Cool kids, beware: nerds are SO gonna inherit the earth.
Tuesday, November 01, 2005
OY!
I'm tired you guys. Why don't you send me what you would post up if this was your blog and I may very well end up using it. I need to chill out.
5 comments:
Anonymous
said...
How about this quiz on Charles Dickens? http://news.bbc.co.uk/1/hi/magazine/4399744.stm
And afterwards, why not a forum on the following journal topic that I gave my students last year in Honors Modern Fiction class?
JOURNAL ENTRY #7: Where is meaning found in a work of literature? From the work itself, from the author, from its relationship to other works, and/or from ourselves (i.e. the reader)? Explain.
New Criticism – an approach to literary criticism, dominant in the United States in the 1940s and 1950s [and which is still used in most high school classrooms], that focuses on a literary work as an artistic object possessing value in and of itself. The literary work is considered apart from any relationship the work may have to the life or intentions of its author (intentional fallacy), to social or cultural conditions at the time of its production, or to its effect on the reader (affective fallacy). New Criticism is close reading of the text and detailed analysis of what New Critics consider principal elements of a literary work: words, images, and symbols (rather than plot and character). New Critics tend to assume that these elements have opposing meanings, which are reconciled or at least brought into equilibrium by the theme of the work.
Structuralism – analyzes language and literature as structures. Structuralist critics are primarily interested not in what makes an individual literary work unique but in what it has in common with other literary works. In structuralist terms, they are looking for the “codes” and “conventions” that are in operation within, say, all the works of one genre or type of literature.
Post-Structuralism – an umbrella term that came into use in the 1970s and covered several approaches to literary criticism, including deconstruction, reader-response criticism, and some varieties of psychoanalytic criticism and feminist criticism. Each of these approaches has sought to compensate for the neglect by structuralist criticism of important elements of literary study, such as the roles of the reader and the author and the function of ideology.
hierarchy – categorization of members of a group according to the importance of each.
logocentrism – literally ‘word-centering’. A term coined by the French philosopher Jacques Derrida which implies all forms of thought based on a desire for truth. [Derrida’s principal sub-category of logocentrism is phonocentrism, ‘sound-centering’.]
linguistics – the study of languages as systems.
différance – a word coined by Jacques Derrida which he uses in opposition to logocentrism. It is intentionally ambiguous (and virtually untranslatable) and derives from the French différer, meaning ‘to defer, postpone, delay’ and also ‘to differ, be different from’. Meaning is continuously and (in theory) endlessly deferred since each word leads us on to yet another word in the system of signification. Derrida sees a text as an endless sequence of signifiers which can have no ultimate or determinate meaning.
metaphor – a figure of speech, an implied analogy in which one thing is imaginatively compared to or identified with another, dissimilar thing.
metonymy – a figure of speech that substitutes the name of a related object, person, or idea for the subject at hand. Crown is often substituted for monarchy, the White House for the President of the United States and the staff, and Shakespeare for the works of Shakespeare.
I would post a link to the wine festival in Moncton which I attended tonight. http://www.wineexpo.ca/main.htm In retrospect I wonder if this was a good idea...sadly I am drunk as I type this. Love the revenge of the nerds stuff...love it love it love it... Cheers from New Brunswick, Sue
5 comments:
How about this quiz on Charles Dickens?
http://news.bbc.co.uk/1/hi/magazine/4399744.stm
And afterwards, why not a forum on the following journal topic that I gave my students last year in Honors Modern Fiction class?
JOURNAL ENTRY #7: Where is meaning found in a work of literature? From the work itself, from the author, from its relationship to other works, and/or from ourselves (i.e. the reader)? Explain.
Oh, I forgot vocab. (Vive le vocab!)
New Criticism – an approach to literary criticism, dominant in the United States in the 1940s and 1950s [and which is still used in most high school classrooms], that focuses on a literary work as an artistic object possessing value in and of itself. The literary work is considered apart from any relationship the work may have to the life or intentions of its author (intentional fallacy), to social or cultural conditions at the time of its production, or to its effect on the reader (affective fallacy). New Criticism is close reading of the text and detailed analysis of what New Critics consider principal elements of a literary work: words, images, and symbols (rather than plot and character). New Critics tend to assume that these elements have opposing meanings, which are reconciled or at least brought into equilibrium by the theme of the work.
Structuralism – analyzes language and literature as structures. Structuralist critics are primarily interested not in what makes an individual literary work unique but in what it has in common with other literary works. In structuralist terms, they are looking for the “codes” and “conventions” that are in operation within, say, all the works of one genre or type of literature.
Post-Structuralism – an umbrella term that came into use in the 1970s and covered several approaches to literary criticism, including deconstruction, reader-response criticism, and some varieties of psychoanalytic criticism and feminist criticism. Each of these approaches has sought to compensate for the neglect by structuralist criticism of important elements of literary study, such as the roles of the reader and the author and the function of ideology.
hierarchy – categorization of members of a group according to the importance of each.
logocentrism – literally ‘word-centering’. A term coined by the French philosopher Jacques Derrida which implies all forms of thought based on a desire for truth. [Derrida’s principal sub-category of logocentrism is phonocentrism, ‘sound-centering’.]
linguistics – the study of languages as systems.
différance – a word coined by Jacques Derrida which he uses in opposition to logocentrism. It is intentionally ambiguous (and virtually untranslatable) and derives from the French différer, meaning ‘to defer, postpone, delay’ and also ‘to differ, be different from’. Meaning is continuously and (in theory) endlessly deferred since each word leads us on to yet another word in the system of signification. Derrida sees a text as an endless sequence of signifiers which can have no ultimate or determinate meaning.
metaphor – a figure of speech, an implied analogy in which one thing is imaginatively compared to or identified with another, dissimilar thing.
metonymy – a figure of speech that substitutes the name of a related object, person, or idea for the subject at hand. Crown is often substituted for monarchy, the White House for the President of the United States and the staff, and Shakespeare for the works of Shakespeare.
Rich, this is awesome. I'm so doing it.
I'm so uninspird these days. What's my problem? I need a shot of something in the veins.
I would post a link to the wine festival in Moncton which I attended tonight.
http://www.wineexpo.ca/main.htm
In retrospect I wonder if this was a good idea...sadly I am drunk as I type this. Love the revenge of the nerds stuff...love it love it love it...
Cheers from New Brunswick,
Sue
about yourself
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