Paper Topics: 3pp. Due March 18th; Expanded 10 pp. paper due May 6h

Shorter Paper: Topics (focused on different types of literary criticism)
Length: 3 pp.
Expectations: A well-organized essay with attention to thoughtfulness, support of views with quotations from the text, originality, correctness, proofreading.

Please follow MLA guidelines for quotation. You are not expected to consult critical sources for this paper but rather reveal your own literary thinking and interpretation. The longer paper will require conversation with the critics.

Please consider the shorter paper as a preparation or an exploration of a topic that may develop and continue into the longer essay. We should have a conference during the time you're writing your paper.

1. Reader Response

F. R. Leavis posed the question, “why study literature?” He has argued that the study of literature makes us better people because it engages us in a discussion of human values and complexities, and refines our moral sense. Harold Bloom states that this is untrue. Great writers, he says, undermine important humanist values:

The Iliad teaches the surpassing glory of armed victory, while Dante rejoices in the eternal torments he visits upon his very personal enemies. ...Dostoevsky preaches anti-semitism, obscurantism and the necessity of human bondage…Milton’s ideas of free speech and free press do not preclude the imposition of all manner of social restraints. Spenser rejoices in the massacre of Irish rebels, while the egomania of Wordsworth exalts his own poetic mind over any other source of splendor. (The Western Canon)

Take a position for or against Leavis or Bloom’s position. “Why study literature?” Use the books read in the early part of the semester—Proust’s Combray , Virginia Woolf’s To the Lighthouse or Carroll’s Alice in Wonderland—as part of your argument.

2. Narrative Techniques

The queen died. Story
The queen died of grief. Plot
The queen died; no one knew why. Mystery

Discuss either Proust’s Combray or Woolf’s To the Lighthouse in relation to the elements of plot, story, and mystery as suggested above. Or you may explore notions of character development or narrative techniques for capturing consciousness (stream of consciousness, free indirect discourse, quoted monologue).

Given that this is a short paper, it might be useful to focus on one or two elements of narration, and what you observe in Proust or Woolf’s writing.


3. Genetic Criticism: criticism that is based on sources like diaries, mss. drafts, holographs, and transcripts that precede the work. See sources and web link in another post on this blog "Virginia Woolf Diary & Time Passes in TL"

A more open-ended topic, suitable to continue into the longer paper (or even a thesis). See www.woolfonline.com for this assignment and the sources provided below:

What kinds of literary questions might you generate after reading on-line some of the Virginia Woolf diary entries and the historical information on the 1926 General Strike of Miners—written during the time she was writing To the Lighthouse? Relate any aspect (a few entries of the Diary or historical information) to the text of To the Lighthouse?
Focus on what interests you.

What are the connections between the private life of Virginia Woolf and public historical events that swirl around her? What is the relation between the private and public in the life and writing of an author?

This assignment is for those who feel comfortable working with materials on-line.

4. Exploring the Term, Modernism

A. Define the terms, “modernism” and “modernity” in terms of your reading of Proust’s Combray , or Virginia Woolf’s To the Lighthouse or Carroll’s Alice in Wonderland. What was the literary movement of Modernism about compared to Victorian literature that Virginia Woolf said was about "getting from lunch to dinner"?

B. Relate the literary movement of Modernism and Carroll's Alice in Wonderland. You might explore the multiple incarnations of Alice in cinematic, dramatic or literary versions or some aspect.

If you're interested in children's literature, you could compare different versions (Disney etc.) and discuss differences and values using the methods of Cultural Studies.



5. Reading:
Compare the passages on reading in Proust’s Combray to the first 8-9 pages in “The Window” section of Virginia Woolf’s To the Lighthouse (up to the passage “For they were making the great expedition…”) or Alice’s reading. Choose one or two passages to explore the sites and meaning of reading in these literary works.


6. Themes and Narrative Methods

Potential topics:
time
space
the city, women's roles and images
children (Proust, Woolf, Carroll, Salinger-given that he's under discussion because of
his recent death)
idea of the "carnival" (Read Russian formalist critic, M.M. Bakhtin)
madness, derangment
rooms & houses
war
race
identity
religion
illness
love
class/society
subjectivity
history
homosexuality
marriage
gender relations
dreams, hallucinations, nightmares
adultery, masturbation, prostitution
famine
popular culture (theater, songs, ads)
Music, rhythm
mind/consciousness
self (concepts of)
the "other"

Literary Terms

English 753: Twentieth-Century Novel P.Laurence
Review of critical terms and literary concepts
Literary Movements and Style
Modernism
As a literary style (Inward, changes in form and language; outward, historical
and social changes)
As a grouping of texts
As a group of authors
Sharing certain themes
Sharing certain stylistic features and innovations
Historical changes/traumas (WWI and II)
Connection with “modernity”(technological, urbanization)
Dates (roughly), origins
High modernism, High and low Styles
Time (chronological, psychological, narrative)
Post-modernism
Post-Colonialism
Realism
Colonialism
Post-war writing/affect: literature of the 50s
Globalization (migrations, transatlantic crossings)

Kinds of narration:
Characters/no characters
Author
Narrator
Interior monologue
Quoted monologue
1st and 3rd person narration
multiple points of view
omniscient narrator (authorial narrator)
polyphony
Subjective
Objective
Parody
Irony
Quotation
Psychology:
Unconscious
Dreams
Memory (retrospective narration)
Representation of mind in narration
Time and Narration
Moments of being (Woolf)
Epiphany (Joyce)
Involuntary memory (Proust)
Time (chronological, psychological, multi-layered)

Poetry Exegesis Contest: Wed.2/24, 4:00-6:00

Please remind students today and tomorrow that the poetry exegesis award
contest will be held in my office, 3108 Boylan, from 4-6 pm tomorrow,
Wednesday, February 24.

Professor Julie Agoos

Summer internships abroad

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Postcolonial Identity: Grad Center Talks, Fri.2/26, 2:00

The CUNY Graduate Center

Postcolonial Studies Group Colloquium Series 2009-2010


A Graduate Student Colloquium

February 26th at 2 p.m.

CUNY Graduate Center, Room 5409



Laurie Rhonda Lambert

New York University

Speaking in Tongues: Creole in Caribbean History and Writing



The history of Caribbean writers writing about Creole is both long and complicated. This paper examines the way in which characterizations of Creole languages by Caribbean writers varies in accordance with the cultural and political climate each writer works from. From post-emancipation to decolonization, and from the Black Power Movement to the rise of the Caribbean right, one can read the history of the region by looking at changes in the mobilization of discourses on Creole across the years.



Kate Moss

The CUNY Graduate Center

"A sample of Pakistan", "a sample of Glasgow": language and identity in Suhayl Saadi's fiction



This paper considers how the musical term “sampling” offers us a way of understanding the complex postcolonial identities of the protagonists of Suhayl Saadi’s novel Psychoraag and his short story “Ninety-nine Kiss-o-grams.” I will focus special attention on how these identities are conveyed using multiple languages (including Urban Scots, Urdu, Punjabi, Farsi, and Scottish Gaelic, as well as English) which are themselves “sampled” in the author’s fiction.





The CUNY Graduate Center is located at 365 Fifth Avenue, New York, NY 10016.

The Postcolonial Studies Group is a chartered organization of the Doctoral Students' Council. Please visit our website at www.opencuny.org/psg

Proust and a Contemporary Novel

Proust is everywhere these days. NYT Book Review of Andre Aciman's Eight White Nights:

My Life as a French Movie


By JENNIFER EGAN
Published: February 16, 2010

A young woman introduces herself to a young man at a lavish party on Christmas Eve on the Upper West Side of Manhattan. He is instantly smitten. The woman, Clara, is beautiful, forward, witty, adept at wordplay, often nasty. She has a transcendent singing voice. The narrator, whose name we never learn, is painfully self-aware, given to obsessively questioning his own motives and trying to discern Clara’s to an extent that often leaves him paralyzed and mute. Will the two sleep together? Begin a relationship? André Aciman raises these questions in the first moments of “Eight White Nights,” his ambitious second novel, and keeps us guessing until the very last, which occurs eight nights later.
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Fred R. Conrad/The New York Times

André Aciman

EIGHT WHITE NIGHTS

By André Aciman

360 pp. Farrar, Straus & Giroux. $26
Related
Up Front: Jennifer Egan (February 21, 2010)
Excerpt: ‘Eight White Nights’ (February 21, 2010)

In the intervening 360 pages, Clara and the protagonist (whom she nicknames Oskar), busy themselves in various ways: they visit old friends of Clara’s parents; have lunch in a restaurant; picnic on the rug of Oskar’s apartment; attend screenings of Eric Rohmer’s films at a local cinema that is holding a retrospective. But the action in “Eight White Nights” is largely perceptual; the novel narrates Oskar’s struggle, from within the echo chamber of his mind, to analyze and master his interactions with Clara. At times, his agonies of double-think are hilariously recognizable, as in this pileup of self-scrutiny that occurs within minutes of their meeting:

“Had she snubbed yet another one of my efforts to align my outlook to hers? Or, in my attempt to understand her in terms of myself, had I simply failed to hear what she was saying? Was I desperately trying to think she was like me so that she might be less of a stranger? Or was I trying to be like her to show we were closer than we seemed?”

To usher readers into a book-length welter of cogitation is a gamble, of course; what’s to keep us engaged? Aciman took a similar risk in his finely wrought first novel, “Call Me by Your Name,” in which a teenage boy becomes fixated on his parents’ young male houseguest, who may or may not reciprocate his lust. That novel is driven by high-voltage sexual tension, and becomes an outright love story after the relationship is consummated halfway through. Here, there is neither consummation nor carnality — in fact, there is barely a sense of Clara’s physical presence beyond some mentions of her clavicle and wrists, and repeated assertions that she is beautiful. Moreover, her personality seems engineered to alienate: she is haughty (she tells Oskar that her doorman is “faithful as a Doberman” and is given to verbal and physical mockery of those around her), privileged (she drives a silver BMW and has no visible means of support) and wildly self-absorbed, with a penchant for discussing her previous boyfriend’s hapless adoration and willingness to die for her. All of this Aciman apparently intends; when Clara muses, at the Christmas party, “My life as a French movie — there’s an idea,” the host tartly replies, “French movies are about urbane Parisians, not dyspeptic Upper West Side Jews on antidepressants.”

So . . . what is Aciman up to? “Eight White Nights” abounds with suggestive discussions of other works of art that seem meant to illuminate its purpose, ranging from an obscure musical form called Folías to the music of Handel, Beethoven and Bach. After listening raptly to one of Alexander Siloti’s Bach transpositions, Oskar speculates: “Art may be nothing more than the invention of cadence, a reasoning with chaos. It will use anything, just anything, to loop itself around us, and around us again, and around us once more till it finds its way in.” Then there are Rohmer’s films, which Oskar and Clara discuss in detail. And while their halting and awkward exchanges about their own romantic histories and prospects are overtly ­Rohmeresque, “Eight White Nights” is fundamentally a homage to another Frenchman, Marcel Proust, who is so present in its pages that he goes unmentioned. Not only is the novel awash in Proust’s roomy sentences, extended metaphors and elegiac tone (not to mention his 100-page-long descriptions of dinner parties), but its preoccupations are also deeply Proustian: the unknowability of others; the distillation of experience into memory; the chasm between fantasy and reality; and, above all, the compulsive power of longing and its more optimistic cousin, anticipation.

Seen through a Proustian lens, Clara’s worthiness of Oskar’s love is no more relevant than the worthiness of Odette — the superficial courtesan with whom Proust’s protagonist Swann becomes obsessed. It is the fixation that is interesting: its qualities and textures, the impression it leaves in memory. Oskar himself is conscious of this. After leaving the Christmas party where he encountered Clara, he reflects, “Perhaps all I wanted was to sit and think, and think of nothing, sink into myself, dream, find all things beautiful, and, as I’d never allowed myself to do during the entire evening, to long for her . . . because longing makes us who we are, makes us better than who we are, because longing fills the heart.”

In moments, “Eight White Nights” succeeds at enveloping the reader in its wintry spell and imbuing present-day New York with a power of retrospect. Some of its strongest passages involve Oskar’s recollections of his father, who brings to mind Aciman’s own idiosyncratic family members as described in his colorful memoir, “Out of Egypt.” Oskar’s father has recently died, and his absence forms an aching undertow throughout the novel.

But the overlay of Proustian nostalgia onto modern New York can also feel mannered and artificial — a substitute for some more organic voice that Aciman never quite found. Here is Oskar, having met Clara only moments before and already slipping into a reverie of imagining himself years later, without her: “I suddenly stopped myself, knowing, by an inverse logic familiar to superstitious people, that the very foretaste of sorrows to come presumed a degree of joy beforehand and would no doubt stand in the way of the very joy I was reluctant to consider for fear of forfeiting it. I felt no different than a castaway who, on glimpsing a sailboat from a high perch on his deserted island, omits to light a pyre because he’s spied too many such ships before and doesn’t want his hopes dashed again. But then, on urging himself to light a fire just the same, he begins to have second thoughts about the strangers on board who could prove more dangerous than the pythons and Komodo dragons he’s learned to live among.”

These are the thoughts of a 28-year-old male of this century, hot for a woman he’s just met? Aciman can’t be serious. And he isn’t, exactly — there is plenty of humor in “Eight White Nights,” my favorite example being his description of Oskar consuming an excruciatingly spicy meatball Clara hands him at the party. But the world of this novel is detached from reality, creating a vacuum around Oskar and Clara that gradually saps their story of life. In the vaguely aristocratic, Europe-inflected New York of “Eight White Nights,” there is no mention of war, of financial trouble, of a world in crisis; there are just Oskar and Clara and their friends, all apparently without real-life worries to speak of, all riveted to the question of whether these two will have sex. Here, unfortunately, Aciman parts company with Proust; for all the interiority of “In Search of Lost Time,” it is also a novel of war and politics and anti-Semitism, of economics and social class. By sealing off these portals to the real world, Aciman does more than deprive young Oskar and Clara of a meaningful context — he deprives himself of a perspective from which to cast their shallowness and self-important gravitas as features of youth in a particular culture at a particular time.

We’re left with no choice but to take them at face value. “We laugh,” Oskar reports. “We know why we laugh. We pretend not to know. Realize we’re both pretending. Standard fare. I love it. Aren’t we so very, very clever.” For all the erudition and sensuous writing Aciman brings to his project, even he cannot master the impossible task of making us think so.

Jennifer Egan’s fifth work of fiction, “A Visit From the Goon Squad,” will be published in June.

John de Piper: comment on Alice

John De Piper

I feel that "Alice in Wonderland" resists interpretation because the story itself is about constant re-interpretation, or more specifically about a young child trying to find her way within the strict conventions of society. The book concerns a prepubescent girl, too young for coming of age, who is dealing with the lack of reason in her "real" world through the narrative of a dream. It is no coincidence that all of the characters are either animals or caricatures of real people (i.e. The Duchess) and that they speak, often through pun, in absurdities. To a child who is used to viewing the world through fantasy and make believe, the conventions of society and adulthood are absurd. Thus the lessons that she constantly tries to repeat have less and less meaning because they are in fact meaningless (this is yet a different pun on the word lesson than the one used by the Mock Turtle). This idea is in fact best summed up in her conversation with the Mock Turtle and the Griffon. The concepts of Ambition, Distraction, Uglification, and Derision make about as much sense to a young child as their real life counterparts. Although they do have valuable applications for some, to a child they are only significant because society had deemed them so. How many times as youngsters did we all say, "why are we leaning this? We'll never use it in the real world." In this manner, Carroll is chiding the conventions and abstractions of "modern" society through the eyes of a young girl to which they have no "real" meaning. He formalizes this sentiment in the last paragraph where Alice's sister imagines her in the future maintaining the "simple loving heart of her childhood," as if this is commonly lost through the constant re-interpretaions of young adulthood.
And yet, by saying that the story resists interpretation, as mentioned in previous comments, I am in fact interpreting...

-jd

Proust Questions: Combray, Part II

Part II: Select a question and respond on line:

What is the significance in Part I, Combray, of dreams, the magic lantern, the stories read to the narrator as a child? How does this connect with Carroll's Alice in Wonderland?

Why does the image of the steeple dominate Part II? How does it differ in subject, tone, language from Part I?

What is the significance of the two directions to take a walk around Combray: Meseglise Way (Swann's Way) and Guermantes Way (pp.188-89). What do these ways represent?

Proust often presents us with scenes of moral complexity. What do you make of the scene of Uncle Adolphe and the pink lady, and the family's response to the narrator's recounting of this meeting (pp.99 ff)? Or the narrator's espying Mlle Vinteuil and her companion (pp.206-208 and pp.224 ff)?

Why does Proust often compare characters to figures in painting. For example, why does Swann allude to the kitchen maid as Giotto's "Charity" (pp. 110-113). And what does this allusion say about Swann and Francoise, the savvy servant?

POETRY CONTESTS: Exegesis, 2/24; Sonnets 3/3; Single Poem 3/15

THE POETRY EXEGESIS AWARD CONTEST will be held on Wednesday February 24,
from 4-6 pm, in Room 3108 Boylan. The award is given for the best
exegesis
of a single poem, which will be handed out at the time of the contest.
Students may bring non electronic pocket dictionaries, and should bring
pencils, but no other resources. NB. Students who plan to enter should
register with Corinne Amato in the English department by February 23.


The deadline for the GREBANIER SONNET AWARD, for the best single sonnet
or
sonnet cycle, is Wednesday March 3 in the English department Office.
Students should submit their entries under a pen name (on each page),
accompanied by a cover sheet listing their names and pen names, social
security numbers, addresses and phone numbers.

The deadline for THE ACADEMY OF AMERICAN POETS AWARD for the best single
poem or portfolio of poems, is Monday March 15 in the English Department
office. Students should submit up to five poems, accompanied by a cover
sheet listing their names, pen names, social security numbers, addresses
and
phone numbers, and listing the titles of all poems submitted.

Competition: Shakespeare Essays, due March 3rd

Students:
If you have any Shakespeare essays from the past....


From: Tanya Pollard [mailto:tpollard@brooklyn.cuny.edu]
Sent: Thursday, February 11, 2010 9:36 AM
To: Corinne Amato
Subject: Shakespeare essay contest


Dear Colleagues,

Please announce to your students that the English Department will be
collecting essays for the Shakespeare Contest, supported by Randolph
Goodman. Students can submit essays on any aspect of Shakespeare's
writings, of any length. They should submit the essay under a pen name,
along with an entry form (available from Corinne in the department) to
Corinne by March 3rd. Please let me know if you have any questions.

best wishes,
Tanya

Proust Questions

Who is speaking in this section? How old is he? How would you describe his personality?

What do we discover about Proust's view of memory in the famous scene with the madeline (p.61) in this section of Combray?

Examine and interpret two scenes of reading in this section. What do they tell us about the narrator. What do they tells us about stories and reading?
Magic lantern (pp.10 ff)
The mother's kiss (pp. 15ff, 46 ff)

Met Museum of Art, 86th St.& 5th Ave.: Victorian Photocollages

Playing with Pictures: The Art of Victorian Photocollage

See the albums of photocollages of aristocratic Victorian women who debunk cultural attitudes of the time. Imaginary landscapes, surreal moments, displaced human heads, fanciful playing cards, dramatic shifts in scale of figures--some of this suggesting the fun and devices we find in Alice in Wonderland.

Institute for the Future of the Book: the shift from printed pages to screens

Check it out: www.futureofthebook.com

Institute for the Future of the Book
About us

We're a small think-and-do tank investigating the evolution of intellectual discourse as it shifts from printed pages to networked screens. We are funded generously by the MacArthur Foundation, and affiliated with the University of Southern California. We are located in Brooklyn, NY and London, UK.

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* if:book »

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James Joyce event, Ireland House, NYU, Feb. 23rd, 8:00

James Joyce & John Millington Synge Lecture

(it's also your opportunity if you're interested in Joyce to meet members of and join the James Joyce Society of NYC)

For your information please note Professor Anne Fogarty -- the president of the International James Joyce Foundation -- will be speaking at Ireland House on Tuesday, February 23, 2010 at 7:00 p.m.

Those of you who have heard her speak on Joyce know no other comments are necessary. If you haven't then permit me to share my viewpoint: Professor Fogarty -- professor of James Joyce studies at University College Dublin and director of the James Joyce Research Center -- is part of a rare breed: a common sense communicator who holds penetrating ideas about Joyce and delights in sharing her intense research in an easy-to-follow style. A list of her publications is shown below.

This presentation focuses on reviewing the words of Joyce and John Millington Synge, the Irish playwright, poet and prose stylist. It is entitled: "Contesting the Literary Revival: James Joyce and John Millington Synge." If you identify yourself as a member of the James Joyce Society there is no charge.

Space at Ireland House, as many of you know, is limited. Call or send an e-mail to reserve a seat at this major Joycean event. Ireland House is a part of NYU and is located in Manhattan at
1 Washington Mews (a few doors from the corner of 8th Street and Fifth Avenue). Their e-mail address is: ireland.house@nyu.edu A phone call to 212 998 3950 also insures a seat at the session.

Professor Fogarty was editor of the Irish University Review (2002-2009), co-editor with Timothy Martin of Joyce on the Threshold (2005), co-editor with Morris Beja of Bloomsday 100: Essays on Ulysses (2009). She is currently writing a study of the historical and political dimensions of Ulysses, entitled James Joyce and Cultural Memory: Reading History in Ulysses.

Alice: The Movie and Play, Feb-March

Alice in Wonderland Cultural Events: Feb & March



1. March 5th NYC Release: Tim Burton’s Alice in Wonderland, the movie


Royal premiere for Burton's Alice in Wonderland
LONDON
Wed Feb 3, 2010 10:08am EST
Mon, Dec 7 2009
LONDON (Reuters) - British heir-to-the-throne Prince Charles and his wife Camilla will attend the world premiere of U.S. director Tim Burton's "Alice in Wonderland" on February 25 in London, the BBC reported on Wednesday.
Film | Lifestyle
They will be joined by cast members including Johnny Depp, a regular collaborator with Burton, and Anne Hathaway in the 3-D movie inspired by Lewis Carroll's classic tale of a girl's adventures in an absurd wonderland.
Burton's partner Helena Bonham Carter also appears in the film alongside Little Britain star Matt Lucas as Tweedledum and Tweedledee. Australia's Mia Wasikowska plays Alice.
The premiere, ahead of the film's U.S. and British theatrical release on March 5, will take place in London's Leicester Square and the funds it raises go to The Prince's Foundation for Children and the Arts.



@. The Play: Alice

We can get a limited number of tickets for the class for $20 for Wed. Feb. 17th, 8:00.
We'll talk about it in class tonight, 11.

BAM Theater District
Address: ‎
(718) 4889233
Irondale Center
85 S Oxford St
Brooklyn, NY 11217


An Environmental Excursion through Lewis Carroll’s Alice in Wonderland.
January 27 - February 20, 2010
The audience follows the ensemble down the rabbit hole into Wonderland, down the nooks, crannies, recesses, and lofts of the Irondale Center in its historic 19th Century building. Wear your most comfortable clothing and get ready to enter strange wonderful worlds that the general public seldom sees with the Irondale company as your guide.

January 27-February 20, 2010
Wednesday-Saturday at 8PM
Saturday, February 6 & 20 at 1PM
LIMIT 12 PEOPLE PER JOURNEY for 8PM performances

Tickets
Wednesday & Friday $35
$15 Rush tickets at door 1/2 hour before show.

Thursday $15

Saturday 8PM $50
Saturday night performances include refreshments and conversation
with the ensemble after the journey.

Saturday 1PM $10
Saturday Matinee is performed with the Irondale Young Company.
Buy Tickets Now!
Space Limited!

Reserve List: BC Library

Reserve Book List
(* books in BC library; others on order)

*Bradbury Ray. Farenheit 451.
Deppman, Ferrer, Groden. Genetic Criticism: Texts and Avant-
Textes (2009)
Freud. An Infantile Neurosis.
*Flint, Kate, The Woman Reader
*Woolf, Virginia. A Room of One's Own
Culler, Jonathan. On Deconstruction.
*deMan, Paul. Allegories of Reading
*Barthes, Roland. The Pleasures of the Text and S/Z
Littau, Karin. Theories of Reading: Books, Bodies and Bibliomania
(2006)
Morris Adalaide & Thomas Swiss, eds. New Media Poetics: Contexts, Technotexts & Theories (2010)
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