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English 45C, Confidence, Lawyer's Fascination with Bartleby's…

- - - - Post Colonial literature: make self identity while acknowledging impacts of colonialism.
      - Traditional world falling apart: Ibo people becomes dark continent, devoid of culture therefore novel presents rich society, belief, etc. Myth: Colonialism introduced culture
        
        Gender Roles
        
        Male: dominant, a sign of strength and authority. Sign of mans power: title, fame, land, wives, war achievements/participation. Fragile masculinity (Okonkwo): fear of weakness or being feminized
        
        Female: subordinate, subservient, in charge of cleaning, food, child rearing
        
        Some examples of cultural aspects of the novel
        
        hospitability and kinship: Kola nut and Palm wine
        
        Superstition: obanje (changeling baby), twins (bad omen): examples of death via superstitions (Achebe critical of Ibo society: show internal fissures in society (good and bad)
        
        Gods: Agbala and Chi
      - Language: English
        
        English as a unifier of groups (common language)
        
        Critiques: Erasure of culture (colonizes the mind) and no direct equivalent of words from English to African Language
        
        To write in English as an African writer and writing post-colonial literature through colonizer's language
        
        "The Negro Artist and the Racial Mountain"
      - Colonial/Christian integration differentiating culture "We cannot leave the matter in his hands because he does not understand our customs, just as we do not understand his. We say he is foolish because he does not know our ways, and perhaps he says we are foolish because we do not know his" (191)
    - - Tradition: awareness of entire literary past
        Historical Sense: simultaneous link between past and present (not chronological)
    - - Nude Young Dancer: Utilizes the sensual (perhaps exotic) figure of African American female dancer to represent black life: integration of "jazzy hour" (jazz club) with "jungle trees" and "star-white moon", a nurtured and flourishing exploration of art (performance) with heritage
      - The Weary Blues: Imitating Blues performance: embody the space of performance: immersive and detailed
        
        heavy open vowels ("o")
        
        end rhyme (ex, tune & croon, night & light)
        
        repetition (pattern) "O Blues" or "he did a lazy sway..."
        
        onomatopoeia: "thump, thump, thump"
        
        Vernacular: "ma" "gwine" "mo"
      - Harlem [2]: Central work of Harlem Renaissance (African American heritage and identity). The "dream deferred": collective dream (equality?) struggle and resilience through oppression
        
        deferred: shown through imagery: (sore, meat, weight, suspense (explosion) adding to the deferral being excessively long
      - The Negro Speaks of Rivers: Constant assertion of self "I" through the African diaspora . In relation to culture/historical identity "Bathed in the Euphrates", "Built my hut near the Congo", "Nile and raised the pyramids above it", "Mississippi when Abe Lincoln went down to New Orleans"
        
        expansive geographical scope, ancestral tradition, long lineage (long standing tradition)
  - - - Broken southern identity
        
        repression of the regions historical reality (slavery, racism, and patriarchy)
        
        Jason as an example of what is being repressed: unsympathetic, sadistic, sexist, racist, etc.
        
        Industrial economy vs rural south
        
        South: a stagnant underdeveloped region while other regions moved to the future: presented through Jason's relationship with changes (ex. car and stock market)
        
        Jason treats change and as a threat to his "superior position", yet also wants to be part of it
    - - Identification w/ Florida Culture and folklore (specificity): a focus on Black rural life in Florida then typical mold of Black Art (American standard)
      - Community and culture person creates a person
        
        Hurston's use of vernacular: capture accurate image of Rural life and celebrate language of people in Florida
        
        Hurston's relationship to Florida: lived in Florida.
        
        Autoethnographic: autobiographical, interpretation of lived experience, self identity, and tradition from within a community
  - - - British Upper Class Culture (Stoicism): Post War
        
        Hugh Whitbread: Representation of Englishmen
        
        Well-dressed, charming, and is devoted to upholding tradition
        
        English Snobbery, flattery and maintaining likeness (173)
        
        Mrs. Dalloway's Public Role: English housewife and hostess. Ex: "She was for the party" (175) and “She had the oddest sense of being herselfinvisible, unseen; unknown...this being Mrs.Dalloway; not even Clarissa any more; this
        being Mrs. Richard Dalloway” (11).
        
        suppressed private self, domestic and societal expectation
    - - Let America Be America Again
        
        Collective Voice: Multiple voices in one "I am" into the "Negro", "red man", and "immigrant" indicating a kind of fractured diversity
        
        Ideal and Reality
        
        Disillusioned American Dream: founding ideals like "liberty", "equality" denied, presented as an actual "dream" that is undermined by "dog eat dog, of mighty crush the weak". An American "right" not extended.
        
        "Seeking a home where he himself is free": he himself- pilgram
        
        Lived experience:
        
        "Let" and "the land that never has been", something that needs to allowed (America being prevented from being the "basic dream")
        
        “bearing slavery’s scars”: tense implies scars made in the past still being borne on the skin. “In every brick and stone, in every furrow turned / That’s made America the land it has become.” imply the idea that people, though not living in an America with traditional values, is being built with the history of slavery and labor.
    - - The Dead & W.B Yeats
        
        Detachment
        
        Gabriel: Awkwardness, separation, perhaps even dislike for Ireland (conflicted Irish Identity)
        
        escapism to "France or Belgium or perhaps Germany" (10): implying avoidance of land
        
        "Keep in touch with the languages" "Irish is not my Language" (10)
        
        The Lake of Innisfree: Pastoral uninhabited natural setting Escapism to a idyllic and romantic Ireland (Nostalgic vision)
        
        Nationalism
        
        Ms. Ivors: Immense National pride
        
        Character foil to Gabriel
        
        Challenges British assimilation, and carries connection with Irish land, language, and political individuality "West Britain" (9)
        
        Easter, 1916 confronts hash reality of present, Irish Identity and autonomy (willing to be fought for) Historical context: Irish Revolutionary period against British Rule (armed insurrection)
        
        Ordinary life: Refrain/Repetition "polite meaningless words" emphasize mundaneness and simplicity
        
        Comparable to The Second Coming: presents a bleak and unoptimistic vision due to:
        
        "All changed, changed utterly: / a terrible beauty is born" (15-6) oxymoron, conflicted
        
        Admiration for sacrifice towards political cause
        
        Yet honors dead Irish republicans and cause (independence): "Wherever green is worn, / are changed..."
        
        Unified National Spirit: "Hearts with one purpose alone" (41)
        
        Against violence: "Too long a sacrifice" (57) and "Was it needless death after all?(66)
        
        Irish Identities differences between James Joyce and W.B Yeats
        
        James Joyce: Self exiled author from Ireland, difficult relationship with Ireland yet still tried to detail the entirety of Dublin (could reconstruct from his novels)
        
        W.B Yeats: Developed Irish Identity (later nationalist) despite being Anglo Irish Figure in reviving a distinct Irish culture (Ballads, love lyrics, folklore) and literary revival
- - - - Narrator as a detached observer: blurred perspective
        
        1) Physical Separation: Windows Smokey panes" (507) indicate unfocused perception, therefore
        
        2) Mob: "Two Dense and continuous tides of population" and "Tumultuous sea of human heads" (507)
        
        3) Generalization
      - The Old Man's Disconnection: His inability to communicate, talk, or be part of each scene (i.e. Bazaar, Theatre) are a testament to his singular and ungroupable character
        
        "'er lasst sich nicht lisen'-- It does not permit itself to be read" (506)
        
        "mysteries which will not suffer themselves to be revealed" (506-7)
    - - Wall Street: Financial Center (Banking and Capital): Establishes capitalism, the working life, and work hierarchy
  - - - Alienation in drawing rooms: refrain "in the room the women come and go / Talking of Michelangelo" (13-4) to emphasize his un-assimilation in the scene. He is stagnant (left watching)
      - Multiple aspects of time: Time escaping
        
        "Let us go" & "There will be time": a kind of freedom or room for "indecision", "visions and revision" (32-3) and time to "dare" indicating there is a future
        
        Transition to being old: Aged features subject to self consciousness, fear of public opinion - Ex: Bald spot" "They will say 'How his hair is growing thin!'"(40-1)
        
        hesitancy to act decent to impossibility: growing older
        
        "Should I" imagine what could do
        
        "Would it" Past conditional meaning time to act has past and gone, "what if'
      - Divine Comedy: Epic & Mythic the has become in modernity or the modern problem (poor epic heroes and people)
    - - Immortalized: permanence of arts and poetry "Artifice of eternity"(24) "Monuments of unageing intellect" (8)
      - "That is no country for old men" comparison of old and young
        
        Young: "In one another's arms, birds in the trees": love and romance (companionship)
        
        Old: Dying generation comparable to salmon: migrating salmon who experience flesh degradation and malnutrition
        
        path of life, natural cycle that is subject to decay (mortal problem)
  - - - Repetitive and cyclical plot: Sifts through a few points (Gogo and Didi talk, Didi eats some vegetable, Lucky and Pozzo appear, boy appears, endless waiting, no true change, "we're waiting for Godot"
      - Fractured identities: Characters have no interior or backstory
        
        Vladimir: Stinky breath meaning he appears intellectual, expressive, a thinker
        
        Estrogen: Stinky feet meaning bodily comfort, seeks to be grounded
        
        questioned existence
      - Muddled sense of time: unaware of how much time passes or what events happened which day
      - No connection to place: the setting is minimal (mound, tree, boots) leaving place unspecific, leaving to confusion towards place (right place?)
        
        Trees changes: (51) "Was it not there yesterday?"
        
        Confusion on if the next day was really the next day: meeting Pozzo and Lucky again (68-69)
      - Jumbled meaning
        
        Post War Representation: traumatized and uncertain existence
- - - - Their Eyes Were Watching God
        
        Pear tree: Sexual awakening and sexual freedom
        
        "dust-bearing bees sink into the sanctum of a bloom" (11)
        "Love embrace and the ecstatic shiver of the tree from root to tiniest branch creaming in every blossom and frothing with delight" (11)
        
        Sensual imagery: sanctum (private) bloom, flower association with woman
        
        Personification: "embrace", "shiver", bodily movements
        
        Janie's entrance into desire or becoming a desirable being
        
        "first tiny bloom had opened" (10): indicating Janie's purity
        
        Pollen & Golden dust: blinded desire, dangerous(?)
        
        Johnny Taylor previously shifty, "tall and lean", pollen has "beglamoured his rags" (12)
    - - The Turn of the Screw
        
        Psychosexual drama
        
        innocence of children: Flora being a beautiful child and Miles not knowing anything but love: novel insinuates a sullying image of children
        
        Quint: "Quint was much too free" (39)
        
        Governess' confusing ownership of children
        
        "My boy" (39) "I had them"(41)
        
        intimacy with children: exploring the taboo?
        
        Imagined shy young wedding couple: "as some young couple who, on their wedding journey , at the inn, felt shy in the presence of the waiter." (115): comparison of couple with miles
        
        Gothic: enhancing what is suppressed (sex) in society
        
        Closeness with Miles: yet he wanted, I felt, to be with me" (105)
  - - - Control: Joe Starks
        
        Janie is kept from speaking or adding to conversation: silencing
        
        Janie is made to run the community store and be shown from their home porch (show off, ownership). Additionally preventing Janie from entering community places/events: separate from community. Janie becomes akin to trophy wife elevate HIS status
        
        "Joe had forbidden her to indulge. He didn't want he talking after such trashy people. 'You'se Mrs. Mayor Starks" (54)
        "No, the Carcass moved off with the town, and left Janie standing in the doorway" (60)
      - Thwarted marriage plot: meant for women to gain independence, stability, protection yet Janie experiences 3 marriages that end unhappily
    - - Condemn Orpheus
        
        Anaphora "why did you": desperation, anger, emphasize feeling
        
        Blame: "so for your arrogance" "and your ruthlessness
      - Face: "What was it that crossed my face / with the light from yours" "was it...the light of your own face / the light of your own presence?"
        
        Male centered: Light from Orpheus: to feel as though her story is not told: to be told though illumination of Orpheus
      - Freedom, ownership, and independence found in underworld (darkness)
        
        "Against the black / I have more fervour.../ I have more light"
        
        "At least I have the flowers of myself / and my thoughts, no god / can take that / I have the fervour of myself for a presence / and my own spirit for life"
    - - Caddy's loss of innocence: obsession to keep innocence
        
        Benjy: smell of Caddy as a sign of intuition (loss of virginity = loss smell of trees) "She smelled like trees"(9) "I couldn't smell trees anymore" (40)
        
        Quentin: To prefer incest over loss of virginity
        
        “If it could
        just be a hell beyond that: the clean flame the two of us more than dead. Then you will have
        only me then only me then the two of us amid the pointing and the horror beyond the clean
        flame” (116)
        Sex: corruption, unclean
        
        Caddy has no chapter on her perspective: what does it mean to have Caddy's life defined solely through her brothers perspectives?
- - - - Establish sea made by forest substance: ex: "Slash your great pines" , "pools of fur"
      - Vastness of both forest and sea and water as "pines" establishes stiffness (erect)
    - - Cold Wind: describes the action and movement before defining wind (slow appearance of scene aspects): "surge of the blue" and "mottled clouds driven from the northeast"
      - Bushes and trees: adjectives w/o definition: "reddish, purplish, forked, upstanding, twiggy stuff"
      - Spring: defined venerably and ambiguously (not concrete details), "naked" "sluggish" and "lifeless", the Spring uncertainty of "the new world" (similar to the uncertain, guess like nature of the previous images) rediscovery of life and nature
    - - harsh rose: prizes the imperfect "marred", "sparse", "meagre" delt blows "flung on the sand"
      - Wet Rose: unblemished, perfect
  - - - In a Station of the Metro
        
        originally longer then condensed to two lines: present a fleeting moment
        
        No action words: Parataxis: ideas side by side not expressing connection
        
        White spaces: concrete poetry