- Archetypal and Mythological Criticism
- archetype (element of fiction that we see repeated with its core meaning unchanged) v. myth (complete story, culturally foundational story)
- archetypes are widely shared experiences that show up in literature (reflect patterns of the human mind?)
- Fazer: noticed that myths from different cultures shared certain similarities; tend to be experiences that effect all human beings (death-rebirth)
- Jung: archetypes were representations of the collective unconscious (repository of emotions, ideas, memories) shared by all humans
- Campbell: monomyth; "hero's quest"
- Frye: used archetypes for literary criticism rather than social speculation; Archetypal Criticism
- mythoi:
- romance: circles at top
- tragedy: begins at top, ends at bottom
- irony: circles at bottom
- comedy: begins at bottom, ends at top
- Tragedy and the Common Man
- tragedies used to apply only to the royal groups, but because modern psychiarty bases analysis upon these groups (Oedipus complex), and these apply to the now common man, tragedy has evolved to be suitable to contain common man characters
- tragic feeling evoked when we see someone who needs to retain their sense of dignity; tragedy also results from the indignant
- fatal flaw: unwillingness to remain passive when dignity is challenged
- author must be able to question absolutely everything
- tragedy should not be associated purely with pessimism; should reinforce audience's "brightest opinion of the human animal."
- Theories of Humor/Comedy
- six elements required (apparently the failure on even one of these points will lead to the failure of the attempt at comedy all together) :
- appeal to the intellect
- mechanical
- remind the audience of humanity
- situation must be inconsistent with sorroundings
- percieved as painless
Tuesday, March 6, 2012
Synthesis II
Lectures (outline taken from Holmes's lecture summaries):
Monday, March 5, 2012
Moral and Ethical Implications in A Clockwork Orange, II
(This version has taken into account the peer comments)
History has been a constant struggle between the government and the people; when either gets too strong, the other uprises or cracks down. Anthony Burgess's A Clockwork Orange is an example of an uprising people, but also a strict government. The extreme behavior of both the government and the citizens in this novel lead to extreme moral and ethical complications for both groups, including overt obstruction of justice as well as overt obstruction of privacy.
A Clockwork Orange is set in a distopian society. Alex and his cronies run rampant throughout the streets at night, raping, murdering, and stealing. During the day, Alex skips school and lies in a heroin-induced state on his bed, listening to classical music. The boys are able to cause such damage because the police force, while feared, is scarce. Where the government is not present physically, neither is the law it enforces. This allows these rebellious teens to create a dangerous environment for almost everyone sorrounding them. However, the language used by Burgess, nadsat, distances the reader from the violence, creating an interesting dichotomy between the reader's perception and the terrible acts taking place.
The opposite actions from the government appear when Alex is arrested after being betrayed by his friends while committing a crime. He is given a choice: stay in prison, or become part of a revolutionary new experiement. He chooses the experiment, and goes through a process in which the government reprograms his mind to become sick at the thought of things that formerly brought him pleasure, including women, drugs, and violence. This drastic invasion of personal space demonstrated by the government is a direct departure from the previous situation, where only the physical presence of governmental authority would guarantee safety. The result of Alex's altered mind is the constant presence of authority, but now it is mental, not physical. While this does have a positive effect for the greater good, major questions are raised as far as the morality of the government's actions.
The horrifying acts committed by both Alex and the government are both agreeably corrupt. However, just because both parties did horrible things, doesn't mean those things are cancelled out. The moral and ethical complications of Alex's actions are more overt. One can look his actions and say, "What he is doing is bad." It makes the reader want the police to show up and drag him away to jail, because in our society, we know that relatively fair justice would be served. However, the audience discovers that fair justice doesn't necessarily exist in Alex's world. This leads to the more covert complications of the government's actions. One questions the morality of the government's actions: they seem bad, but, the greater good is benefitting from them. This questioning that results is not a conformation of morality, but a conformation immorality. Just because the ethical complications that result from the government's actions are less concrete than the ones that result from Alex's actions does not make either series of acts more or less moral.
History has been a constant struggle between the government and the people; when either gets too strong, the other uprises or cracks down. Anthony Burgess's A Clockwork Orange is an example of an uprising people, but also a strict government. The extreme behavior of both the government and the citizens in this novel lead to extreme moral and ethical complications for both groups, including overt obstruction of justice as well as overt obstruction of privacy.
A Clockwork Orange is set in a distopian society. Alex and his cronies run rampant throughout the streets at night, raping, murdering, and stealing. During the day, Alex skips school and lies in a heroin-induced state on his bed, listening to classical music. The boys are able to cause such damage because the police force, while feared, is scarce. Where the government is not present physically, neither is the law it enforces. This allows these rebellious teens to create a dangerous environment for almost everyone sorrounding them. However, the language used by Burgess, nadsat, distances the reader from the violence, creating an interesting dichotomy between the reader's perception and the terrible acts taking place.
The opposite actions from the government appear when Alex is arrested after being betrayed by his friends while committing a crime. He is given a choice: stay in prison, or become part of a revolutionary new experiement. He chooses the experiment, and goes through a process in which the government reprograms his mind to become sick at the thought of things that formerly brought him pleasure, including women, drugs, and violence. This drastic invasion of personal space demonstrated by the government is a direct departure from the previous situation, where only the physical presence of governmental authority would guarantee safety. The result of Alex's altered mind is the constant presence of authority, but now it is mental, not physical. While this does have a positive effect for the greater good, major questions are raised as far as the morality of the government's actions.
The horrifying acts committed by both Alex and the government are both agreeably corrupt. However, just because both parties did horrible things, doesn't mean those things are cancelled out. The moral and ethical complications of Alex's actions are more overt. One can look his actions and say, "What he is doing is bad." It makes the reader want the police to show up and drag him away to jail, because in our society, we know that relatively fair justice would be served. However, the audience discovers that fair justice doesn't necessarily exist in Alex's world. This leads to the more covert complications of the government's actions. One questions the morality of the government's actions: they seem bad, but, the greater good is benefitting from them. This questioning that results is not a conformation of morality, but a conformation immorality. Just because the ethical complications that result from the government's actions are less concrete than the ones that result from Alex's actions does not make either series of acts more or less moral.
Synthesis I
DIDLS has acted as the backbone of our approach to analyzing literature this year. Here is a breakdown of the parts:
- diction: single words
- colloquial (ordinary language) v. elevated: shows level of education/sophistocation
- connotation (meanings that culture brings to the word) v. denotation (dictionary meaning)
- pejorative (negative) v. honorific (positive)
- vagueness: favorite with unreliable narrators
- imagery: language that appeals vividly to the senses
- sight, touch, taste, smell, sound
- 'gut'/visceral senses
- details: taken from text to support arguments
- language
- metaphor v. simile
- personification: object/animal given human characteristics
- analogy: explains something by comparing it to something simple
- hyperbole v. understatement
- paradox: statement that seems contradictory but reveals the truth
- verbal irony: speaker says something but means something else, noticeable incongruity
- syntax: sentence length/construction
- impacts pace, tone, emphasis
- dependent clause: depends on something else for meaning (requires subordinating conjunction)
- independent clause: can stand by itself (performs marriage between equal ideas)
- SVC (subject,verb,compliment) v. SVO (subject,verb,object)
- punctuation SPEAKS!
The Death of The Savage, II
(This version has taken into account the peer comments)
Many outlandish events can take place without people really grasping the reality of the situation, but when a death results from those events, people start to pay attention. In Aldous Huxley's A Brave New World, John Savage's life was turned upside-down when Bernard brough him to the World State in London from his Native American reservation. The people he met and things he experienced, along with his struggle with sin in a sin-filled world, led to his eventual suicide. His death illuminated the need for restraint and social control in a society where those things are clearly abused.
The World State was the genious creation of Huxley and showed what happens when a government goes to extreme lenghts make its citizens content. At an early age, humans are produced without parents and conditioned through repetition not to do anything moderately out of the ordinary. As someone coming from the 'outside' world, John represents something out of the ordinary. Immediately red flags pop up in the reader's mind; in a society so rigidly controlled, something so wild and untamed cannot mean anything good. Because John is so unique, he becomes an instant sensation and is put through nightly parties and events. Bernard also enjoys a share of this popularity. This fixation with and manipulation of John reflects the situation the Native American's found themselves in during the 19th century. The parallels between earlier events and the amount of change taking place within the World State combine to produce a foreboding mood throughout the novel.
The dynamic between John and Bernard changes when Bernard's love interest, Lenina, begins showing interest in John. John, as a devotely religious young man, resists whatever advances Lenina makes on him. The artificiality of the World State society has little effect on John. He continues to hang on to his memories of real feelings that he experienced on the reservation, whether they were bad or good. His emotions come to a peak when he is called to the death bed of his mother. His actions after his mother's death culminate in an uprising he sparks by interfering with several workers' daily rations of soma. John decides he can no longer be part of such a confining society, so he goes to the middle of the forest and lives by himself in a tower, living off the natural land and reverting back to what his life was like on the reservation. However, certain antics he creates, like whipping himself as a part of an Indian tradition he was previously denied, draws the attention of the media and public. The pervasiveness of the World State society finally engulfs John, and he gives into a soma induced orgy when a host of people discover his tower. His guilt is overwhelming the next day, as he realizes what took place the night before. Knowing there is no way he can live with his guilt, John hangs himself.
When the media arrives the next day to observe more happenings, they find John's body swaying in the wind. The author describes his feet as if they were the needle on a compass, rotating "north, north-east, east...". This symbolizes the moral compass that the World State society is missing. All of their innovations: the conditioning, helicopters, soma, are for naught if no one cares about the possible effects of their culture. Huxley may be continuing to draw the parallels between the World State and 19th century America, and also commenting on the culture of America during the 20th century. He is warning against the appearance of control where there is, in fact, the loss of it. The eerie parallels lead the reader to realize that the death of the savage illuminates the need for a moral standard in a society that has none.
Many outlandish events can take place without people really grasping the reality of the situation, but when a death results from those events, people start to pay attention. In Aldous Huxley's A Brave New World, John Savage's life was turned upside-down when Bernard brough him to the World State in London from his Native American reservation. The people he met and things he experienced, along with his struggle with sin in a sin-filled world, led to his eventual suicide. His death illuminated the need for restraint and social control in a society where those things are clearly abused.
The World State was the genious creation of Huxley and showed what happens when a government goes to extreme lenghts make its citizens content. At an early age, humans are produced without parents and conditioned through repetition not to do anything moderately out of the ordinary. As someone coming from the 'outside' world, John represents something out of the ordinary. Immediately red flags pop up in the reader's mind; in a society so rigidly controlled, something so wild and untamed cannot mean anything good. Because John is so unique, he becomes an instant sensation and is put through nightly parties and events. Bernard also enjoys a share of this popularity. This fixation with and manipulation of John reflects the situation the Native American's found themselves in during the 19th century. The parallels between earlier events and the amount of change taking place within the World State combine to produce a foreboding mood throughout the novel.
The dynamic between John and Bernard changes when Bernard's love interest, Lenina, begins showing interest in John. John, as a devotely religious young man, resists whatever advances Lenina makes on him. The artificiality of the World State society has little effect on John. He continues to hang on to his memories of real feelings that he experienced on the reservation, whether they were bad or good. His emotions come to a peak when he is called to the death bed of his mother. His actions after his mother's death culminate in an uprising he sparks by interfering with several workers' daily rations of soma. John decides he can no longer be part of such a confining society, so he goes to the middle of the forest and lives by himself in a tower, living off the natural land and reverting back to what his life was like on the reservation. However, certain antics he creates, like whipping himself as a part of an Indian tradition he was previously denied, draws the attention of the media and public. The pervasiveness of the World State society finally engulfs John, and he gives into a soma induced orgy when a host of people discover his tower. His guilt is overwhelming the next day, as he realizes what took place the night before. Knowing there is no way he can live with his guilt, John hangs himself.
When the media arrives the next day to observe more happenings, they find John's body swaying in the wind. The author describes his feet as if they were the needle on a compass, rotating "north, north-east, east...". This symbolizes the moral compass that the World State society is missing. All of their innovations: the conditioning, helicopters, soma, are for naught if no one cares about the possible effects of their culture. Huxley may be continuing to draw the parallels between the World State and 19th century America, and also commenting on the culture of America during the 20th century. He is warning against the appearance of control where there is, in fact, the loss of it. The eerie parallels lead the reader to realize that the death of the savage illuminates the need for a moral standard in a society that has none.
Sunday, December 11, 2011
Response to Course Material
I'm glad that we're reading Ceremony because it puts a heavy emphasis on Native American culture, which is very interesting to learn about. The amount of symbols and motifs in the novel also make for some interesting discussions. However, I think our class goes a little to far into analyzing sometimes (as evidenced by our failure to complete one group's passage in three days). But I guess it's better than not having engaging discussion at all :)
Close Reading (11 December 2011)
Machine Age- By Meredith Bryan
http://www.marieclaire.com/hair-beauty/trends/beauty-gadgets
Through the use of comedic language, entertaining images, and relatable details, Bryan produces a very personable, yet well-informed, article about the maze of new anti-aging technology on the market today. The article begins with a sentence that many women can relate to: "...after a decade spent tithing embarrassing portions of my meager salary to the French face cream gods in an attempt to soothe symptoms ranging from dark circles to boyfriendlessness, I quit products cold turkey." This sentence contains several inviting aspects. First, the reality of meager salaries and incredibly expensive French face creams immediately cause the reader to feel a connect with the writer. Also, the use of comedic language when saying "French face cream gods" rather than just "French face creams" or something to that extent, shows a common sense of mocking towards something not necessarily loved. All in all, the first sentence draws in a variety of readers by relating to various common woes. Later on in the article, when discussing the Fine-Light Skin Rejuvenation System, Bryan uses comedic language to maintain her connection with the audience. She states: "I read the instructions three times before I'm even able to put the damn thing on." Again, several of her readers were probably able to relate to similar experiences. The comedic language used by Bryan leads to a connection between her and her audience that establishes a sense of trust not commonly associated with new technologies in the cosmetic market.
The details Bryan uses throughout her article come from various sources within popular culture and contribute to the personable nature of this piece. Some are slightly obscure, like her reference to the high-end skin care company "La Mer". However, most of them are immediately recognizable. When sharing her experiences with a teeth whitening device, she compares it to a "white iPod" that "can even be charged through [her] MacBook with a USB cable." In a technology-obsessed world, these details surely had an impact on many of her readers.
The comedic tone that pervades this article leads to some very entertaining images throughout the piece. Here, she relates her unique experience with the personal teeth whitening device: "I haven't even cleared the first eight minutes when I'm drooling heavily and my jaw feels slightly warm." Further into the piece, she describes the strange feeling of using an LED skin rejuvenation system: "I... am suddenly overcome by the sensation that my life has ended and I am walking into the blinding light à la Ghost." These images, while hilarious, also give the audience another opportunity to relate to the author.
All of these factors combine to result in an personable article that provides feedback and information the readers can trust.
http://www.marieclaire.com/hair-beauty/trends/beauty-gadgets
Through the use of comedic language, entertaining images, and relatable details, Bryan produces a very personable, yet well-informed, article about the maze of new anti-aging technology on the market today. The article begins with a sentence that many women can relate to: "...after a decade spent tithing embarrassing portions of my meager salary to the French face cream gods in an attempt to soothe symptoms ranging from dark circles to boyfriendlessness, I quit products cold turkey." This sentence contains several inviting aspects. First, the reality of meager salaries and incredibly expensive French face creams immediately cause the reader to feel a connect with the writer. Also, the use of comedic language when saying "French face cream gods" rather than just "French face creams" or something to that extent, shows a common sense of mocking towards something not necessarily loved. All in all, the first sentence draws in a variety of readers by relating to various common woes. Later on in the article, when discussing the Fine-Light Skin Rejuvenation System, Bryan uses comedic language to maintain her connection with the audience. She states: "I read the instructions three times before I'm even able to put the damn thing on." Again, several of her readers were probably able to relate to similar experiences. The comedic language used by Bryan leads to a connection between her and her audience that establishes a sense of trust not commonly associated with new technologies in the cosmetic market.
The details Bryan uses throughout her article come from various sources within popular culture and contribute to the personable nature of this piece. Some are slightly obscure, like her reference to the high-end skin care company "La Mer". However, most of them are immediately recognizable. When sharing her experiences with a teeth whitening device, she compares it to a "white iPod" that "can even be charged through [her] MacBook with a USB cable." In a technology-obsessed world, these details surely had an impact on many of her readers.
The comedic tone that pervades this article leads to some very entertaining images throughout the piece. Here, she relates her unique experience with the personal teeth whitening device: "I haven't even cleared the first eight minutes when I'm drooling heavily and my jaw feels slightly warm." Further into the piece, she describes the strange feeling of using an LED skin rejuvenation system: "I... am suddenly overcome by the sensation that my life has ended and I am walking into the blinding light à la Ghost." These images, while hilarious, also give the audience another opportunity to relate to the author.
All of these factors combine to result in an personable article that provides feedback and information the readers can trust.
Sunday, December 4, 2011
Wuthering Heights v. Thrushcross Grange
1991. Many plays and novels use contrasting places (for example, two countries, two cities or towns, two houses, or the land and the sea) to represent opposed forces or ideas that are central to the meaning of the work. Choose a novel or play that contrasts two such places. Write an essay explaining how the places differ, what each place represents, and how their contrast contributes to the meaning of the work.
Authors often emphasize differences in ideas throughout a novel by physically separating two contrasting groups. In Wuthering Heights by Emily Bronte, Wuthering Heights and Thrushcross Grange are the settings of two very different series of events that contribute to the emotions of those involved. These emotions reflect the role and effects of love in the characters' lives.
Thrushcross Grange is the more benevolent of the two houses. Here, Catherine is transformed into a young lady after gallivanting through the night with Heathcliff. This change shows the more sophisticated nature of Thrushcross Grange, where Wuthering Heights is in a continual state of wild discontent. Later in the novel, Thrushcross Grange is the place where Catherine and Heathcliff carry out their secret love affair, even as Catherine is dying. This setting is where Heathcliff displays his more gentle and sane side, further contributing to the more agreeable nature of Thrushcross Grange.
Wuthering Heights, on the other hand, is a setting full of drunken rage. All three of the dominating male figures at Wuthering Heights, Mr. Earnshaw, Hindley, and Heathcliff, give in to the lures of gambling and alcohol, leading to unthinkable violence and insanity. Wuthering Heights also plays the role of a prison for various characters; Isabella succeeds in fleeing after 'falling in love' with Heathcliff, and Cathy is able to leave only after being forced to marry Linton per Heathcliff's demand. In general, the emotions of many characters in this novel proceeds in a downward spiral when they spend any great length of time at Wuthering Heights.
The intense, yet secret, love that Heathcliff displays towards Catherine at Thrushcross Grange explodes in insanity at Wuthering Heights upon her death. This love is a central fixture in Heathcliff's life, and its absence leads to his demise, however slow and violent it may be. The forced love between Cathy and Linton for the sake of Heathcliff's possession of Thrushcross Grange leads to an acceleration of Linton's illness and, later, his death. Note Heathcliff's motive for forcing the marriage: to regain the property where Catherine lived and died. His insanity leads to his extreme actions, all stemming from his acute love for Catherine. As a result of her forced marriage and the death of her father, Cathy retreats into herself, becoming very closed off to the outside world. However, towards the end of the novel, Cathy and Hareton plan to marry on New Year's Day, signifying a new love and new chapter in her life.
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