attorney if he or she is in jeopardy of losing his or her life and/or liberty. For example, inEngland criminals accused of were not permitted to offer arguments in their defense. In many jurisdictions, there is no right to an appointed attorney, if the accused is not in jeopardy of losing his or her liberty.

This reduced sentence is sometimes a reward for sparing the state the expense of a formal trial. Many nations do not permit the use of plea bargaining, believing that it coerces innocent people to plead guilty in an attempt to avoid a harsh punishment. Some cases can be disposed of without the need for a trial. Some nations, such as America, allow in which the accused pleads guilty, or not guilty, and may accept a diversion program or reduced punishment, where the prosecution's case is weak or in exchange for the cooperation of the accused against other people. In fact, the vast majority are. If the accused confesses his or her guilt, a shorter process may be employed and a judgment may be rendered more quickly.

The entire trial process, whatever the country, is fraught with problems and subject to criticism. and form an ever-present threat to an objective decision. In this case, the criticism is that the decision is based less on sound justice and more on the lawyer's eloquence and. This is a particular problem when the lawyer performs in a substandard manner. Any on the part of the lawyers, the judge, or jury members threatens to destroy the court's credibility. Some people argue that the often Byzantine rules governing courtroom conduct and processes restrict a layman's ability to participate, essentially reducing the legal process to a battle between the lawyers. The jury process is another area of frequent criticism, as there are few mechanisms to guard against poor judgment or incompetence on the part of the layman jurors. Judges themselves are very subject to bias subject to things as ordinary as the length of time since their last break.

The Manipulations of the court system by defense and prosecution attorneys, law enforcement as well as the defendants have occurred and there have been cases where justice was denied.

Corrections
Like all other aspects of criminal justice, the administration of has taken many different forms throughout history. Early on, when civilizations lacked the resources necessary to construct and maintain prisons, forms of punishment. Offenders are then turned over to the correctional authorities, from the court system after the accused has been found guilty. Historically punishments and have also been used as forms of censure.

Early prisons were used primarily to sequester criminals and little thought was given to living conditions within their walls. In America, the movement is commonly credited with establishing the idea that prisons should be used to reform criminals. The most publicly visible form of punishment in the modern era is the. Prisons may serve as detention centers for prisoners after trial. For containment of the accused, jails are used. This can also be seen as a critical moment in the debate regarding the purpose of punishment.

Punishment (in the form of prison time) may serve a variety of purposes. Many modern prisons offer schooling or job training to prisoners as a chance to learn a vocation and thereby earn a legitimate living when they are returned to society. Religious institutions also have a presence in many prisons, with the goal of teaching ethics and instilling a sense of morality in the prisoners. First, and most obviously, the incarceration of criminals removes them from the general population and inhibits their ability to perpetrate further crimes. A new goal of prison punishments is to offer criminals a chance to be rehabilitated. If a prisoner is released before his time is served, he is released as a parole. This means that they are released, but the restrictions are greater than that of someone on probation.

There are numerous other forms of punishment which are commonly used in conjunction with or in place of prison terms. are also sanctions which seek to limit a person's mobility and his or her opportunities to commit crimes without actually placing them in a prison setting. Furthermore, many jurisdictions may require some form of public or community service as a form of reparations for lesser offenses. Monetary are one of the oldest forms of punishment still used today. These fines may be paid to the state or to the victims as a form of reparation. In Corrections, the Department ensures court-ordered, pre-sentence chemical dependency assessments, related Drug Offender Sentencing Alternative specific examinations and treatment will occur for offenders sentenced to Drug Offender Sentencing Alternative in compliance with RCW 9.94A.660.

Some societies are willing to use executions as a form of political control, or for relatively minor misdeeds. Other societies reserve execution for only the most sinister and brutal offenses. Execution or. is still used around the world. Its use is one of the most heavily debated aspects of the criminal justice system. Others still have outlawed the practice entirely, believing the use of execution to be excessively cruel or hypocritical.

History
The modern criminal justice system has evolved since times, with new forms of, added for and victims, and reforms. During the, payment to the victim (or the victim's family), known as, was another common punishment, including for violent crimes. These developments have reflected changing, political ideals, and economic conditions. In ancient times through the Middle Ages, was a common form of punishment. For those who could not afford to buy their way out of punishment, harsh penalties included various forms of. These included, and , as well as

Though a prison,, existed as early as the 14th century in was not widely used until the 19th century. Correctional reform in the United States was first initiated by towards the end of the 17th century. For a time, criminal code was revised to forbid and other forms of cruel punishment, with and replacing corporal punishment. These reforms were reverted, upon Penn's death in 1718. Under pressure from a group of these reforms were revived in Pennsylvania toward the end of the 18th century, and led to a marked drop in Pennsylvania's crime rate. and others led significant reforms during the late eighteenth and early nineteenth centuries.


Legislature
A Legislature is a kind of with the power to pass, amend, and repeal The law created by a legislature is called In addition to laws, legislatures usually have exclusive authority to raise or lower and adopt the and other. Legislatures are known by many names, the most common being although these terms also have more specific meanings.

In the legislature is formally supreme and appoints a member from its house as the prime minister which acts as the In a, according to the doctrine, the legislature is considered an independent and coequal branch of government along with both the and the executive.

The primary components of a legislature are one or more or houses: assemblies that can and upon A legislature with only one house is called legislature possesses two separate chambers, usually described as an upper house and a lower house, which often differ in duties, powers, and the methods used for the selection of members. Much rarer have been legislatures; the still exists, but the most recent national example existed in the waning years of.
In most parliamentary systems, the lower house is the more powerful house while the upper house is merely a chamber of advice or review. However, in presidential systems, the powers of the two houses are often similar or equal. In it is typical for the upper house to represent the component states; the same applies to the supranational legislature of the. For this purpose, the upper house may either contain the delegates of state governments, as is the case in the European Union and in and was the case in the before 1913, or be elected according to a formula that grants equal representation to states with smaller populations, as is the case in and the modern United States.

Because members of legislatures usually sit together in a specific room to deliberate, seats in that room may be assigned exclusively to members of the legislature. In parliamentary language, the term seat is sometimes used to mean that someone is a member of a legislature. For example, saying that a legislature has 100 "seats" means that there are 100 members of the legislature, and saying that someone is "contesting a seat" means they are trying to get elected as a member of the legislature. By extension, the term seat is often used in less formal contexts to refer to an electoral district itself, as for example in the phrases.

A court is a form of often a with the between and carry out the administration of, and matters in accordance with the In both courts are the central means for and it is generally understood that all persons have an ability to bring their claims before a court. Similarly, the of a crime include the right to present a before a court.

The system of courts that interpret and apply the are collectively known as the. The place where a court sits is known as a. The room where court proceedings occur is known as a, and the building as a; court facilities range from simple and very small facilities in rural communities to large buildings in cities.

The practical authority given to the court is known as its jus dicere) -- the court's power to decide certain kinds of questions or petitions put to it. According to a court is constituted by a minimum of three parties: the actor or, who complains of an done; the reus or who is called upon to make satisfaction for it, and the judex or judicial power, which is to examine the truth of the fact, to determine the law arising upon that fact, and, if any injury appears to have been done, to ascertain and by its to apply a. It is also usual in the superior courts to have attorneys, and advocates or counsel, as assistants, though, often, courts consist of additional attorneys, and perhaps a jury.

The term "the court" is also used to refer to the or officials, usually one or more. The judge or panel of judges may also be collectively referred to as (in contrast to and ollectively referred to asthe). In the United States, and other common law jurisdictions, the term "court" (in the case of U.S. federal courts) by law is used to describe the judge himself or herself.

In the the legal authority of a court to take action is based on and venue over the parties to the litigation.

Jurisdiction
Jurisdiction, means "to speak the law," is the power of a court over a person or a claim. In the United States, a court must have both personal jurisdiction and subject matter jurisdiction. Each state establishes a court system for the territory under its control. This system allocates work to courts or authorized individuals by granting both civil and (in the United States, this is termed subject-matter jurisdiction). The grant of power to each category of court or individual may stem from a provision of a written or from an enabling. In, jurisdiction may be deriving from the common law origin of the particular court.

Trial and appellate courts are courts that hold. Sometimes termed "courts of first instance," trial courts have varying Trial courts may conduct trials with juries as the (these are known as or trials in which judges act as both finders of fact and (in some jurisdictions these are known as. Juries are less common in court systems outside the common law tradition.

are courts that hear of lower courts and trial courts.

Some courts, such as the may have both trial and appellate jurisdictions.

Civil law courts and common law courts
The two major models for courts are the civil law courts and the common law courts. Civil law courts are based upon the judicial system in France, while the common law courts are based on the judicial system in England. In most civil law jurisdictions, courts function under an. In the common law system, most courts follow the governs the rules by which courts operate: for private disputes (for example); and for violation of the criminal l

In particularly in correction, corrections, and correctional, are describing a variety of functions typically carried out by, and involving the and of persons who have been. These functions commonly include. A typical correctional institution is a. A correctional system, also known as a penal system, thus refers to a network of agencies that administer a prisons and community-based programs like parole and probation boards; this system is part of the larger which additionally includes and Jurisdictions throughoutand the Uk have ministries or departments, respectively, of corrections, correctional services, or similarly named agencies.

Corrections is also the name of a concerned with the theories, policies, and programs pertaining to the practice of corrections. Its object of study includes personnel training and management as well as the experiences of those on the other side of the fence — the unwilling subjects of the correctional process. Stohr and colleagues write that "Earlier scholars were more honest, calling what we now call corrections by the name, which means the study of punishment for crime."

The terminology change in US academia from "penology" to "corrections" occurred in the 1950s and 1960s, and it was driven by a new philosophy emphasizing. It was accompanied by concrete changes in some prisons, like giving more privileges to inmates, and attempting to instill a more communal atmosphere. At least nominally, most prisons became correctional institutions, and guards became correctional officers. Although the corrections-related terminology continued thereafter in US correctional practice, the philosophical view on offenders' treatment took an opposite turn in the 1980s, when the "get tough" program was labeled by academics as "The New Penolog

Conclusion
The use of sanctions, which can be either positive (rewarding) or negative is the basis of all criminal theory, along with the main goals of social control, and deterrence of behavior.

Many facilities operating in the United States adhere to particular correctional theories. Although often heavily modified, these theories determine the nature of the facilities' design and security operations. The two primary theories used today are the more traditional Remote Supervision and the more contemporary In the Remote Supervision Model, officers observe the inmate population from remote positions, e.g., towers or secure desk areas. The Direct Supervision Model positions within the inmate population, creating a more pronounced presence.
* * *

Development of Insurance Business and its Applicability

Development of Insurance Business and its Applicability in

Introduction
“Insurance is a way of protecting against these financial losses”. “General insurance or non life insurance policies, including automobile and homeowners policies, provide payments depending on the loss from a particular financial event” Anyone who owns an asset can buy insurance to protect it against losses due to fire or thefand so. Each one of us can insure our and our dependents” health and well being through hospitalization and personal accident policies.

Definition of Insurance: Insurance may be defined as a cooperative device to spread the loss caused by a particular risk over a number of persons who are exposed to it and who agree to insure themselves against that risk. This means that insurance provides a pool to which the many contribute a and out of which the few who suffer losses are compensated by the insurer.

It may be noted that insurance can not prevent loss of property or goods by fire or other perils. It can merely provide financial compensation for the effects of misfortune. An insurances therefore, does not protect the material property which is the subject – matter of the insurance, but the pecuniary interest of the insured.

Chapter – 1
Development of Insurance Business and its Applicability in Bangladesh.
Since 1947 until 1971 insurance business gained momentum in this part of what was then known as East Pakistan. There were about 49 companies transacting both life and general insurance business. These companies were operating under a free competitive economy. After the emergence of the People’s Republic of Bangladesh in 1971, the government in order to make available the fruit of liberation to the general mass, nationalized the insurance industry along with the banks in 1972 by Presidential order no. 95At the same time, five insurance corporations were initially established by the government, which are following.
(i) National insurance corporation,

(ii) Teesta insurance corporation,

(iii) Karnphuli insurance corporation,

(iv) Rapsa life insurance corporation and

(v) Surma life insurance corporation.

On 14th may, 1973 the Insurance corporation Act VI, 1973 was enacted under which the previous five corporations were abolished an the following two corporations emerged:
1. Sadhran Bima Corporation for general insurance and.

2. Jiban Bibna corporation for Life insurance in Bangladesh.

Sadharon Bima Corporation for general insurance deals with any kind of non life insurance. Such as: fire insurance, cyclone insurance, flood insurance etc. On the other hand, Jiban Bima Corporation deals with the insurance of human life or life insurance.

Chapter – 2
Life Insurance
A Contract of life insurance is a contract whereby the insurer, in consideration of a certain premium, undertakes to pay to the assured, or to the nominee or assignee or the legal successor of the assured in case of his death, a stated sum of money or annuity (i.e, payment in monthly, quarterly, half- yearly or yearly instalments), on the death of the insured or on the expiry of a certain period. According to Seetion 2 (11) of the insurance Act, 1938, “life insurance business means the business of effecting contracts of insurance of upon human life.

Insurable Interest: “No insurable interest no insurance’ is a maxim of the law of insurance. Thus, a contract of life insurance is void unless the assured has an insurable interest in the life insured. Insurable interest arises out of the pecuniary relationship that exists between the insurer and the insured, so that the policyholder stands to lose by the death of the insured and continue to gain by his remaining alive. Thus, a son has no insurable interest in Ted by the son.

Presumption of insurable interest: it the following three cases, insurable interest is presumed to exist and no proof is required:

(i) In own life. In this case interest is presumed because one can protect his estate from that loss of his future gains or savings which might be the result of his premature death.

(ii) Wife in the life of her husband. In this case interest is presumed because the husband is legally bound to support his wife and hence she insurable interest in the life of her husband.

(iii) Husband in the life of her wife. In this case interest is presumed only if the

wife is literate and earning member.
In these cases there is no limit to the amount of insurable interest and one can insure for any sum whatsoever, and as often as he pleases.

No Presumption of insurable interest:
The cases where insurable interest is not presumed and an evidence of interest is required can be studied under two heads:
(i) Persons Related: In case of relations other than husband and wife, like as, father and son, uncle and nephew, sister and brother insurable interest is to be proved. If one proves that he is supported by another orelation then only he can insure that other relation’s life.

(ii) Persons not Related: The following have been held to have an insurable interest due to business or contractual relationship:

(a) A creditor in the life of his debtor ‘to the extent of the debt’.

(b) A creditor in the life of surety.

(c) A partner of a partnership firm in the life of a co- partner.

(d) An employee in the life of his employee.

(e) An employer in the life of his key employee.

Kinds of life insurance Policies: Various types of life insurance are issued to meet the varying needs of the members of the society. The more important typer are following:

(i) Whole life Policy: Under this policy the premiums are payable throughout the life of the on the death of the assured to his assignees, or nominees or heirs.

(ii) Endowment Policy: in this case, the policy runs only for a limited period or up to a particular age not exceeding the age of 70 years. Premiums are payable fill the maturity of the policy.

(iii) Limited Payment life policy: in this case, premiums are payable for a specified number of years or until death if it occurs earlier.

(iv) Convertible whole life policy: in case of such a policy the premium is low at the beginning, treating the policy as a whole life policy. Under the terms of the policy the assured is given an option to convert the policy into an endowment policy after five years.

(v) Joint life policy: This type of policy is taken upon the joint lives of two or more persons. The sum assured becomes payable at the end of a specified tern of years, or on the first death of either of the lives assured, whichever is earlier. This type of policy is particularly useful for partners in a partnership firm.

(vi) Annuity policy: this policy is an endowment policy with the difference that here the full amount of the policy is not payable in a lump sum but is payable in the form of annuities for a specified number of year or till the death of the assured.

(vii) Education /Marriage Endowment Policy: Such a policy is effected for the purpose of meeting the education or marriage expenses of children. As is usual, here also assured insures his own life but the purpose is different.

Surrender value: it is applicable only on the life insurance. The ‘surrender value’ denotes that value or consideration which the insurer is prepared to pay at any particular time during the currency of the policy, after it has run for a specified period, in total discharge of the contract, in case the assured wishes to surrender his policy and extinguish his claim upon it. In brief, the surrender value is the cash value of the policy which is payable to the policy holder if he decides to terminate the contract after a specific period or term.

Paid – up value: if, after the policy has acquired a ‘surrender value’ a policy – holder discontinues the payment of the premium, the policy does not become wholly void but continues to subsist as a ‘paid-up policy’ entitled to the ‘paid-up-value’ of the policy. Of course, such a value is payable only at the maturity of the policy; and it is for this reason that this value is always higher than the ‘surrender value’ which is playable immediately on surrendering the policy.

Chapter – 3
Fire insurance
Fire insurance means insurance against any loss of or damage to property by fire. A contract of fire insurance is a contract whereby the insurer, in consideration of the premium paid, undertakes to indemnify the insured against financial loss which the latter may sustain by reason of certain defined subject-matter being damaged or destroyed by fire during a specified period.

Character is tries: the characteristics of a contract of fire insurance are as follows:
1. It is a contract of indemnity. The insured suffering the loss in fire policy can.

2. It is a contract of utmost good faith. The proposer is under an obligation to supply detailed information regarding the subject-matter to be insured. He must disclose all material facts correctly and fully, otherwise the contract is avoidable at the instance of the insurer.

3. It is a contract from year to year and therefore a fire insurance policy can be issued for a period of a one year only.

4. The principles of ‘Subrogation’ and ‘contribution’ apply to contract of fire insurance.

5. It covers loss caused proximately by fire.

6. Unlike a life insurance policy, a fire policy does not carry any surrender value or paid- up value.

7. The assured must have insurable interest in the subject- matter, i.e. the property insured, both at the time of contract as well as at the time of loss.

8. Procedure for Effecting Fire insurance:

For taking out a fire policy the proponent has to fill a proposal from giving necessary description such as location, amount, age, nature of possession etc. Of the property. While filling up the proposal form, the proposer must observe utmost good faith and disclose all the material facts. On receiving the proposal form the insurer assesses the risk to be insured. The properly is fully inquired and examined by the surveyors who determine the degree of risk precisely. If the insurer thinks that the property is insurable, he gives his acceptance of the proposal subject to the payment of premium. Finally a fire insurance policy duly stamped and containing the terms and conditions of insurance will be issued by the insurer to the assured.

Chapter – 4
Marine insurance
A contract of marine insurance is a contract whereby the insurer undertaker to indemnify the assured, in the manner and to the extent there by agreed, against marine losses, that is to say, the losses incidental to marine adventure.

Subject – matter of a contract of marine insurance: Every lawful marine adventure may be the subject – matter of a contract of marine insurance. The more popular types of marine insurance are as follows:

(i) Hull insurance: insurance of vessel and its equipments (i.e., furniture and fittings, machinery, tools, coal and engine stores etc.) are included in hull insurance.

(ii) Cargo insurance: The insurance of cargo includes goods and merchandise and not the personal belongings of the crew and passengers.

(iii) Freight insurance: in many instances, under the terms of contract, the shipping company is unable to earn freight, whether paid in advance or otherwise, if the cargoes are not safely transported. As such, if the cargoes are destroyed or the ship is lost on the way, the shipping company losses the freight. To guard against such an eventuality the shipping company may effect freight insurance.

(iv) Liability insurance: Liability insurance includes liability to a third party by reason of hazards like collision etc.

Maritime perils: As observed earlier, marine insurance policies protect the assured against maritime perils. According to Section 2 (e), “maritime perils means the perils consequent on, or incidental to, the navigation of the sea, that is to say, perils of the seas, fire, was perils, pirates and rovers, thieves, captures, seizures, restraints and detainments of princes and peoples, jettisons, barratry and any other perils which are either of the like kind or may be specified by the policy”.

Characteristics of Marine Insurance Contracts: The characteristics of a contract of marine insurance are as follows’.

(i) It is a contract of indemnity.

(ii) It is a contract based upon the utmost good faith, and if the utmost good faith be not observed by either party, the contract may be avoided by the other party.

(iii) The doctrine of ‘Subrogation’ and ‘contribution’ apply to a contract of marine insurance.

(iv) A marine policy is invariably subject to the ‘ average clause’

(v) All marine insurance contracts are subject to certain “express and implied warranties”.

(vi) In a marine insurance contract, the assured must have insurable interest in the subject – matter insured at the time of the loss, though he may not have insurable interest when the insured is effected.
* * *

Modernism and the Revolution of the Word

8 the word made fresh:
Modernism and the Revolution of the Word
There lies her word, you reder! The height herup exalts it and the lowness her down abaseth it. It vibroverberates upon the tegmen and proslodes from pomoeria. A widow, a hedge, a prong, a hand, an eye, a sing, a head and keep your other augur on her paypaypay.

In Chapter 4 of A Portrait Stephen, disaffected, gazes out across the Irish Sea and prophetically contemplates the distant prospect of Europe, unseen and only dimly felt. He stands between two opposing revolu-tionary impulses.

Behind him lie the forceful, importuning voices of the Celtic revival, rooted in Romantic culture which had alrcady long ago had its day in Europe and, on the other, through a language long suppressed and almost extinct. In terms of European mainstream letters Ireland is for Stephen a backwater – as it had been for Joyce too.

Instead, both look to the distant preluding of a different revolutionary phenomenon in European civilization and culture, beyond the sea and be-yond Britain, to the continent: to Paris, Berlin, Vienna and other centres where, amid widespread feelings of discontent and scepticism, a new movement was beginning to find shape and momentum: Modernism.

It is to the uncertain stirrings of Modernism that Stephen, like Joyce, flies at the end; though A Portrait is not a fully Modernist text (in the sense that Ulysses is), the novel appeared as a significant influence in the early days of the embryonic movement. Its subject and techniques of both Modernism and of Joyce himself, who became its prime mover. To fully appreciate these features in A Portrait it is vital to see it in the wider context of European artistic currents, and especially in the light of the crisis of values and uncertainties which took place during the period from 1890 to 1920, a crisis which occurred in the face of a widespread collapse of confidence in science, philosophy, religion and art.

To try to pinpoint the start of any movement with a specific date or work of art is inevitably a ticklish endeavour – Modernism more so since it was never a school, just a more or less simultaneous stirring

Critical Studies: A Portrait of the Artist as a Young Man
among intellectuals and artists as a common but independent reaction to the failure of science and religion to offer a convincing definition of the changing world. There was never any consensus or manifesto among the artists and writers who have since been grouped together under its umbrella by succeeding critics. Thus Modernism has no easily identifiable starting date and indeed no real starting date – it grew instead as a late nineteenth-century reaction to Romanticism and a response to the worlds social and intellectual changes. And while its achievements reveal its radically distinct approaches based on new perspectives, its initial rise was quite gradual.

While the break itself is difficult to pinpoint in time there is no question about the great divide in the terms on which art, literature, philosophical attitudes, social values, politics and science separated the Modernists from the age of Jane Austen, Wordsworth, George Eliot and Dickens.

But what differentiates the approach and style of Modernism from what went before? How can we identify the style of Modernism – its soul?

First of all, Modernism is not one style but many. Unlike Romanticism which was effectively a change of emphasis growing out of the unconscious reaction to Neo-classicism, Modernism is a concerted attempt to create a new artistic attitude through a new way of looking at the world and at the art which expresses it. This is typified for instance in the new styles of painting, such as Picasso’s Cubism, with its rejection of representationalism in favour of significant form and expressive style based on experience – a sort of introversion turning on scepticism and mannerism, in which technique and form are unmistakably foregrounded. But unlike representational art, which finds its pretext in a close physical correspondence between the image and the real world, Modernist art finds justification within itself; it is ultimately self-sufficient.

For Modernist art, there is not merely a crisis in reality but also a crisis in perception. On a wider scale, Modernism springs from and closely corresponds with the crises and anxieties of the age as a whole – industrialization and urbanization on a vast scale, rapid and uncontrollable change and chaos, together with the inevitable alienation the individual. And all this is mirrored in the splintering of art into diverse schisms and ‘-isms’.

But if Modernism is characterized by a preoccupation with style, what is the character of that style? As we have hinted, this is no simple task since paradoxically the movement is united by its own impulse for fragmentation, partly aimed at thwarting generalizations about itself. We can say, however, that it is typified on the one hand by flagrant artifice – it flaunts its technical underwear – yet also by a high level of abstraction, with a lack of piety for the conventions of language and form. It is characterized also by shock, crisis and discontinuity, ob-scurity and anxiety –all seking to break down old comfortable reader realitionsships and to substiute itsead new oncs,to plaace the reader in a postions of continual flus with artist- auther.At the same time there is a storng drive towards art which finds its form,the ultimate end,according to Nietzsche:

a book about nothng ,a book whithout external attaxhments,which would hold itself togethter through the internal force of its style.

This is an idea which is echoed in part by Stephen Dedalus in A Ponrait when he talks about the artist being above and beyond his creation; Joyce’s novel itself, though biographical in origin, finds its strength through internal referents as much as through correspondence with reality.

And yet, as we have seen in the previous chapter on epiphany, Modernism is also much concerned with time, especially with the transience of the moment, in particular the paradox that, while on the one hand the experience of a moment is evanescent, on the other its effects are permanent. Many writers struggled to capture the spontaneity and impact of the moment – in Virginia Woolf’s phrase, to catch ‘the atoms as they fall upon the mind’, to unfold its significance, and not only as the subject matter of their work. By exploiting it as the organizing function of the art form, they could also exploit its internal life. the inimitability of the moment is paralleled by the uniqueness of the form of the work in which it is reflected: the idea that for every work of art there is a uniquely individual form appropriate to its subject matter.

Fundamentally, the crisis in Modernism is underpinned by a profound intellectual readjustment, whose consequences strike at the formal conventions in art and literature, at the methods of characterization and the use of language and, as we have seen, at the very idea of the artist himself. Above almost all else it is associated with the idea of an avant-garde – in spite of the spirit of alienation, denial and scepticism.

There is thus an inbuilt elitist tendency among artists implied by such avant-gardeism, and this is naturally reflected among readers too since Modernism evolved as an arcane and private art addressing an audience with a shared, educated culture. The result is an overall readership

Critical Studies: A Portrait of the Artist as a Young Man
divided into those who regard Modernism as the ideal form of expression of the age, embracing even its hostilities, and those who find it marginal, temporary and above all incomprehensible.

It was in the beginnings of these stirrings that A Portrait first appeared in book form, almost unnoticed, and it was also during the horrifying abyss of the First World War and shortly after the Irish Easter uprising, two of the most critical and violent assaults upon British imperialism. It emerged into a world immersed in profound and far-reaching turmoil, through which many of the cosy assumptions and principles which bad gone before would be swept away. In one of the most remarkable periods of dynamic growth and turbulent change, the thirty years before the war witnessed decline and transformation in a wide range of the most profound areas of the social fabric – in science, technology, economics, social philosophy, and psychology, as well as the arts.

At the turn of the century London, Paris and Berlin were the triple hubs of the capitalist, industrialized world, together dominating almost the whole globe through a web of industrial, commercial and imperialist forces, controlling between the three of them over 60 per cent of the world markets for manufactured goods. Yet the period between 1890 and 1914 also saw a rapid boom in heavy industrial output in the three countries with, at the same time, a momentous technological revolution which resulted in a great number of key technical innovations: the emergence of electricity ad petrol as the new major power sources; the internal combustion and diesel engines, with the appearance of the motor car and trams and buses on the city street scene; the first powered flight; increased mechanization of industry and agriculture; the introduction of new synthetic fibres and plastic with a rise in the importance of the chemical industry; and in communications with the invention of the telephone, the typewriter and wireless telegraphy.

During this time the three major European capitals also underwent a massive surge in urbanization (in 1910 the population of London was almost 4.5 million, of paris over 2.5 million, while by contrast that of Dublin was only 304,802) continuing the flight from the land begun in the industrial revolution. And in the cities themselves the routines of urban life were becoming increasingly dominated by the rigid routines of the office and factory. The day of mass production had dawned with industry gearing up to generate and sustain vast mass-markets through economies of scale and advertising: thus, with the beginnings of cinema and mass-circulation newspapers, the modern mass media had bben born.

It is a picture of the individual overwhelmed and subjugated to colossal dehumanizing forces of industry, commerce and production. Yet, while the ancient aristocratic regimes of the imperial powers – Britain France, Russia – still remained intact, the new emergence of wealth as a key force was beginning to dislodge the hereditary lies on status, materialism, education and leisure with the rise of a nouveau riche – parvenus who derived their new-found wealth from profit and trade; some, like T.S. Eliot, in TheWaste Land, equated this new class with moral and social decline:

One of the low on whom assurance sits
As a silk hat on a Bradford millionaire.
Polarization of the prosperous leisured class from the slum-dwelling poor increased as the latter came to be regarded merely as a pool of cheap surplus labour and degraded humanity. Gradually, however, although the rich had by and large isolated themselves from the lower classes, the voice of mass protest was already beginning to make itself heard – the workers had already begun to organize themselves and membership of socialist parties across Europe was rapidly increasing, while at the same time the women’s suffragette movement was gathering strength and momentum.

But, over this latent if awakening conflict there still sat a high degree of smugness about the middle and upper classes. In spite of the spectre of organized labour, there was, before the war, no real threat yet to the established order of society. For the leisured classes of the three major colonial powers, labelle epoque was characterized by freedom and security, grace, ease and privilege served by cheap and plentiful labour and material benefits, at the centres of empires equally untroubled by (and largely ignorant of) their deep social, racial and sexual inequalities.

But what of the intellectual life of the period? In 1895 Wilhelm Rontgen’s discovery of X-rays and the Curies’ discovery of the properties of radium heralded the onset of a profound revolution in physics. They were closely followed by the nuclear research of Thompson, Rutherford and Soddy whose immediate spin-off was the most profound reformulation of attitudes to physical matter since classical theories, the foremost concepts being Max Planck’s Quantum Theory of Energy (1900) and Einstein’s Special Theory of Relativity (1905). In twenty years the whole image of the physical universe, previously regarded as the most complete and secure foundation of scientific thought, was shot through with doubt and attempts were made to replace it with a new model.

Critical Studies: A Portrait of the Artist as a Young Man
Although we have an image of the individual beleaguered by the dehumanizing forces of industry on a huge scale, as a result of this we can see the social sciences beginning to make a closer, more scientific examination of him. Most renowned in this field is, of course, Sigmund Freud, founder of psychoanalysis. One of the most pervasive influences on twentieth-century thought in general and literary theory in particular, he has been an immensely seminal force in the widest range of social contexts as well as in his own specialist fields. His involvement in psychology itself dates only from the 1890s when, with Josef Breuer, he published Studies in Hysteria (1895) a landmark in psychoanalysis. However, his ideas, which created a revolution in psychology by focusing controversially on early influences and childhood sexuality, also contain many contradictions, a feature which identifies his work as a herald of Modernism while at the same time containing the seeds of its demise. Although aware of his impact, Joyce never acknowledged any influence of Freud on his own early works which, nevertheless, show a remarkable parallel development with Freud’s concerns and reach similar discoveries by separate courses; for instance, Joyce’s emphasis on the crucial role and influence of Stephen’s mother and other early influences in A Portrait, and his exploration of father – son relationships in Ulysses.

By middle age though. Joyce had certainly studied some of Freud’s ideas in depth and finnegans Wake displays the undoubted influence – and inevitable parodies – of Freud’s and symbol theories (Joyce described psychoanalysis sardonically as ‘...we grisly old Sykos who have done our unsmiling bit on’ alices, when they were yung and easily freudened...’ (Finnegans Wake, p. 115).

A side effect of Freud’s early work, the role and importance of mythology, itself later became very much a central concern of psychoanalysis through the exploration of cultural archetypes; the most notable theorist in this area is Carl Gustav Jung, an early pupil of Freud, who later wrote an appreciative account of Ulysses and also became one of the many psychiatrists to treat Joyce’s daughter. Lucia, during her illness.

As traditional concepts of ‘fictional reality’ were overturned and new attitudes to time – personal as well as cultural – started to appear, artists too began to turn to myth to fill the gap which had been left, seeing in it also a means of bringing order to the contemporary world and discipline to feeling and experience. For Joyce, myth became one of the fundamental features of his mature work, exploited for both theme and form, though he used it extensively throughout all his writing: from his earliest published work (‘Et tu, Healy’), through Dacdalian and Odyssean fable in A Portrait and Ulysses, to the Celto-Christian myths (among many others) of Finnegans Wake.

But psychology very rapidly cast its attention across a host of human activities. In addition to mythology, Jung also worked on word association, an interest paralleled by the research of William James whose book, The Principles of Psychology (1890), not only anticipated many of Freud’s concepts but in addition, and most significantly, outlined the phenomenon of the ‘stream-of-consciousness’, one of the most characteristic narrative devices of Modernism as a whole and of Joyce’s mature work in particular.

At about the same time as these advances in psychology, the foundations of modern socilogy too were being laid from the theories of Emile Durkheim and Max Weber both of whose most original work appeared between the years 1895 and 1914. Both sought to find solutions to the crises in social living by confronting what they considered to be the heart of the individual’s dilemma: ‘a state of confusion in a rootless, incoherent world from which traditional values and rules had been dislodged’. And both proposed, among other things, a return to myths as a regenerative source of cultural values and coherence.

At the heart of many of these crises, however, is a deep philosophical scepticism – a profound sense of uncertainty. Hand in hand with new social realities, the early part of this century witnessed a revolution in philosophical perspectives and moral vision to cope with the widespread collapse of faith in monolithic systems of truth. Freudian theory, based though it was on a framework of nineteenth-century assumptions of determinism, rationalism and positivism, suddenly switched the emphasis on to the unconscious and causal factors which appeared outside the previously held views of personal responsibility. And the notion of absolutes in normal and abnormal behaviour was given a severe blast, with the concept that all individuals display neurotic symptoms in varying degrees.

It is difficult to comprehend now the hostility with which his theories were greeted, yet Freud’s sturdy framework maintained similarly deterministic evolutionary assumptions as those which lay behind Darwinism, Marxism, and the philosophical ideas of Wittgenstein, Kierkegaard, Moore, Bergson, Russell and Nietzsche.

Against the view of the hapless citizen beset by oppressive megalithic forces in which he came to be regarded as the product of natural causal features and largely passive, philosophical outlooks began to react by redefining the nature of existence and the essence of the human

Critical Studies: A Portrait of the Artist as a Young Man
Personality. Friedrich Nietzsche’s ideas in the 1880s of ‘aristocratic radicalism’ and the myth of eternal regeneration were momentous landmarks in the swing towards the reassertion of the individual. Though he had been published before, Nietzsche’s views sprang to prominence in the last decade of the century through the popularization of his ideas be the Danish critic Georg Brandes, through whom they worked a powerful influence on the playwrights Strindberg and Ibsen and thus, indirectly, on Joyce. By believing firmly that mankind had reached a moment of destiny in which human ideas and values must become subject to radical reappraisal. Nietzsche prophesied and helped bring about the revolution in thought which would ultimately bring about Modernism itself.

Although many of his ideas have become discredited by a stress on his ‘moral nihilism’ and by their later annexation by the Nazis, Nietzsche’s perspectives herald a significant change of emphasis, a challenge to the nineteenth-century idea that true values were located in the society rather than in the individual. Taking this up, Ibsen gave full expression to the new thinking by insisting through An enemy of the People (1883) that the ‘majority is never right’, an idea which Joyce embraced to the full (see Chapter 4). But Ibsen was not alone; for instance, Hardy’s naturalistic Jude the Obscure and Tess of the D’Urbervilles both present stark portraits of the alienated individual, outcast by society’s intolerance, and G.B. Shaw was beginning to grapple with the theme of social tyranny, while Joseph Conrad’s impressionistic world exposed the nihilism and moral bankruptcy of deeply accepted values.

The new thinkers and artists were turning their attention to the new arena in which flux, fragmentation and pluralism were key notions, in contrast to the fixed and stable positivist world of nineteenth-century thought. Reality was no longer limited by ideas of a fixed, palpable and solid world of phenomena; it could be evasive, evanescent, protean, like the fleeting, elusive images, mysterious associations and perceptions of the conscious and subconscious mind.

And just as late nineteenth-century aesthetics had come to explore confidently beneath the surface of reality, challenging traditional surface materialism, science blasted this view of reality and its materialism; to the dots, dashes and strokes of the impressionists were now added concepts of invisible particles and waves.

A concern for the abstract, a recognition of a special kind of subjective logic antithetical to the commonsense rationality of Naturalism and Utilitarianism, also emerged through the inspirational thinking of the psychologist William James and the philosopher Henri Bergson. Bergson, an important influence on the young T.S. Eliot who attended his lectures in Paris, placed supreme emphasis on the intuition as the chief means of grasping reality, through ‘intellectual sympathy’ as he called it.

At once, ambivalence and imaginative philosophical speculation became respectable avenues of exploration and, consistent with Freud’s theories, the dream and man’s unconscious became germane areas of serious research. It was also soon recognized that the workings of deep structures of the mind offered radical new formulas for accumulating and shaping material into a distinctly special coherence which writers readily exploited to the full – opening the way for works such as August Strindberg’s A Dream play (1902) through expressionism, surrealism, and a range of experiments leading to Joyce’s Finnegans Wake in 1939, its ultimate expression. In his preface to A Dream play, Strindberg reveals his full cognizance of the new possibilities:

In this dream play, as in his previous dream play To Damascus, the author has tried to reproduce the disconnected but apparently logical form of a dream. Anything may happen; all things are possible and probable. Time and space do not exist; against an unimportant background of reality, the imagination spins and weaves new patterns; a blend of memories, experiences, free ideas, absurdities, improvisations. The characters split, double, multiply; they evaporate, crystallise, scatter and converge. But a single consciousness holds dominion over them all: that of the dreamer.

By the beginning of this century the old values and certainties had been severely challenged; the stable predictable world of the nineteenth century was in increasing crisis as the forces which would ultimately wrench it apart gathered strength, forces which would eventually culminate in the stark cataclysm of the world war. It is against such a scenario that Strindberg’s statement needs to be set but, as his statement also implies, the vision of disintegration and uncertainty was too a powerful and exciting inspiration to the artist, a provocation to come to terms with it in a new order and a new sort of artistic order: Modernism.

When Joyce moved to Paris in December 1902, it was already the capital of progressive vitality and innovation in the arts, and Paris was to remain indissolubly linked with the Modernist movement throughout the rest of Joyce’s lifetime. Among artists already working there at the time of his arrival were Braque, Utrillo, Derain, Matisse, Duchanp, Vlaminck, as well as Picasso and Cezanne. Like Joyce, many others too were drawn to the city about this time – Brancusi, Modigliani, Mare,

Critical Studies: A Portrait of the Artist as a Young Man
Klee, Chagall, Mondrian. In painting, the new vision is characterized by Matisse’s fauvist interiors, Seurat’s optical experiments in divisionism (for instance, in Afternoon on the island of La Grande Jatte, 1884), and in the colour – sculpture experiments of Cezanne, Picasso and others who sought to model subtle surface effects through a rigorous discipline of form and space (e.g. Cezanne’s Mont Sainte-Victoire, 1885-7, and Picasso’s Les demoiselles d’Avignon, 1907).

In Paris and elsewhere the early 1900s saw an exceptional flowering of artistic talent – for example, in Dresden Die Brucke group (early expressionists), and in Munich the Der Blaue Reiter group whose influential talents, Kandinsky and Klee, laid the foundations of the later Bauhaus group and profoundly influenced post-war Abstract art. Elsewhere, other related talents were beginning to blossom: Edvard Munch, Norwegian expressionist; Oskar Kokoschka, Austrian expressionist; James Ensor, Belgian painter and etcher; and the artists of Italian futurism who strove to assimilate into their art the images and forms of the world of mechanization.

And then in music there is Stravinsky, the most prominent, strident figure among the new wave of composers, in the wake of Mahler and Richard Strauss, and his best work dates from the period before the war. Drawing inspiration from the Romantic twilight, Stravinsky’s work heralds a neo-classicism in music, his ballet suite, The Rite of Spring, signalling the climax of his bold pre-war experiments in complex rhythms, fragmentary and repetitive melodies and polyphonal harmonies – its performance in Paris in 1913 provoked a riot in the audience. For twentieth-century music this is the most exciting period with Debussy, Ravel and Satic in France, Berg and Schoenberg in Vienna and Bartok in Hungary.

But it is in literature that there is the most prolific blossoming of Modernist talent – Gide and Proust, Paul Valery and guillaume Apollinaire in France; Henry James and Conrad in England – followed by Virginia Woolf and D.H. Lawrence; Mann and Rilke in Germany; Chekhov in Russia; Strindberg in Sweden; Ibsen in Norway; as well as exiles such as the profoundly influential Ezra Pound, Gertrude Stein and T.S. Eliot from the USA.

With such a catalogue of diverse talents, a generalization of all their aims and characteristics, as if they were all pursuing the same ends, would be clearly unsatisfactory and probably impossible. Yet, although Modernism is not a school, many of its artists have shared attitudes and approaches, by chance as often as by design. For example, Modernist writers share among other things a deep concern with form and the problematics of language, but approach them not as obstacles but rather as an opportunity to be explored, through the use of irony, paradox and similar related tropes together with silence and obscurity, to express fragmentation and discord, absurdity and fear in the face of the contemporary predicament Though not a progenitor of Modernism, W.B. Yeats’s ‘The Second Coming’ (1919) catches the tension and uncase of the period:

Turning and turning in the widening gyre
The falcon cannot hear the falconer;
Things fall apart; the centre cannot hold;
Mere anarchy is loosed upon the world...

Among the achievements of Modernism two works stand out as its monuments, T.S. Eliot’s The Waste Land and Joyce’s Ulysses. The Waste Land (1922), the most significant verse work of Modernism, brilliantly evokes the crises of the age: spiritual collapse and death, cultural aberrancy, the crisis in communication, and the disintegration of traditional social values. Yet through all its broken and perfidious images roams the solitary figure of the blind seer Tiresias, ‘the most important personage in the poem, uniting all the rest’. Based on a mythological Greek figure of renowned percipience who existed as both man and woman, Tiresias is perfectly equipped from his unique point of view outside contemporary time to observe and comment objectively upon it. It is through him that The Waste Land confronts and comes to terms with the theme of chaos, chaos on the scale of both the private individual and the shared cultural stock of the community. Yet the poem does not make order of chaos. Though it clearly achieves an internal formal sort of order, it only dramatizes chaos, representing it through Eliot’s pervasive tone of resignation and, through the poem’s polemical ironies, attempts to fix or formulate it while at the same time acknowledging the helpless plight of the individual before the gathering tide of degeneration and nihilism.

Like The Waste Land, Ulysses is anattempt to come to terms with the dislocated individual in the Human Age and, like Eliot, Joyce exploits past cultural models and myth both for internal order and for theme itself, through a submerged commentary on the contemporary world. Both also come to terms with chaos by at first creating their own chaos, a chaos more easy to manage and to make sense of. In each, form and content achieve a fine calescence so that each work accomplishes an internal life of its own. There is too in Ulysses the figure of the blind stripling, drifting Tiresias-like in and out of view

Critical Studies: A Portrait of the Artist as a Young Man
across Joyce’s Dublin, though without either the formal or the moral force of Eliot’s figure.
As we have seen, many of these formal and thematic features are prefigured in A Portrait; we can also see prefigured there the area in which Joyce and Eliot differ most: in their attitudes to the revolution against nineteenth-century values – Eliot despondently regarding it as one of cultural despair and Joyce finding in it a qualified hope, an opportunity to redefine man’s relationship in the world by an assertion of enlightened humanistic values and working through a sort of new social contract rooted in fellowship and transcendent mythic values.

Because Modernism is in large part a reaction to nineteenth-century Romanticism it is tempting to see it as a revival of Classicism, whereas it is in fact an intense form of Romanticism which attempts to disguise its acute subjectivism by overlaying itself with obscurity – the obscurity itself a symptom of the age, a parallel and an acknowledgement of the positivist model. This is reflected too in an uncertainty about the use and efficiency of language to express anything other than language itself; language and material reality cease to be directly linked in a relationship of simple correspondence.

There is accordingly a dual attitude in Modernism: on the one hand, a sense of confidence in the self as the guarantor of reality (subjective perception as the only reliable source of truth), on the other, a deep anxiety and scepticism about this truth and the ability of language to express it.

Obscurity is thus a recurrent characteristic of Modernism, a sort of ‘negative capability’, exacerbated by the often esoteric esoteric areas of experience which writers began to explore; it is characterized by the frequent use of difficult and otiose cultural models and mythology, and of references from narrow erudite sources in the search for fresh perspectives among ancient ways. Eliot is a good example of this in his apparent use of dead books and etiolate references (side by side with everyday domestic images with which they are held in uneasy tension). In this way the anxiety of the writer is partially submerged since the obscurity of his sources accords him with a superiority in relation to his reader.

The reader’s unstable position is often further undermined by the uncertainties which arise from the absence of conventional plot sequence, from narrative silences, and the suppression of conventional pointers and the commentary of the narrator. In addition, other typical Modernist devices and strategies operated to unsettle the reader, often inducing the hostility of early critics: the absence of easily recognizable characters, the focus on narrative methods to create an internal intellectual discourse – writing about writing – and to vary the distances between the reader and the narrator (further obscuring the evasive author).

At heart, Modernism involves hiding, deceiving, dislocation and uncertainty brought about by the intrinsic failure of traditional reality and the rejection of the old methods of conveying it. Indeed the very resistance of the Modernist work to interpretation is often the source of its energy. Moreover, there is an awesome awareness, implicit if not actually articulated until later in the period, of the void lurking at the heart of modern living, a horrifying emptiness reflected in the Modernist author’s frequent silences and that, in this situation of absurdity, all that really matters is the relationship between the author and the reader in a sort of literary game.

Two central challenges have preoccupied the Modernist novel: exploration and expression of the subtle potentialities of consciousness, and a coming to terms with the perceived state of chaos and fragmentation of the real world. Although A Portrait is not a fully Modernist text, both of these concerns can already be seen in embryo in it: firstly, in the abandonment of the restraints of conventional chronological plot (in favour of expressive form with modulating styles and shifting author – character – reader relationships arranged through Stephen Dedalus’s consciousness); and, secondly, in the sense of awe and fear which Stephen feels in the face of the chaos behind received forms of order (that is, the imposed moral order of the adult world and the Church) and the void awaiting him in the uncertain future beyond the novel:

A sense of fear of the unknown moved in the heart of his weariness, a fear of symbols and portents, of the hawklike man whose name he bore soaring out of his captivity on osierwoven wings...

At the start of this century it seemed that the novel might have exhausted its potential in terms both of form and of content (having fully explored different forms and narrative styles, inner and outer states, politics, religion, philosophy, sex as well as violence). The novel could confidently embrace any aspect of human affairs which public taste and the circulating libraries would permit, or so it was confidently imagined.

However, in England the three-volume novel’s interest in scientific realism had declined into a sterile preoccupation with plot, materialism and the naturalistic fallacy of surface effects – typified in the writings of Wells, Galsworthy and Bennett who, according to Virginia Woolf, could examine every physical aspect about a character and yet overlook its essential soul. To illustrate her criticism she used the analogy of a

Critical Studies: A Portrait of the Artist as a Young Man
railway in which a Mrs Brown might be travelling with them, while they observed everything in the background:

at factories, at Utopias, even at the carriage; but never at her, never at life, never at human nature... For us those conventions are ruin, those tools are death.

One of the immediate consequences of this apparent dead-end was a crisis of confidence, especially in the capacity of language to communicate, but there also followed a collapse of faith in the realist illusion (a scepticism which had been growing even as the novel itself had evolved, at least since the eighteenth century). The crisis emerged most characteristically in a new form of self-awareness, even in self-consciousness, doubt and a failure of confidence. But this was not new. Lawrence Sterne’s Tristram Shandy (1760-67) brilliantly epitomizes the novelist’s doubts about narrative conventions and exploits them through parody for comic effect. It is of course a witty display of authorial virtuosity, though it accepts the traditional authorial role and material content in order to parody them. However, Modernism goes further than authorial virtuosity, especially in first undermining and then positing new author – reader relationships, directly co-opting the reader’s active involvement but also, through its subtlety of form-play, examining and qualifying the very nature of the art form itself as the artist creates it, so that ultimately the reader himself is complicit in the form of the novel.

A Portrait focuses precisely on this and further anticipates later Modernist developments by focusing also on the theme of the artist – the growth of the artist becomes the theme of his own creation, and by extension if we grant the special relationship between Stephen Dedalus and James Joyce and novel eventually comes to discuss itself. For example, in Chapter 5 the villanelle and the art theory are the culmination of growing speculation about the nature of the artist’s relationship to his art, to his reader and to society in general:

The image, it is clear, must be set between the mind or senses of the artist himself and the mind or senses of others.

Because of this secpticism there also emerged in the early days of Modernism a distinct feeling of angst, a fear that the author of a novel creates nothing in fact but clearly fakes or forges the so-called reality in a work and that his search for form is partly to justify this (a clear symptom of this is the popularity of the detective story in the late nineteenth century especially among prominent writers such as Wilkie Collins, Dickens, Conan Doyle, Henry James and T.S. Eliot), forging a coherent pattern on to the apparent chaos. Stephen Dedalus too talks of forging in this way (p. 257) – imposing meaning on life through art, forging an order different from that in reality but creating a new aesthetic order. But he also uses ‘forges’ to highlight the sense that the Modernist artist is a confidence trickster, deceiver, con man like Thomas Mann’s Felix Krull. But who is fooling whom? Is Stephen deceiving only himself or, through Joyce, the reader too?

Further aspects of the Modernist novel can also be seen beginning to emerge in A Portrait. For example, the form of the novel, rather than being a more or less detached vessel into which the subject matter is poured and contained, actually partakes of the subject matter as later, in the mature Modernist work (such as Ulysses), the form actually became the content, united and radiant in appropriate wholeness and harmony: these works in this order. As Joyce told his friend, the artist frank budgen:

I have the works already. What I am seeking is the perfect order of words in the sentence. There is an order in every way appropriate.

It was a concern very much shared by other Modernist writers at this time, anxious to liberate the novel from its close dependence on external material realism (itself based on assumptions of a direct correspondence between words and reality) and to concentrate of probing the unutterable territory of the human consciousness and the soul, instead of finding their creative from within the artist’s uniquely private vision. Subsequently, the Modernist novel also became very much concerned with disrupting the traditional forward flow of narrative time by sudden leaps forward and backward along ‘timeless’ moments (or epiphanies), and setting up conflicts with, while also exploiting, the reader’s ‘real time’ progress through the text.

But one of Joyce’s profound innovations here is the use of multiple points of view. A Portrait has no single perspective: Stephen’s consciousness changes as he matures and, through the shifting modulating style, the perspective of the narrator also changes, setting up an implicit dialectic between the two. The idea itself of an implied narrator – a voice not wholly Joyce’s but a surrogate author and Joyce’s representative in the work – is a new development evolving through Flaubert, James and Conrad, and arising directly from the avowed aim of keeping the author’s moral presence out of the novel. As we have seen, A Portrait excludes any direct authorial moral comment but continues to exert contrl\ol over the reader’s response through the technique of the form – juggling the order, emphasis, theme and point of view.

Critical Studies: A Portrait of the Artist as a Young Man
Time is also of crucial importance. In the Modernist novel time dominates, both as one of the key themes as well as one of the key organizing principles of the design. Marcel Proust’s A la recherche du temps perdu (1913-27) is a paradigm of this preoccupation with time. An enormous undertaking, its scope is equally epic, its central ideal being that in moments of intense illumination it is possible to penetrate and recapture the long-lost past and to relive its emotions. Because of his special skills and sensitivity the artist, unlike the ordinary person, is able to record and prolong such isolated moments into eternity itself through the magic of symbolism and myth vision (stressing the elevated status of the artist).

But to be able to exploit such moments for the central experience of reality, it was necessary for the novelist to concentrate on pattern rather than plot in organizing his work. Both A la recherche du temps perdu and A Portrait display this emphasis, and Virginia Woolf made her plea for such novels in which, like A Portrail, the interplay of the consciousness of the writer and of his people work to create the form:

If a writer were a free man and not a slave, if he could write what he chose, not what he must, if he could base his work upon his own feelings and not upon convention, there would be no plot, no comedy, no tragedy, no love interest... Life is not a series of gig lamps symmetrically arranged; but a luminous halo, a semi-transparent envelope surrounding us from the beginning of the consciousness to the end. Is it not the task of the novelist to convey this varying, unknown and circumscribed spirit, whatever aberration or complexion it may display, with as little mixture of the alien and external as possible?

At the same time the capacity of the language and the novet form are pressed to new limits in attempting to make language approximate to the inner realities of such phenomena as simultaneity (Ulysses), sudden illumination or epiphany (Dubliners and A Portrait) and relative time and the unconsciousness (the techniques of stream-of-consciousness and ‘interior monologue’).

we have seen above already that this idea of the ‘moment’ was one which energized the work of so many Modernist writers – Woolf, Eliot, Proust, and others – but especially of Joyce, in his idea of the ‘epiphany’, the basic unit of the form in both Dubliners and A Portrait. Its use underlines vividly the fragmentariness of modern existence and its disintegration, at the same time deriving the form of the work from a principle of significant aesthetic pattern rather than from a conventional chronographic history.

The concept of the epiphany dynamically assimilates the Modernist idea of time as the moment to the special notion of truth as discovery. And the writer’s use of his own biography works in the same way, fusing the writer’s conception of real life with the need for pattern and coherence, as Proust reflected:

the true life, life at last discovered and illuminated, the only true life really lived, is that of the writer.
The theme of the artist's own biography (sometimes attacked as a form of introversion) is encountered again and again in the Modernist novel. Like Proust's masterpiece, A Portrait is both the portrait of the novel's creator and the revelation of the life principle on which the novel is written. It represents that reality which the novelist is most familiar with: his own life and his art. Combined with the epiphany as the most logical means of arranging and signifying experience, his own themes of personal exile and alienation parallel the exile and alienation of the age. In the best work of the period, this theme confronts and resolves one of the central crises in the Modernist novel - the struggle to express the new impalpable realities in the wake of the acute failure of confidence in the language. In A Portrait Stephen Dedalus is at the same time both the experience of the novel and its author; Joyce adapts his own experience, and his words are both the means of expressing them as well as being the subject of the expression themselves. The text ultimately forges its justification within itself, again perlectly fusing form and content, technique and subject.

In Joyce's time the 'portrait of the artist' theme occurs again and again: in Thomas Mann's Tonio Kroger, Andre Gide's The Counterfeiters, D.H. Lawrence's Sons and Lovers and in Proust's monumental work, as well as in submerged form in countless works, frequently involving exile or flight into the unknown - a correlative of the Modernist crises themselves - through which the artist confronts the problemarics of artistic creation and his own relationship to it.

Joyce's works expose and confront in full the crises of Modernism and so enter fully into the mainstream of the movement, Joyce becoming its primum mobile. His works span almost its complete range and parallel its development in microcosm, Ulysses representing the culmination and highest achievement of the Modernist phenomenon and its highest creative expression. Like A Portrait, it takes its starting point in the immediate reality of Joyce's own life and times but through its intricate processes (including the use of myth, multiple perspective, epiphany, variable planes of ironic meaning and linguistic experiment) he transcends and metamorphoses the here-and-now to embrace all time. from explicit representational biography (and some autobiography) in the

Critical Studies: A Portrait of the Artist as a Young Man
early pages of A Portrait, Joyce's career is an artistic odyssey progressing by succeeding phases of ironic detachment and displacement until, by Finnegans Wake, art itself has become the myth, the final stage of the search for a self-sustaining art image, existing only in and through the multiple uses of language, without reference to any world other than within itself, germinating and proliferating in ever-widening gyres of meaning and response.

But is Finnegans Wake the Big Bang or merely a black hole? As an attempted solution to the problems which Modernism tried to confront, Finnegans Wake is quite final. However, it is also silence. It is the silence which lies at the core of all Modernist works, perhaps all creation, a sort of taboo: the silence in the face of the realization that it may all have become a game. If Modernism found its ultimate logical expression in Finnegans Wake then it did not overcome the incipient scepticism about the relationship between the word and reality, but succeeded in transcending it by making the word itself the ultimate reality and consequently the word is silence, ironically. What need is there of more words? In the beginning is the word, and in the end.

For this reason some disparagers of Modernism claim that Finnegans Wake shows the ultimate folly of the movement: it sows the seeds of its own destruction. Others, however, suggest that the Wake took Modernism along only one of several available courses which had been open; the rest lie locked in the room of infinite possibilities which it ousted, perhaps. Certainly Wake was not the end and, though there has been a reaction in literature in its own wake - signs of a return to the traditional materialistic realism - the flow continued after Joyce and, under his considerable shadow, in the novels and plays of Samuel Beckett (for a time Joyce's amanuensis on Wake), Vladimir Henry Miller, William Faulkner, O'Brien and more widely in the theatre and Arthur Miller, Harold Pinter and the post-Modern novels of William Burroughs, John and the French.
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