EN 220 Week 11 Notes
EN 220 Week 11 Notes EN 220
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This 2 page Class Notes was uploaded by Rhiannon Hein on Monday April 11, 2016. The Class Notes belongs to EN 220 at University of Alabama - Tuscaloosa taught by Dr. Christopher Love in Spring 2016. Since its upload, it has received 7 views. For similar materials see Honors American Literature II in Foreign Language at University of Alabama - Tuscaloosa.
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Date Created: 04/11/16
Absalom, Absalom Day 5 Notes (Chapters 89) I. Quentin and Shreve’s conjecture a. What’s different about the telling? i. It’s a romance. Shreve focuses on the love aspect, believes that Bon must have loved Judith but his knowledge kept him from writing consistently, from being completely honest. ii. Shreve wants it to be a romantic love story. 1. Shreve still has innocence, he doesn’t have the life experience to know better. He’s a young man, there’s a tendency to romanticize. iii. Perhaps Faulkner is also demonstrating another way in which stories about the south are told. TRANSITION: POSTMODERNISM I. 1945—Present II. Postmodernism has a variety of meanings: artistic, economic, political, and philosophical, and is even defined by how these are intertwined. a. In short, art does not operate independently from politics, economics, and philosophical ideology. b. It cannot be independent of such forces—this directly contradicts Modernist artists who think their art can transcend such. c. Because art cannot get “outside” of the sociopolitical framework, and thus, neither can the individual. III. From an economic point of view, postmodernism begins when the process of modernization is complete. The US has shifted from a rural population to a predominately urbansuburban population. a. Capitalism has seeped into every meaningful facet of American society, nothing is left untouched by the market. IV. Political idealism is an illusion used to further the interests of capitalism. We must recognize the underlying motivations of governments and social infrastructures as a result of the logic of capitalism. a. Thus, art can only participate in the machinery of capitalism rather than exist outside of it. b. For example, art that was once considered protest music now becomes tools of advertising. c. The art of Andy Warhol is an example of postmodernism because it affirms the notion that even art, when popular, is used as a commodity. V. Postmodern writers exhibit frustration, playfulness, and defiance toward this “postmodern condition” a. American postmodern writers thus attack what they believe to be illusory notions of freedom and individualism. b. Postmodern writers focus on humans’ dependence on technology, and individuals who are often hopelessly caught up and produced by its machinery. i. Free will and selfdetermination for the postmodern writer is an illusion or heavily consequential. VI. Postmodern literature can be highly experimental, but mainly in terms of blending established styles. VII. Like the Modernists, Postmoderns will push the boundary between art and obscenity and will continue to analyze society critically. VIII. However, while realism is not totally abandoned, many Postmodernism play with the notion of realism—what is realism in fiction and how does fiction really compare to experiential reality? a. Postmodern writers believe that fiction creates a false sense of reality. There is still a division between fictional worlds (no matter how realistic the depiction) and reality. i. Magical realism is an example of this. IX.
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