... Pasolini was marked by outright disdain for the Bourgeoisie culture and social system. His ideologies tended towards the conceptual tenets and thrust of communism. On the 26th of January 1947 the author wrote a contentious declaration published on the front page of newspaper entitled Liberta, "In our opinion, we think that currently only communism is able to provide a new culture". What heightened the controversy with regards to his political ideological inclinations is that whilst it was evident in his art works that he disdained Feudalism Pasolini was still not a member the Country’s Community Party (PCI) which embraced ideas akin to his. This was contrary to common expectations given his public denouncements of the Bourgeoisie and the entirety of the feudalist social and societal conventions. Petrolio by Pier Paolo Pasolini is text loaded with literary meaning and import, the text saddled with dissolution, dissociation and identity thematic concerns has been appropriately conferred the monumental tag. This research paper explores the thematic matters pertaining to the creation of identity in typical modern and industrialised society plagued by a disintegration of cultural...
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...Günderrode’s desires, frustrations, and character, for the most part ignoring their imaginary, creative, and intellectual aspects. This interpretation of the author’s works as biography is, in Günderrode’s case, often accompanied by an interpretation of her biography, particularly her suicide, as literary work. This paper is not the first to question the conflation of Günderrode’s life, death, and writing, but it is one of only a couple that aim to address the autopoietic element of Günderrode’s work in a way that does not reduce her writings to biographical and psychological expressions, or Günderrode herself to an image – or a legend – encapsulated by her writings and her relationship to them. This paper argues that Günderrode’s own position on what the self is has been largely neglected as a result of this conflation, and that taking this position into account changes how we understand Günderrode’s articulations of self in her writings. Thus this paper has two goals: to indicate some difficulties in articulating and even constituting oneself sincerely when one’s efforts are unrecognized, belittled, censored, and forced to conform to conventions imposed by a society in which one is marginalized; and to unearth a potentially rich account of the modern self. 1 Letter to Clemens Brentano, 10th June 1804. Wolf p.221....
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...D.H. Lawrence was well known, arguably notorious, for advocating the doctrine of romantic vitalism both in his life and in his writings. Originally a scientific term, the Oxford English Dictionary defines romantic vitalism as “The doctrine or theory that the origin and phenomena of life are due to or produced by a vital principle, as distinct from a purely chemical or physical force” (Concise Oxford English Dictionary, 1999, p1603). Lawrence’s championing of the philosophy persisted right up until his death in 1930: indeed, as Daniel Fuchs comments, “The voice of romantic vitalism speaks with intransigent integrity in Lawrence to the last" (Fuchs, 2011, p156). In the early twentieth century, romantic vitalism, as Lawrence conceived of it, championed the view that people’s intellectual development had taken precedence over their spiritual and emotional development. This brief essay will examine how the metaphysical concept of romantic vitalism is explored through the treatment of human love and human weakness within the institution or marriage, and how individuals should behave towards one another within D.H.Lawrence’s early short story “The White Stocking”. “The White Stocking” is a narrative about desire and more specifically about repressed desire: as the very title of the story implies, it is about the idea of repression of sex and sexuality as being injurious to the spiritual and mental well being of the subject. It explores in tangential form a conflict between the physical...
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...How the world consists of words The Broom of the System is the first novel written by David Foster Wallace, he wrote it during his senior honors project in English. The first characteristic about this work that strikes the eye is its relative simplicity. The Broom of the System offers a debate about language, logic and identity, and generally ignores cultural and historical questions in favor of formal, theoretical ones. Although each chapter has a year title, most of scenes take place in the same year, 1990, and none of the storylines end up with some kind of conclusion. The ongoing debate between Rick and Lenore is marked by the kind of abstract moral dilemma structure that would become characteristic of Wallace’s fiction. With his early...
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... | | | |Chapter 10 Storey (2010) Lecture Notes | |This book has outlines the history of the relationship between cultural theory and popular culture. | |- The study of popular culture has changed over time as theories are developed within the context of historical and | |political conditions | |o There is no singular approach (or agreement) on what popular culture is, how it is to be understood, and how it is best | |studied | |o The theoretical approaches to the study of popular culture sometimes complement each other, and they sometimes contradict | |each other | |§ Today, the debate over how best to study popular culture is focused on ‘cultural populism’ | |...
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...David Malouf author of An Imaginary Life and Sean Penn auteur of Into The Wild, explore the diverse ways in which individuals establish a sense of identity. The concept of identity further extends to encompass the impact and importance of solitude and the influence of societal constructs and pressures. The two respective texts illustrate the journey of a male who experiences separation from society and embarks into the wild. Literary and filmic techniques are used to illustrate each protagonist’s personal growth along their expedition. Both Malouf and Penn literally and symbolically associate Mother Nature and the wild with the concept of freedom, and freedom as an essential aspect of identity. The protagonist of the text Into The Wild...
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...In this essay I will analyse the representation of speech in Justin Bieber’s Never Say Never and thought in Kanye West’s Can’t Tell Me Nothing using approaches developed by G.N. Leech, M.H. Short and S. Rimmon-Kenan. I will use the aspects of Leech and Short’s essay ‘Speech and Thought Presentation’ that I consider to be constructive and compensate the shortcomings of their essay with the improvements – in my view – made in Rimmon-Kenan’s essay. Also, since Rimmon-Kenan’s essay ‘Narration: speech representation’ does not include an account of thought representation, I will convert his distinctions of speech representation. Thus “diegetic summary” (DS) will be “diegetic thought summary” (DTS); “Summary, less ‘purely’ diegetic” will be “Thought Summary, purely diegetic” (TS); “Indirect content paraphrase”(ICP) will be “Indirect thought content paraphrase” (ITC); “Indirect discourse, mimetic to some degree”(ID) will be “ Indirect thought, mimetic to some degree” (IT): “Free indirect discourse” (FID) will be “Free indirect thought” (FIT); “Direct discourse” (DD) will Be “Direct thought” (DT) and “Free direct discourse”(FDD) will be “Free Direct thought” (FDT). ITC, FIT, DT and FDT correspond with Leech and Short’s distinctions (in definition and symbol, except for ITC which correspond with their IT). I will give examples of DTS, TS and ITS: DTS: The bare report of a thought, without any specification of how the thinker felt or the language the thinker used to think. E.g.,...
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...Dubliners Dubliners is a collection of 15 short stories by James Joyce, first published in 1914. The fifteen stories were meant to be a naturalistic depiction of the Irish middle class life in and around Dublin in the early years of the 20th century. The stories were written at the time when Irish nationalism was at its peak, and a search for a national identity and purpose was raging; at a crossroads of history and culture, Ireland was jolted by various converging ideas and influences. They centre on Joyce's idea of an epiphany: a moment where a character has a special moment of self-understanding or illumination. Many of the characters in Dubliners later appear in minor roles in Joyce's novel Ulysses. The initial stories in the collection are narrated by children as protagonists, and as the stories continue, they deal with the lives and concerns of progressively older people. This is in line with Joyce's tripartite division of the collection into childhood, adolescence and maturity. Araby Summary The unnamed protagonist in Araby is a boy who is just beginning to come into his sexual identity. Through his first-person narration, we are immersed at the start of the story in the drab life that people live on North Richmond Street, which seems to be illuminated only by the verve and imagination of the children who, despite the growing darkness that comes during the winter months, insist on playing "until [their] bodies glowed." Even though the conditions of this neighbourhood...
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...night Garden and Swallows and Amazons How do ‘the lure of the real’ (Bogan,A.2006) and the ‘power of the fantastic’ (EA300,Block 4) work together in any two of the set texts in Block 4? ‘The lure of the real’ (Bogan,A.2006) and the ‘power of the fantastic’ (EA300,Block 4) are used to create dramatic effect and depth to narratives, in interesting and diverse ways. The two concepts are not mutually exclusive. When the real and the fantastic combine, truly delightful and often informative, stories are created. Novels differ in their proportional use of realism and fantasy. Realism is commonly used to convey a sense of believability, to give gravitas to characters and to enable a child reader to understand through the presentation of the familiar and recognisable. Fantasy can be viewed as a “departure from consensus reality.” (Hume cited in EA300. Block4.p169). This could exist in the form of imaginary play, dreams, unworldly creations or literal impossibility. This essay will concentrate on Swallows and Amazons and Tom’s Midnight Garden. Each text has different approaches to the use of reality and fantasy. However, they convey similar themes and messages through various presentations of ‘the real’ and ‘the fantastic.’ Ransome and Pearce anchor their stories in reality by creating a “powerful sense of place and” a “celebration of freedom underpinned by family security.” (EA300, Block4) Ransome achieves this by distinct geographical representation of the Lake District...
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...Composition Pedagogy, Race, and the African American Student: An Annotated Bibliography Bernstein, Susan Naomi. “Writing and White Privilege: Beyond Basic Skills.” Pedagogy: Critical Approaches to Teaching Literature, Language, Composition, and Culture 4.1 (2004): 128-31. Evaluating the relationship between white, middle-class privilege and both standardized testing and standard conventions of writing, Bernstein offers a classroom strategy for underprivileged students (either from racial or class position or both) to counter the negative effects of academic standards in relegating them to remedial positions in order to acquire basic writing skills before being granted access to the university at large. Encouraging her students to explore their previous educational experiences related to both testing and writing through a workshop format, as well as to evaluate their own imaginative writing and the reading of creative texts, Bernstein found that these can be used as means of critical resistance to their remedial designations. Ultimately, though, she concludes that it is not the student’s responsibility alone to resist relegation but also educators as well, who need to address and seek to resolve the conditions that produce “basic writers” even before their arrival at the university, and this, according to the author, will produce an awareness and restructuring of white privilege in determining academic success. Campbell, Kermit E. “ ‘Real Niggaz’s Don’t Die’: African...
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...importance” (Bohner and Grant 15). Narrator “Choosing a narrative point of view is perhaps the most important and most difficult decision a writer of a story makes. Point of view—like plot, character, setting, and language—is a creative decision; however, it is also a very much a technical decision” (Bohner and Grant 15). “Someone has to tell the story. That someone is called the narrator. But the question is who will that narrator be and what does the narrator know” (Bohner and Grant 15). Mediation Drama and film unfold directly before our eyes. In narrative fiction there is always something (a viewer, a speaker, both) between the reader and the action: a point of view other than our own has already been imposed. This is mediation. Point of view involves the angle of vision (the point of view from which the people, events, and other details are viewed). This view is called the focus. The words of the story lying between the reader and the story is the voice. Focus Focus acts like a camera. It chooses what we can look at, the angle at which we can view it, and how it is framed. In this case, a tv screen vs. a movie screen. Details and emphasis change depending upon the frame and the focus in both text and film. Angles in film Film can help us to understand point of view if we think of the camera eye as our mediator in the text. The picture above is a low angle shot. The figures seem to loom above us. They are given an aura of...
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...Anon-code: 58238 Word-count: 1,498 This is essay is based on my presentation on the 14th of March. From the Critical Fiction to the Critical Film John Fowles’s narration, opinions and authorial dilemmas have a great impact on the reader’s interpretation of The French Lieutenant’s Woman (1969). It is the combination of these features that make the novel a ‘critical fiction’. Karel Reisz, the director, and Harold Pinter, the screenplay writer, collaborated to turn Fowles’s novel into a film in 1981. What I hope to establish is how Reisz and Pinter transposed these multitasking efforts of the narrator and author of the novel, onto the screen, and if it has the same impact on the audience as the novel did on its readers. The film’s self-reflexive stance is symbolised in the opening shot of Sarah/Anna’s face in a compact mirror. As the film that we are watching starts, so does the film that Anna and Mike are making. After the director shouts “action”[1], the title sequences start to roll on screen and the soundtrack begins. We hear “track”[2] and the camera that the audience is looking through tracks Sarah. By allegedly letting the audience see ‘behind the scenes’, and the actors’ relationship, the film keeps us at a distance from Charles and Sarah by reminding us that the story is imaginary. This could be likened to how Fowles steps out of the role of narrator within the text, to show that the author and the narrator are indistinguishable. In reference to Sarah,...
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...The Thought is What Counts (In Discussion: Jesus Revealing Himself to St. Teresa of Avila) “I have strayed far from any intention, for I was trying to give the reasons why this kind of vision cannot be the work of the imagination. How could we picture Christ’s Humanity by merely studying the subject or form any impression of His great beauty by means of the imagination?” (Page 632 Paragraph 1). This selection brings a great question forward. How can we? St. Teresa in her book The Raptures of St. Teresa explains the best she can how Jesus is in her every day. Lawrence S. Cunningham implies, “Anyone who imagines that great mystics like Teresa spend all their time in a quiet cell rapt in prayer will be surprised by these letters. Teresa...
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...METATHEATRE in A MIDSUMMER NIGHT’S DREAM Course : Approfondissement Shakespeare ; theatre, meta-theatre and pact of performance Professor : F. MARCH Student: Louize Zara Dierickx (Erasmus Belgium) Course : Approfondissement Shakespeare ; theatre, meta-theatre and pact of performance Professor : F. MARCH Student: Louize Zara Dierickx (Erasmus Belgium) INTRODUCTION During the Elizabethan era meta-theatre was often used in plays to obtain the interest and participation (imagination) from the audience. Also Shakespeare used a lot of metaphors and references to theatre in his plays. In this research paper we will study the use of meta-theatre in Shakespeare’s famous play A Midsummer Night’s Dream. First, the term ‘meta-theatre’ will be explained. Then, the period in which meta-theatre was an important aspect of theatre, also Shakespeare’s period, namely the Elizabethan Era, will be discussed. Finally, a number of specific scenes in the play A Midsummer Night’s Dream will be analysed. Midsummer night’s dream is a romantic comedy. The play has 2 levels: the human world, which takes place during the day, and the fairy world, which takes place at night. In the human world the story is about 4 young people, searching their way to true love, as well as about a theatre company, preparing a play for the coming wedding of the king and queen. At the fairy level, the fairy king and queen quarrel about their marriage. These two levels are combined by a love potion, which...
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...and movements after World War II; as well as broader visual culture—everything from music videos and print advertisements to propaganda and photojournalism—especially as the difference between ‘art’ and non-art increasingly becomes blurred and the objectivity of aesthetics is called into question. Movements studied include Abstract Expressionism, Pop, and Minimalism in the 1950s and 1960s; Post-Minimalism/Process Art, and Land art in the late 1960s and 1970s; Pastiche/Appropriation and rise of interest in “identity” in the 1980s; and the emergence of Post-Identity, Relational Art and Internet/New Media art in the 1990s/post-2000 period. We will focus primarily on artistic production in the US, but we will also be looking at art from Europe, South and East Asia, Africa, and the Middle East. Emphasis will be placed on examining artworks and broader visual culture through the lens of a variety of different contextual frameworks: formal, authorial, socio-cultural, and identity-based (race, class, gender, and sexuality for instance). Course structure: In each class, we will often discuss several artworks (produced in the last 10 to 15 years) that will then be genealogically linked to earlier artworks and movements. In other words, we will not move chronologically (itself a framework) but often through other...
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