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EN 220 Week 11 Notes

by: Rhiannon Hein

EN 220 Week 11 Notes EN 220

Rhiannon Hein
GPA 3.886

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These notes cover chapters 8-9 of Absalom! Absalom! and include an introduction to Post Modernism in Dr. Love's class.
Honors American Literature II
Dr. Christopher Love
Class Notes
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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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