Here are the articles, if you are interested: ADA journal (the articles are clickable on the side).
And the Zizek lecture on consumerism: HERE
Thursday, November 14, 2013
Tuesday, November 5, 2013
Thursday, October 3, 2013
Saturday, September 28, 2013
9.26.13
The crazy interview I promised:
http://arts.nationalpost.com/2011/08/30/david-gilmour-figures-out-the-perfect-order-of-things/
And the messed up follow up non-apology:
http://arts.nationalpost.com/2013/09/25/david-gilmour-there-isnt-a-racist-or-a-sexist-bone-in-my-body/
Plus--- Raina's catch of rape's ubiquitous silencing:
http://www.buzzfeed.com/spenceralthouse/male-survivors-of-sexual-assault-quoting-the-people-who-a
Alternative assignment--I will write this afternoon or tomorrow morning for those interested. Check back.
Good discussion Thursday.
K
Sunday, September 22, 2013
Tuesday, September 17, 2013
9.17.13
From Last Week:
UTOPIAN FICTION: A GENRE UNTO ITSELF FEMALE UTOPIAS—A SUBGENRE OF SAME
Plato’s Republic 380
BC
Utopia Thomas More 1516
The City of the Sun Thomas Campanella 1602
New Atlantis Francis Bacon 1627
Gulliver’s Travels (satire) Jonathan Swift 1726
Candide (satire) Voltaire 1759
Erewhon Samuel Butler 1872
Herland Charlotte Perkins Gilman 1909-17 (1915)
We (Russian: Мы) Yevgeny Zamyatin 1921
The Trial Franz Kafka 1925
Brave New World Aldous Huxley 1932
*Woman on the Edge of Time Marge Piercy 1976
1984 George Orwell 1949
The Handmaid’s Tale Margaret
Atwood 1985
_______________________________________
Utopia – refers to Greek Outopia
(No Place) & Eutopia (good place)
Characteristics: Social thought
experiment based on a few simple changes. Lack of precise placement and
rigorous examination of the how (why not always sci-fi).
Herland—self-serialized.
Frankenstein—published anonymously.
Possible Subject of First/Last
Paper—
In Frankenstein and/or Herland, which assumptions about “human
nature” are questioned, which assumptions are left alone? Choose passages that
illustrate insight and blindness in the authors’ world-creating.
In F. and/or H., how do the author’s represent the action(s) of
parenting? What importance do they place on the different tasks/goals involved?
_________________________________________
Further reading:
For a non-Western perspective akin to Herland from roughly the same time, read "Sultana's Dream" by Roquia Hussain--a Bengali woman writing of a woman-controlled city state she arrived at in a dream.
A comparison of Herland and "The Sultana's Dream" would work for a paper subject as well.
Sunday, September 8, 2013
9.5.13
On Thursday we:
Read each other's First Response Papers and entered into the Monster's Story and his development from
The female body (and the female emotion which might reject the monster) cannot be trusted.
For Tuesday-- please finish F. and start Herland. The duty of child-rearing/child-raising as well as the complications of biological reproduction (and how it ties us to the animal/natural world) is our first subject matter. I leave you with some lines from Satan in Book IV of Paradise Lost (upon first viewing Adam and Eve and their happiness... compare to the Monster's desires):
O Hell! what doe mine eyes with grief behold,
Into our room of bliss thus high advanc't
Creatures of other mould, earth-born perhaps, [ 360 ]
Not Spirits, yet to heav'nly Spirits bright
Little inferior; whom my thoughts pursue
With wonder, and could love, so lively shines
In them Divine resemblance, and such grace
The hand that formd them on thir shape hath pourd. [ 365 ]
Ah gentle pair, yee little think how nigh
Your change approaches, when all these delights
Will vanish and deliver ye to woe,
More woe, the more your taste is now of joy;
Happie, but for so happie ill secur'd [ 370 ]
Long to continue, and this high seat your Heav'n
Ill fenc't for Heav'n to keep out such a foe
As now is enterd; yet no purpos'd foe
To you whom I could pittie thus forlorne
Though I unpittied: League with you I seek, [ 375 ]
And mutual amitie so streight, so close,
That I with you must dwell, or you with me
Henceforth; my dwelling haply may not please
Like this fair Paradise, your sense, yet such
Accept your Makers work; he gave it me, [ 380 ]
Which I as freely give; Hell shall unfold,
To entertain you two, her widest Gates,
And send forth all her Kings; there will be room,
Not like these narrow limits, to receive
Your numerous ofspring; if no better place, [ 385 ]
Thank him who puts me loath to this revenge
On you who wrong me not for him who wrongd.
And should I at your harmless innocence
Melt, as I doe, yet public reason just,
Honour and Empire with revenge enlarg'd, [ 390 ]
By conquering this new World, compels me now
To do what else though damnd I should abhorre.
And-- the diefinition of PHYSIOGNOMY from the American Encyclopedia of 1851 (30 years after the publication of Shelley's Frankenstein)
PHYSIOGNOMY (from ^j, nature, and vofxos, law, rule) is the name given to the countenance of man, considered as an index of his general character, and also to the science which treats of the means of judging of character from the countenance. This is the general acceptation of the term; but there seems no very good reason why the science of physiognomy should not be considered as extend ing to a man's whole appearance. Whatever be thought of the possibility of laying down strict rules for such judgments, it is a fact of every day's occurrence, that we are, almost without reflection on our part, impressed favorably or unfavorably, in regard to the temper andtalents of others, by the expression of their countenances. The poetry of early ages contains descriptions of the features of heroes, corresponding to the character of the individual; and, in ordinary life,e very person who takes a servant is influenced by the expression of his countenance. The existence, therefore, of a permanent external expression of the inward man, in some degree,cannotbe denied; but that there exist exceptions, is a matter of course. The great question is, how far we can reduce our experience to certain rules. As the face is that part of animals in which the noblest organs are united, by which they put themselves in contact with the world, and, for various reasons, shows most of their characteristic traits, it has been made the particular object of study by the physiognomist; and comparisons have been drawn between the face of man and that of animals. Bapt. della Porta (who died in 1615) made such comparisons the basis of his physiognomical investigations, and had the heads of animals compared to human faces represented. Tischbein, a German painter, has since carried out the same idea much more completely, and doctor Gall has also made such comparative representations for the illustration of phrenology. (See Gall) A great part of the art of painting and sculpture is founded on physiognomy. As the expression of the face depends very much upon the formation of the fore part of the skull, physiognomy is illustrated bycraniology.* Amongthe chief points in physiognomy, Kant, in his anthropology, reckons, 1. the general formation of the face, particularly in the profile, which is interesting, both in respect to the physiognomy of individuals and of nations, as Blumenbach's investigations prove ; 2. the features of the face ; 3. the motions of the face, as far as they have become habitual ; also the walk, &c. Kant and others think they can show why physiognomy can never be elevated to a science. It is, however, a subject of great interest, but the student must be on his guard against a general application of the rules which experience seems to have furnished him. This was the reason why Lavater's system lasted but a short time, though he has collected valuable materials. (See Lavater.) The Dominican Campanella, who died in 1639, was a physiognomist. J. Cross published, in 1817, an Attempt to establish Physiognomy upon scientific Principles (Glasgow, 1817); and Spurzheim, the Physiognomical System.
Read each other's First Response Papers and entered into the Monster's Story and his development from
- infancy, to
- his abandonment
- confusion
- wandering through nature (anti-Eden?)
- encounter with "townspeople"
- his education by "destitute gentle-persons"
- the failure of the patriarch to overcome fearful emotion
The female body (and the female emotion which might reject the monster) cannot be trusted.
For Tuesday-- please finish F. and start Herland. The duty of child-rearing/child-raising as well as the complications of biological reproduction (and how it ties us to the animal/natural world) is our first subject matter. I leave you with some lines from Satan in Book IV of Paradise Lost (upon first viewing Adam and Eve and their happiness... compare to the Monster's desires):
O Hell! what doe mine eyes with grief behold,
Into our room of bliss thus high advanc't
Creatures of other mould, earth-born perhaps, [ 360 ]
Not Spirits, yet to heav'nly Spirits bright
Little inferior; whom my thoughts pursue
With wonder, and could love, so lively shines
In them Divine resemblance, and such grace
The hand that formd them on thir shape hath pourd. [ 365 ]
Ah gentle pair, yee little think how nigh
Your change approaches, when all these delights
Will vanish and deliver ye to woe,
More woe, the more your taste is now of joy;
Happie, but for so happie ill secur'd [ 370 ]
Long to continue, and this high seat your Heav'n
Ill fenc't for Heav'n to keep out such a foe
As now is enterd; yet no purpos'd foe
To you whom I could pittie thus forlorne
Though I unpittied: League with you I seek, [ 375 ]
And mutual amitie so streight, so close,
That I with you must dwell, or you with me
Henceforth; my dwelling haply may not please
Like this fair Paradise, your sense, yet such
Accept your Makers work; he gave it me, [ 380 ]
Which I as freely give; Hell shall unfold,
To entertain you two, her widest Gates,
And send forth all her Kings; there will be room,
Not like these narrow limits, to receive
Your numerous ofspring; if no better place, [ 385 ]
Thank him who puts me loath to this revenge
On you who wrong me not for him who wrongd.
And should I at your harmless innocence
Melt, as I doe, yet public reason just,
Honour and Empire with revenge enlarg'd, [ 390 ]
By conquering this new World, compels me now
To do what else though damnd I should abhorre.
And-- the diefinition of PHYSIOGNOMY from the American Encyclopedia of 1851 (30 years after the publication of Shelley's Frankenstein)
PHYSIOGNOMY (from ^j, nature, and vofxos, law, rule) is the name given to the countenance of man, considered as an index of his general character, and also to the science which treats of the means of judging of character from the countenance. This is the general acceptation of the term; but there seems no very good reason why the science of physiognomy should not be considered as extend ing to a man's whole appearance. Whatever be thought of the possibility of laying down strict rules for such judgments, it is a fact of every day's occurrence, that we are, almost without reflection on our part, impressed favorably or unfavorably, in regard to the temper andtalents of others, by the expression of their countenances. The poetry of early ages contains descriptions of the features of heroes, corresponding to the character of the individual; and, in ordinary life,e very person who takes a servant is influenced by the expression of his countenance. The existence, therefore, of a permanent external expression of the inward man, in some degree,cannotbe denied; but that there exist exceptions, is a matter of course. The great question is, how far we can reduce our experience to certain rules. As the face is that part of animals in which the noblest organs are united, by which they put themselves in contact with the world, and, for various reasons, shows most of their characteristic traits, it has been made the particular object of study by the physiognomist; and comparisons have been drawn between the face of man and that of animals. Bapt. della Porta (who died in 1615) made such comparisons the basis of his physiognomical investigations, and had the heads of animals compared to human faces represented. Tischbein, a German painter, has since carried out the same idea much more completely, and doctor Gall has also made such comparative representations for the illustration of phrenology. (See Gall) A great part of the art of painting and sculpture is founded on physiognomy. As the expression of the face depends very much upon the formation of the fore part of the skull, physiognomy is illustrated bycraniology.* Amongthe chief points in physiognomy, Kant, in his anthropology, reckons, 1. the general formation of the face, particularly in the profile, which is interesting, both in respect to the physiognomy of individuals and of nations, as Blumenbach's investigations prove ; 2. the features of the face ; 3. the motions of the face, as far as they have become habitual ; also the walk, &c. Kant and others think they can show why physiognomy can never be elevated to a science. It is, however, a subject of great interest, but the student must be on his guard against a general application of the rules which experience seems to have furnished him. This was the reason why Lavater's system lasted but a short time, though he has collected valuable materials. (See Lavater.) The Dominican Campanella, who died in 1639, was a physiognomist. J. Cross published, in 1817, an Attempt to establish Physiognomy upon scientific Principles (Glasgow, 1817); and Spurzheim, the Physiognomical System.
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