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Sam Bonar

An Ideal Husband | Novelguide - 0 views

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shared by Sam Bonar on 17 Dec 11 - No Cached
  • most Irish deeply resented
  • authors' works might evince patterns of anti-imperial expression
  • Wilde had political convictions
  • ...5 more annotations...
  • Wilde as a colonial, Irish writer, and what might be anti-imperial about An Ideal Husband will now be addressed in what follows
  • Wilde's wit and favorite themes
  • audiences not simply to think
  • question the notions that enabled them to construct the secure imperial identities they presumably had
  • ell'Amico is an instructor of English literature and composition. In this essay,
libby kelly

Margaret Atwood: Studies in Canadian Literature - 0 views

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canadian literature

shared by libby kelly on 16 Dec 11 - No Cached
  • has resolved not to allow the evils of society to gnaw away her newly acquired integrity
  • escape from one's humanity
  • the narrator has failed to develop, failed to learn anything she might apply to her life, and that, therefore, the conclusion of the novel is itself a failure seems equally inaccurate.
  • ...9 more annotations...
  • eems to have recognized that she cannot abdicate from history, or from society.
  • Now I have to make my own life
  • one problem is that Atwood's language fails her
  • he novel fails to achieve its appropriate aesthetic conclusion, the thrust of her remarks is that Atwood does not present the correct sociology, "has not explored the potential of her own vision."11
  • creation of a bridge between the nonverbal insights gained in the mystical primitive state and the world of normal, logically-oriented consciousness - a merger leading to a radical revision of social relationships.
  • How to become human is an ethical question the novel sets itself, and Atwood's ironies are a form of evasion of that question.
  • we should examine our world a little differently because we have experienced Surfacing."14 Perhaps that "little" difference is enough; perhaps it is all we can expect.
  • WOMAN AS EVERYMAN IN ATWOOD'S SURFACING: SOME OBSERVATIONS ON THE END OF THE NOVEL
    • libby kelly
      libby kelly on 16 Dec 11
       
      this article is very hard to follow, he jumps around A LOT.
Sam Bonar

Cornell University College of Arts & Sciences News Letter - 1 views

www.arts.cornell.edu/...siegel.htm

shared by Sam Bonar on 13 Dec 11 - Cached
  • fantasies
  • the same fantasies continue to circulate.
    • Sam Bonar
      Sam Bonar on 13 Dec 11
       
      Purpose of article
  • Erica Jensen on 16 Dec 11
     
    You'll want to annotate more thoroughly the next time around!
savannah thomas

Review of Cat On A Hot Tin Roof - 1 views

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homosexuality playwright tennesseewilliams

shared by savannah thomas on 13 Dec 11 - No Cached
  • Bentley addresses claims that Cat on a Hot Tin Roof is among the first dramas to deal with homosexuality.
  • homosexuality was at last to be presented without evasion. But the miracle has still not happened.
  • savannah thomas on 13 Dec 11
     
    Eric Bentley criticizes William's play for failing to completely address the issue of homosexuality.
Leslie Standridge

Literary Reference Center - powered by EBSCOhost: Joseph Heller's "Catch-22:" Only Fool... - 3 views

web.ebscohost.com.lib.chandleraz.gov/...detail

shared by Leslie Standridge on 12 Dec 11 - No Cached
  • Joyce
  • Nathanael West
  • Céline
  • ...81 more annotations...
  • speaks solidly to those who are disaffected, discontented, and disaffiliated, and yet who want to react to life positively
  • nihilism
  • attraction even to those who have compromised with most of the absurdities it exposes.
  • attraction even to those who have compromised with most of the absurdities it exposes.
  • attraction even to those who have compromised with most of the absurdities it exposes.
  • attraction even to those who have compromised with most of the absurdities it exposes
  • attraction even to those who have compromised with most of the absurdities it exposes.
  • nihilism
  • nihilism
  • nihilism
  • nihilism
  • attraction even to those who have compromised with most of the absurdities it exposes.
  • disaffected, discontented, and disaffiliated, and yet who want to react to life positively
  • obviously appeals to the student, who beneath his complacency and hipster frigidity is very confused and afraid
  • It appeals to the sophisticated professional--the educator, lawyer, professor--who must work at something he cannot fully trust. It appeals to the businessman, who does not really believe that his empire primarily serves the public good. It certainly appeals to all the new professionals--the advertisers, publicity men, television writers--whose world is little different from the absurd one Heller presents.
  • the absurdity is an actual fact, the consequence of many conflicting interests interacting and creating a world unfit for the individual.
  • disaffected, discontented, and disaffiliated
  • its sense that the individual must always relinquish part of himself to the organization which chews him up and them eliminates him
  • The novel appeals to all those who want the good life and nevertheless reject its particularities, or even fear defining them
  • "life"--whatever it is--is dribbling away from them in ways they can never dam
  • "life"--whatever it is--is dribbling away from them in ways they can never dam
  • "life"--whatever it is--is dribbling away from them in ways they can never dam
  • For those who find given life nauseating, frustrating, and demeaning--that is, our sane citizens--Catch-22 provides, at least temporarily, a moral, affirmative way out.
  • They may wish to do right, but are compromised by the wrongness of their situation.
  • defeated victims, but are forced to carry themselves as victors.
  • hate is more sophisticated, and viable
  • They want to pursue self, but are admonished and shamed into embracing the public good. They desire to aid society, but are warned that only a fool puts self last.
  • They wish for authenticity, good faith, decency, but find that inauthenticity brings immediate and often sensational results. Trying to believe, they more frequently are mocked by the very forces they desire to accept. Wishing to embrace the great world, they find themselves successes in the little.
  • Its surface extravagance masks a serious purpose: that in an impossible situation, one finally has to honor his own self; that in an absurd universe, the individual has the right to seek survival; that one's own substance is infinitely more precious than any cause, however right; that one must not be asked to give his life unless everybody is willing to give his.
  • When Yossarian decides that his life does count, he is making a moral decision about the sanctity of human existence. Life must not be taken lightly, either by others (military men, business manipulators, world leaders) or by oneself
  • To himself he is as valuable as a general or a president
  • n inviolable right, to save himself once he has done his share of the world's dirty business
  • Heller's point is always moral. The fact that many outraged readers saw Yossarian as immoral, cowardly, or anti-American simply indicates what falsely patriotic hearts beat sturdily beneath seemingly sophisticated exteriors
  • Despite the presence of so many seemingly "evil" characters, Heller believes implicitly in the goodness of man.
  • Even the former (Cathcart, Dreedle, Milo, et al.), however, are not really evil in any sinister way
  • all men are waiting for their chance
  • Kantian
  • one in which war has turned all men into madmen-
  • the true hero of our era is the man who can accept absolute responsibility. He must act alone, and his faith--not in God, but in himself must be good, honest, pure.
  • If, as Nietzsche said, all the gods are dead, then man must become mature enough to assume the role
  • Yossarian shows himself to be reflective, conscious, indeed free. All the others are slugs living in the swampy depths of self-deception; not bad men necessarily, they are simply unaware, and unaware they cannot be free.
  • his act symbolizes more than defiance, certainly not cowardice.
  • e has shown his responsibility to society at large, and has given his physical energy and his nervous sweat. Now he must seek a meaningful life, try to make order out of chao
  • Byzantium
  • Sweden remains valid as an idea
  • Both places indeed are more a state of mind than a real place.
  • false Eden,
  • man in his desperation may still desire Paradise. It is a mark of his humanity that he does.
  • shun everyone to retain his identity
  • that he never tries to change the society he scorns
  • quite willing to accept its absurdity if it will leave him alone
  • Never a revolutionary, rarely a rebel, unintentionally a hero
  • rank conformist
  • his views do not cause rigidity, and without rigidity there can be only personal comedy. Tragedy is always "out there," involving those who try to fight the system or those who are trapped by a system they never understood
  • Clevinger, Nately, Snowden
  • avarice and egoism of Milo
  • innocence and naïveté of Nately
  • Snowden
  • person must be in the know in all the particulars of life or else he cannot be true to himself. Only a fool walks in darkness.
  • Clearly, Catch-22 is not simply a comic novel full of puns, highjinks, slapstick, witty dialogue, and satirical asides.
  • purpose and execution are fully serious
  • At the center of the tragedy is Heller's awareness of a passing era, an era that perhaps never existed but one that might have if people and situations had gone differently. Heller's is the nostalgia of the idealist
  • dealist who can never accept that moral values have become insignificant or meaningless in human conduct
  • Ecclesiastes
  • become the shibboleths of the twentieth century
  • his attack upon religion, the military, political forces, commercial values
  • or love means entanglements and involvements that will eventually lead to phoniness.
  • Heller's non-treatment of love is of course indicative of his attitude, not of an inability
  • Ulysses
  • tried to make the narrative typically
  • Joycean
  • it is itself an attempt to convey a world beyond the logic of the word.
  • he war is a perfect objective correlative
  • The military becomes an entire society, looming so large that it casts its shadow on the horizon and blocks out everything beyond
  • The war or the military (not the enemy) provides the conflict, makes anything possible.
  • n war they hide behind masks (uniforms) and redefine themselves
  • can give vent to his disgust and revulsion, and through laughter show us that our better selves may still turn up in Sweden.
  • :Joseph Heller's "Catch-22:" Only Fools Walk in Darkness.
  • Title
  • Yossarian shows himself to be reflective, conscious, indeed free. All the others are slugs living in the swampy depths of self-deception; not bad men necessarily, they are simply unaware, and unaware they cannot be free.
  • ossarian shows himself to be reflective, conscious, indeed free. All the others are slugs living in the swampy depths of self-deception; not bad men necessarily, they are simply unaware, and unaware they cannot be free
  • Erica Jensen on 13 Dec 11
     
    Excellent in getting this started, Leslie!
Christy Sennavongsa

Achilles and Yossarian - 0 views

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Catch 22 Joseph Heller

shared by Christy Sennavongsa on 13 Dec 11 - No Cached
  • Christy Sennavongsa on 13 Dec 11
     
    http://pao.chadwyck.com/PDF/1323754462963.pdf In "Achilles and Yossarian," Leon Golden's discusses how Catch-22 is a serious epic such as the Illiad. He does so effectively by comparing the two main characters of the stories: Yossarian and Achilles. He approaches his argument by stating his purpose, introducing Victor J. Milne's idea that Catch-22 is a mock-epic, and refuting Milne. Golden does so by saying that Catch-22 is indeed an epic and he follows with support comparing the structures, the journeys, the lessons, the themes, in context of the protagonists. His explanations and examples work well together and create a focused and coherent criticism. Golden had snippets of both texts and would discuss Achilles, then Yossarian, and then put them in context of each other to bring out and highlight the similarities. The evidence and details were pleasing and helped develop the well-written argument. Golden gave the perfect amount of information that allowed people to understand the stories and comprehend the criticism, with or without prior knowledge. The author concludes that both the Iliad and Catch-22 are "optimistic with a great deal of pessimism" and that both Yossarian and Achilles go through phases where "compassion triumphs over wrath." Golden's vision of Yossarian and Achilles support his conclusion because he sees them in the same light and sees the same structure in their characters. Golden truly believes that Catch-22 is an epic and his argument is lucid. He sees that Achilles and Yossarian follow the same path and are created similarly, and so Golden assumes that because Yossarian and Catch-22 are epic because they are similar to the Illiad, which is already classified as epic.
Blaire Poulsen

JOHN WILLIAM CROWLEY ON THE DRUNKARD'S HOLIDAY. - 0 views

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  • Blaire Poulsen on 13 Dec 11
     
    By: John William
libby kelly

Margaret Atwood Studies in Canadian Literature - 1 views

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margaret atwood

shared by libby kelly on 13 Dec 11 - No Cached
    • libby kelly
      libby kelly on 13 Dec 11
       
      An archetypal revelation and/or happy ending.
  • the narrator achieves no spiritual regeneration because she is unable to integrate the insights she gains from her descent into a mystical world with normal consciousness
  • some kind of harmony with the world
  • ...19 more annotations...
  • they are united in their belief that the narrator does not emerge from her experience a new integrated and realized self in harmony with the world
  • At work here are many of the qualities of form that distinguish postmodern from modern literature:
  • the nameless narrator emerges a newly integrated and realized self.
  • nconsistency, incoherence, fragmentation, randomness, non-linearity, unpredictability, variety, and most important, the narrator's phenomenological participation in the course of events.
  • the thesis and antithesis readings taken together constitute not a true contradiction but rather a paradox
    • libby kelly
      libby kelly on 13 Dec 11
       
      Atwood write's as if we are inside the narrator's head, with random thought and observations like said previously.
  • The narrator's mind wanders from one to another without a set purpose or an ordered design
  • As one would expect, the narrative that issues from such a narrator is non-linear and unpredictable in its variety. In fact, I hesitate to call it a narrative at all. It is more a collage of narration, observation, speculation, and recollection
  • Her written narrative moves from one to another in accordance with the patterns of association that are taking place in her mind at the moment that she observes, speculates, or remembers. What she says, therefore, does not conform to a fixed notion of temporal linearity or even logical linearity; what she will say is almost impossible to predict
  • Furthermore,
  • the collage is shot through with fragmentary images seemingly chosen at random:
  • These qualities of post-modern form are by no means confined to the opening
  • becomes more and more evident that the narrator is approaching the disappearance of her father with almost no plan for what to do about it.
  • her narrative continues its unpredictable, non-linear, fragmentary, and occasionally inconsistent course.
  • Yet Surfacing is not a post-modern novel.
    • libby kelly
      libby kelly on 13 Dec 11
       
      si is it just modern then, yeah?
  • the narrator is no longer claiming to have abandoned her son. She says, to the contrary, that he was taken from her
  • she has been disguising reality
  • The book must be seen as neither one nor the other, but both
Blaire Poulsen

The Counter Transference of Dr. Driver - 0 views

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Blaire Poulsen

"How Many Women Is Power":Dickens's Sarah Gamp and Fitzgerald's Resentful Care-Taking i... - 0 views

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Blaire Poulsen

Tender Is The Night - 1 views

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Blaire Poulsen

The Most Important and Most Difficult Subject for our Time. - 1 views

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shared by Blaire Poulsen on 12 Dec 11 - No Cached
  • Blaire Poulsen on 12 Dec 11
     
    By Paul Hackman
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