Novel Experience & Expression » 1920s

Poetics

Gary Hink — Sun, 25 Oct 2009 05:36:32 +0000

I am interested in the intersection between poetry and history. How does history make its path in a poetic work?
We rarely see history in a literary text since it is so hard to deal with. Perhaps poetry does not know how to say or utter history. …History simply smothers and squashes.
Yet some books show that one can remain poetic in the very midst of history. (110)

–Hélène Cixous, “Poetry, Passion, and History” (1985)

M 26-Oct Jazz (Chp. 6-10, pp.137-229) (Tahara Franklin)

W 28-Oct Silko: Ceremony (Intro + through p.37) (Laura Hampson)

F 30-Oct Ceremony (pp.38-85) (Maria Tamayo)

Due: Response 4 (deadline: 11:59pm)

Resp 4: Imagining Experience through Jazz
500 words, 10 points; due F 30-Oct (deadline TBA)
Review assignment criteria here.

“To have only the value of knowledge is not to have the value of life, or love.” (64)

–Hélène Cixous, “Grace and Innocence” (1982)

Choose an historically specific experience from the novel
(for example, from general categories of “loss,” “desire,” “freedom,” “alienation/isolation,” parentage/progeny relation — but do not generalize, stereotype, re-situate in present day, etc.)

Option 1

First, briefly define (”explain”) the experience either in the mode of belief or of reason (rational mode/knowledge).
Present one textual illustration that aptly supports your definition.

Next, discuss the same experience, but in terms of what you intuit from your reading (from the novel’s expression); describe this in more detail than the first definition, showing an attempt at working with the aesthetic mode. As always, provide the key figures from the novel that enable your understanding, and discuss figures in form+content terms (considering both dimensions).

Major tip/reminder

remember to consider “affect” and “lived” or “embodied” experience…

To conclude, speculate about your new understanding — either in terms of the novel (function/effects? significance?); or of consequence (”what changes?” new perspective?). In any case, explicitly describe the qualities (”benefits”?) or implications of this mode for working with the novel, as you’ve experienced thus far.

Option 2

Having selected a specific experience, examine this in both Jazz and Ceremony together — focusing upon a respective character from each, with this perspective on experience.

Discuss an understanding of this experience through an intuitive reading of the novels’ expression. Not necessary to simply compare/contrast the characters; rather, describe the unique aspects of your respective examples toward an illustration of the aesthetic mode, providing specific figures (support).

To conclude, consider your new intuitive description of this experience against one (or both) of the modes of judgment (belief/morality, reason/knowledge)–with which you might contrast, if you’d like. Overall, address the key difference(s) and the implications/value of attempting this mode for working with literature and understanding experience.

Note: contact me (soon/Mon.) with questions; subsequently I will add/elaborate the prompts if necessary.

Imagined Experience (Part II)

Gary Hink — Mon, 19 Oct 2009 03:14:37 +0000

M 19-Oct Experiment–Part II

from 07-Oct ( Greek etymologies)

“catastrophe” = katastrephein
{kata “to overturn” + strephein “turn”; or strophe “a turning”}

= “reversal of what is expected” (originally in drama)

Q. in what does a “turn” occur? (hint: EXP)

W 21-Oct Morrison: Jazz (through Chp 3, pp.4-87) (Erin Gallagher)

F 23-Oct Jazz (Chp. 4-5, pp.89-135) (Hillary Silvestri)

Great Distortion

Gary Hink — Mon, 07 Sep 2009 03:26:38 +0000

M 07-Sep No classes— Labor Day

“The city seen from the Queensboro bridge…“

W 09-Sep Fitzgerald: The Great Gatsby (through Chapter 4) (Caroline Geist)
Review Abbott Chp. 6 for Gatsby discussion.

Due: Second blog entry (Wed. night; resume normal blog schedule)

F 11-Sep Gatsby (Chp. 5-6) (Hillary Silvestri)

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M 14-Sep Gatsby (Chp. 7-9) plus Cambridge / Narrative Chp 7-8
(Audrey Bannon) & (Jeff Rudderman)

W 16-Sep Cambridge / Narrative Chapters 10 & 12 (plus Gatsby overview)

F 18-Sep Cambridge / Narrative Chapters 11 & 14

Due: Response 1 — Prompt

“The city seen from the Queensboro bridge is always the city seen for the first time, in its first wild promise of all the mystery and the beauty in the world.” — Nick Carraway

Response 1: Gatsby and Narration

500 words (min.); 10 points.
Due: F 18-Sept. Post to your blog, by class time.

Describe a significant technique of Fitzgerald’s “narrative discourse,” using one aspect (or two related ones) from Abbott.

Give at least one specific example/instance from the novel, to illustrate the narrative topic. Additionally, discuss how this device/feature functions overall or affects your interpretation of the text.

Suggested topics:

Sequence (sjuzet), Time (non-linear), Frame(s)
Narrator; Reliability, Focalization (Chp 6)
Closure & Uncertainty/unknown (Chp 5); Gaps (Chp 7)
“Masterplots” (Chp 4+13) & Characters / “Types” (Chp 10)

Notes / Tips:

Review assignment criteria here.
Very important to minimize summary: only discuss the novel as explicit support for your points.
Review Abbott’s discussion of interpretation(s) (in chapters 7-8) and “narrative discourse” (Chp 2)

Reminders / Options

Submit on e-Learning (or by email), if you would prefer not to post this first response to your blog.

Respond to a classmate’s entry for extra credit — by Sunday 20-Sept.

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Agon

Gary Hink — Sat, 29 Aug 2009 04:24:37 +0000

Week’s Readings
(story title = link)

M 31-Aug Cambridge / Narrative Chapters 2-3 plus
Willa Cather: “The Affair at Grover Station” (1900)
& Zora Neale Hurston: “Spunk” (1925)

W 02-Sept Cambridge / Narrative Chapters 4-5 plus
Dorothy Parker: “You Were Perfectly Fine” (1929)
& Parker: “The Last Tea” (1932)

F 04-Sept Cambridge / Narrative Chapter 6 plus
Katherine Anne Porter: “Theft” (1929) & (TBA)

Due: First Blog Entry