Thursday, November 11, 2004

Individual Critics #3

Here's notes from presentations done on Tuesday the 9th:

Nietzche (Jamie)


-sprachkrise = the crisis of language
- truth is an illusion
- **Conquest of Literature is:
We must live by energy in life
**The truth is an army of metaphors

Terry Eagelton (Jamie) pg 2240

- literature concerns the social control of the middle and working class
- texts reproduce ideology rather than reflecting it
- see's English as an outgrowth of nationalism and a replacement for religion through ideology
- literature reinforces the dominant social order

Horace (J.R.) pg 121
- he is the "wet stone" that sharpens the knives
- poetry is a craft that has two objectives:
1) instruct 2) entertain
- decorum makes good poetry, which is unity
- a work must be beautiful-how?
* you can't add something that doesn't fit ( the "purple patch" idea -where certain things don't fit into a work)
* similar to how drama characters must fit their role
* must be naturally talented at poetry
* poets must not be afraid and they must start with the foundation of wisdom

de Beauvoir (Jennifer Harris) pg 1403
- she represents the female race as the second sex
- extreme feminist who's most famous work is "The Second Sex"
- women are the second sex because they have always been defined by man
- * we need to move beyond ananlysis of a woman that has been created for them "one is not born, but rather becomes"

Wimsatt (Megan) pg 1371
-formalist
- language is most important
- structure and unity are important
- Meaning is not found within the author , but rather the text itself as meaning
- if a poet is successful, it will be in the meaning of the text
- emotion is connected to cognitive
- the meaning of a work doesn't have to do with the response, therefore, read closely
- International fallacy and affective fallacy

G & G Sandra and Suzie (Yoshie) pg 2020-2021

-feminist critics
- "Mad Women in the Attic"

Gates (Opai) pg 2421
*race as a text itself
-wants to preserve his race and resurrect books

Foucauilt (Andrea Lorenz) pg 1615
- de-constructionist
- discourse is textual material
- wrote "What is an author"
- ecriture(sp?) = creating an opening where writing unfolds
- signifier = a work which relates to something signified and then to an object (the word cat then a picture of a cat)
- an author is a function of discourse and gives a text a certain amount of quality
- "personal pronouns" point to the authors second self
- he wants to discenter the author from the literary universe

Benjamin (Kelly Maddock) pg 1167
- "One of the foremost tasks of art has always been the creation of a demand which could only be satisfied later"
-"aura" = the quality of a piece of work that is equal to that of a religious object
- art changes with mass production
- reproduction of art is a good thing and it changes as society changes

Peacock (Ed Shanley) 682 "Four Ages of Poetry"
-poetry is marginal
- historical events can't be compared to prose
-poetry is a useless subject that wastes our time
- authors should polish the notions set fourth by people, or maintain the same idea's, but change the language
-"If you read poetry, read classical poetry, or don't read it at all!

Schleiremocker (Lindsee Tauok(sp?)) pg 610

-hermeneutics= the understanding and interpreting discourse through systematic procedures
-understand the works better than its creator

Hugh


-"attempted to create an interpretive system that could order and control hte proliferation of meanings attatched to the Bibles figurative language that reflects the widespread medieval tendency toward synopses"
-seek out the intention of the author first
-Words are like berries that we pop into out mouth
-"Diclascialicon"
-theatrical
-mechanical
-practical
-logic

Bhaba (Katie) 2377
-canon is ethnocentric and the critic makes up the canon
-builds on philosophies of deconstructionists

Tuesday, November 09, 2004



The Road Not Taken - Robert Frost

Two roads diverged in a yellow wood,
And sorry I could not travel both
And be one traveler, long I stood
And looked down one as far as I could
To where it bent in the undergrowth;
Then took the other, as just as fair,

And having perhaps the better claim,
Because it was grassy and wanted wear;
Though as for that the passing there
Had worn them really about the same,
And both that morning equally lay
In leaves no step had trodden black.
Oh, I kept the first for another day!
Yet knowing how way leads on to way,
I doubted if I should ever come back.
I shall be telling this with a sigh
Somewhere ages and ages hence:
Two roads diverged in a wood, and I —
I took the one less traveled by,
And that has made all the difference.

Hey guys - I thought this poem pertained to what I was saying in class about "taking off your straight jacket" when you write - Jane Thompkins (Mandy)

Individual Critics #2



Here's some notes I tried to jot down during everyone's speeches:


Nancy (can't remember who she was)
- we are all bi-sexual by nature

Wordsworth

-We need to break away from traditional ties
- Nothing inspires like nature
- poetry should be written in the language we use daily
- poets in the future will be obliged to defend their activity opposed to scientists

Poe (Amanda)
To be a successful writer:
- when writing, start with the outcome you want to achieve
- have unity
- brevity should reflect the effect
- melancholy is the most legitimate of tones

Julia Kristeva (Cindy)

semiotic = science of signs
symbolic = domain of judgment and creates repressed writing
semanalysis = dissolves sign, linguistic analysis
intertextuality = every text transformed by other texts

Roland Barthes (Zack pg 1461)

-he is the text
-text is breath and life
-neurosis = gaining pleasure from a text
- let the author be suppressed so that language comes alive

Bakhtin (Dustin pg 1189)

What is the practicality of poetry?
- its impractical
- the written word is based on the spoken
- the novel portrays how dialogue is alive
- example: Beavis and Butthead (hilarious) has levels of tension

Vico (Tristen)

Poetic wisdom came from the simple man
1) Gods (fables)
2) Heroes (images)
3) Man (words agreed upon by aoll the people)

-imagination is the cause of poetic wisdom




Jane Thompkins

I will now regurgitate my speech I recited for you on Monday:

" The public-private hiearchy supplies our oppression as writers. I say to hell with it all! The reason we feel embarrassed to write or speak personally in a professional context is because I have and you have been conditioned to feel that way! That's all there is to it! I know most of you are scared to talk about yourselves. Why? Because you haven't the guts to do it! Ya know I love it when an author talks about themselves-don't you? Why? You feel connected to them! Your experiences as a person, writer, and student match up. Take into consideration this quote from Hawthorne:

When he casts his leaves forth upon the wind, the author addresses, not the many who will fling aside his volume, or never take it up, but the few who will understand him-it may be pardonable to imagine that a friend, a kind and apprehensive, though not the closest friend, is listening to our talk.

Hawthorne too notices that this "personal-relationship" between writer and audience is rare. Western epistemology is encouraged to believe that emotion should be excluding in the process of attaining knowledge. Women are weighed down and forced to be at bearers of emotion, while men repress it! The epistemic authority of women is therefore shut down! Ever since I was small, I have felt forced to act in a way that isn't me. No wonder I feel uptight! It's like wearing shoes that are too small!

Writing in another voice that's not familiar to us, except when we write, requires a lot of thought and revision because we want it to be perfect. Our own voice, the voice we truly know, is hard to express because its a voice we so seldom use because we have been convinced that it doesn't fit in.
I encourage you as English majors to write in a way that will reach out and steal someone's heart. You can't get behind the thing that casts the shadow: You cast the shadow. Self consciousness will not make us better than who we are.

Write as if you knew who was listening. The "other voice" writes as if no one was listening.
I encourage you to take off your straight jacket and take the road less traveled (as Frost says)."

"This above all: to thine own self be true,
And it must follow, as the night the day
Thou canst not then be false to any man"
-Hamlet
Thank you
-Jane Thompkins


*Most of my information came from Jane Thompkins piece in The Norton Anthology titled Me and My Shadow and her book A life in School: What the Teacher Learned.
Jane Thompkins claims that contemporay theory lacks personal feeling and is therefore impersonal and distant from what is so called "personal criticism." Thompkins attended two universites-Bryn Mawr, where she received her B.A. in 1961, and Yale, where she received her Ph.D in 1966. During the 1970's, Jane became a popular figure who developed and expanded reader-response criticism. She taught at various universities along the way which includes: Hartford Community College, Temple University and later at Duke where she taught until 1998. Currently she is a professor at the University of Illinois-Chicago in the education department.
In Jane's most popular work, Me and My Shadow, she writes criticism keeping her personal side at the fore-front. This essay illustrates how Jane combines the intellect with the professional.
She also has a subjective rather than objective approach to literary theory. She urges individuals, especially women, to bring out the way women feminists draw attention to themselves by whining and talking about how they are the weaker sex. Jane suggests that "theory itself, at least as it is usually practiced, may be one of the patriarchal gestures women and men ought to avoid." Professional writers are encouraged to oppress their persoanl life from entering their writing. As Thompkins states, and as I stated in my speech, " The public-private hiearchy is a founding condition of female oppression. I say to hell with it! The reason I feel embarrsessed at my own attempts to speak personally in a professional context is that I have been cnditioned to feel that way."