Here is the link to the facebook I have created I'm not sure if you'll have to friend me to view it all (I've never quite figured out the privacy settings on this thing so I will check regularly for the next few days for your friend request.
http://www.facebook.com/profile.php?id=100001084060036&ref=profile#!/profile.php?id=100001084060036&v=info&ref=profile
And here is my final essay:
Ann Kannel
English 263
Final Project
Patrick “Pussy” Braden Revisited
My primary objective with creating Patrick’s Facebook page was to bring a character we’ve all read about to life. There were many wonderful characters we encountered this semester, but for me, Pussy Braden was the most charismatic, the most endearing, the most engrossing; she was the most alive. Bringing her to life through a Facebook page seemed a logical next step. She had so many interesting ideas, opinions, relationships, and experiences … I knew that if Pussy were on Facebook she would have a lot to say, and a pretty impressive life of friends who would want to listen!
Our discussions this semester definitely influenced the way I wanted Pussy to portray herself on Facebook. Obviously much of our dialogue over the semester was focused on Ireland and how her ongoing political turmoil influenced her citizens and, conversely, their literature. Pussy certainly was influenced by Ireland’s tumultuous political climate. Her reception as a woman, her relationships with those involved with socio-political violence; while Pussy herself lives a life of fanciful dreams of romance, it is an inescapable part of her reality. She doesn’t seem to have much interest in the strife she’s surrounded by, but it makes itself known regardless; it claims her friend Laurence’s life in a tragic case of collateral damage. Pussy’s anger over this loss remained; it seemed to be she felt everyone was just acting unreasonably. I had her include a piece on war on her Facebook page because this is a topic she has real feelings for, and living in Western society today inherently embroils her in the current conflict between Fundamentalist Islam and the West.
I think my favorite part of this project was the actual process of creating Pussy’s Facebook page. Once I had completed the research phase of the project, I had established the persona Pussy would present to the world. She was a hopeless romantic, and a wandering dreamer. Her focus in life was her relationships, romance, lust, love. This is the stuff Facebook is all about! Reviewing Breakfast on Pluto definitely put Pussy’s persona in perspective; she truly was a woman defined by her relationships. The people in her life were what mattered most, by far. She would have loved Facebook; gossiping about her newest romances, making friends laugh out loud with her wildly imaginative ramblings. I feel as if her piece on war is my favorite part of the project. Her character comes through clearly; she dismisses the violent acts perpetrated by those around her, while meaningfully lamenting the loss of someone so close to her.
The only concern I had during the process of creating Pussy’s Facebook page was that the set-up parameters provided by the website had changed since I had established my own profile. I had looked forward to actually including more information than was provided for: interests, music, books, etc. This was a mild snag in an otherwise pleasant and meaningful experience. I also was concerned with how I was going to be able to put across my interpretations through Pussy’s narrative. During this semester, there was an obvious and understandable focus on the way the setting, the political climate, etc. impacted the characters and the nature of the literature itself. Pussy was such a rich, memorable, and (I think) endearing character, it was great experience bringing her even more vividly to life through Facebook, in light of her life in 1970s Ireland.
This assignment was a labor of love. Patrick “Pussy” Braden was one of the most memorable literary characters I’ve encountered in some time, and getting to create a Facebook page for him was an entirely natural and rewarding process. I almost felt like I became Pussy for a time; the biographical narrative nearly wrote itself. In preparing for the project, I did some research on Ireland in the 1970s, as well as reviewing the text itself for all of Pussy’s many relationships, as well as favorite musicians, quotes, etc. Once the research and preparation was complete, the process of actually putting together Pussy’s page was relatively quick and painless. All in all, I spent about four days researching, and two days actively creating. I was very satisfied with the results, which as I said almost expressed themselves once the writing began. Even after reviewing Pussy’s final webpage, I found little need for revisions. This was a meaningful assignment, and a satisfying way to end the semester.
All in all, I will remember and appreciate this class for having taught me more about the process by which a novel can be read, enjoyed, and learned from. I also have come to appreciate the idea of an online class in which the students can teach one another as much as a professor could in a conventional English class. While the critical essays examining our class’ texts were more than a bit challenging to decipher at times, the process of considering the original texts in light of new and different insights was a positive and productive one. This was especially so because, for most of the books we read, I had little inclination as to the depth of the political commentary embedded within the stories themselves. For instance, the subtext in Carmilla was not obvious to me at all; however, the commentary provided afterwards enlightened me greatly. I feel as if this is a skill I will be able to use in enjoying further novels; certainly learning the author’s story and circumstances can do much to establish context to their work.
Tuesday, May 18, 2010
Monday, May 10, 2010
Facebook Rough Draft
You can friend me at http://www.facebook.com/profile.php?id=100001084060036&ref=profile&v=info not quite finished but we have some nice pictures from the movie and a bio going I seemed to have wasted some time trying to get cute little quotes from the book hidden in there.
I have without a doubt taken quite a bit from this class, although it brought about a lot of frustrations I have learned a bit about the Irish novel and what's more about Irish culture. I have learned that the trend amongst Irish authors is to display the culture and the world around them through their writing. Maybe not the current setting but, like in Breakfast on Pluto, past events that have enveloped the country and it's people. I have gotten a greater appreciation for the novel in general I have come to respect it whereas before i tended to avoid works of fiction thinking I would learn less than if I read non fiction. I still don't think that I could read works of literary criticism very often because, at least to me, they take away some of the magic and mystery that your are left with after reading a novel. This class has enriched my literary spectrum and I think in the future I won't be shying away from Irish literature!
I have without a doubt taken quite a bit from this class, although it brought about a lot of frustrations I have learned a bit about the Irish novel and what's more about Irish culture. I have learned that the trend amongst Irish authors is to display the culture and the world around them through their writing. Maybe not the current setting but, like in Breakfast on Pluto, past events that have enveloped the country and it's people. I have gotten a greater appreciation for the novel in general I have come to respect it whereas before i tended to avoid works of fiction thinking I would learn less than if I read non fiction. I still don't think that I could read works of literary criticism very often because, at least to me, they take away some of the magic and mystery that your are left with after reading a novel. This class has enriched my literary spectrum and I think in the future I won't be shying away from Irish literature!
Sunday, April 25, 2010
Final Project
So it's taken me a second to come up with an idea for my final project but I think I have one. I liked right away the idea of bringing a character to life through something as fickle as a facebook page. This social networking page is known for pictures, quotes, about me's (some that go a bit into too much detail) etc. I think that with Pussy's flair for the dramatics and over the top accounts of her own life and past I think she would make a perfect candidate for this project. I like the idea of kind of an undertaking I would need to feel comfortable enough with my knowledge of her to be able to ad lib certain things and of course there's a comprehensive about me section that I'm sure Pussy would love to fill in. Still shots from the movie as well as some help from photoshop would be used as her "tagged" pictures.
Honestly I couldn't see this particular project working for any other character. If she were someone with an actual facebook in real life we would constantly see he update from her iphone.
Honestly I couldn't see this particular project working for any other character. If she were someone with an actual facebook in real life we would constantly see he update from her iphone.
Tuesday, March 30, 2010
Portrait
The journey of Stephen Dadelus in James Joyce’s A Portrait of the Artist as a Young Man is known to be a rich commentary not only on Joyce’s own life, but on the political and social climate of Ireland at the time of Joyce’s personal coming of age. Stephen is the product of an Ireland wrestling with its independence, it’s cultural heritage and identity, and it’s future. Stephen, like Joyce, is raised a strict Catholic, and is faced early on with the dilemma of being a good, pious, and humble Catholic; acknowledging, appreciating, and working towards greater Irish independence and cultural autonomy; and respectfully communicating and living with those who wanted Ireland’s relationship with and reliance upon Great Britain to continue. This is a common thread among Irish literature of this era, and it is a topic touched upon to a greater or lesser degree by the majority of Ireland’s authors, artists, and critics during and following the period of the Irish Revival. One such author is W.B. Yeats, who’s works regarding the independence and identity of Ireland contain ideas reflective of and sympathetic to the Irish majority: devout Catholics who celebrated Ireland’s unique cultural heritage and struggles, and who wished to see her freed of the yoke of English influence and governing.
Stephen Dadelus, however, is a character of James Joyce’s experiences and imagination who seems to come to a different conclusion regarding the state of his mother country and the nature of her struggle for independence and recognition. Stephen’s journey towards independence, self-realization, and honest self-expression begins amidst an atmosphere of strict Catholic observance, both cultivated and embodied by Stephen’s mother Mary Dadelus. This baseline framework by which Stephen experiences the world seems reasonable and sensible to the young adolescent; although the degree to which it affects Stephen’s views and understanding of Emma Clery underscores its ultimate fallibility – it is too stark, too moralistic, too black-and-white to allow room for the subtleties of genuine human beings to be accounted for. Hence, Emma becomes iconic of all things pure and feminine; not unlike Stephen’s probable vision of his mother at this juncture in his life, or the virtues of the Virgin Mother Mary, held in such holy regard by Catholics.
Stephen’s view of the world, and therefore his actions and his character, change once he begins having sexual affairs with prostitutes, and indulging in other morally forbidden behaviors. This phase of his life contrasts starkly with his pious religious upbringing, and with it comes intense guilt and shame. This period of Stephen’s life comes to an abrupt end when the young man is audience to three especially fiery and topical sermons; these well-timed messages ring true to the adolescent, and he returns once more to the Catholic fold, this time with a pious zeal which is undeniably noticeable to all those around him.
Stephen’s roller-coaster ride of personal exploration, reflection, and identity crisis is tempered all along by his artistic nature, his love of beauty, and his philosophical consideration of how best to live his life. It is this side of the now-young adult which ultimately comes to fruition; Stephen’s observation of a young and beautiful girl wading at the beach one day brings about an epiphany that aesthetic beauty is a real and undeniable and worthwhile principle by which to guide one’s life. Following this epiphany, Stephen departs for college, where he finds among conversations with is friends a fully realized synthesis of the young artist’s views and philosophies regarding art, beauty, creativity, and existence itself. He concludes that to be fully himself, he must simultaneously renounce the constrictions which have been culturally engrained in him, while also paying heed and homage to those people and movements which have undeniably shaped his world and experiences thus far.
This ultimate acknowledgement and acceptance of personal balance and honest expression is in contrast with those Irish authors and artists who found it natural to fully support Ireland’s movement for independence. This form of nationalism was and is both common and understandable; however, the lesson of Joyce’s Stephen Dadelus (and, for that matter, Joyce’s own perspective on the issue) is that in order for an artist – or indeed any human being seeking to be fully genuine and authentic – to be completely self-realized and not just a product of a time and place, they must look beyond the social and cultural movements of their day in order to find out who they truly are, what is truly important to them, and what is necessary for them to fulfill their obligation of genuine self-expression. This is difficult to do when one is nearly or entirely defined by the social agenda and values handed to them by way of random chance (i.e., where and when they were born).
It is interesting to note that Stephen Dadelus’ process and conclusion of authentic self-exploration and –realization, as both a young man and as an artist, has parallels in other spiritual and philosophical coming-of-age stories. I was personally struck by the common aspects between Stephen’s journey of perception and understanding with the Buddha’s procession from sensual prince to ascetic pauper to balanced and enlightened teacher, who taught living by “the Middle Path.” Where the Buddha found purely sensual and purely spiritual/ascetic ways of living to be equally unrealistic and detrimental, so too does Stephen find neither his strict Catholic piety nor his attempts at living in pure indulgent debauchery to be fully authentic, engaging, or satisfying. In this light, it seems perhaps inevitable that one must explore the extremes of one’s experience before they can honestly and contentedly express a more objective, realistic, and pragmatic approach to living their life.
Stephen Dadelus, however, is a character of James Joyce’s experiences and imagination who seems to come to a different conclusion regarding the state of his mother country and the nature of her struggle for independence and recognition. Stephen’s journey towards independence, self-realization, and honest self-expression begins amidst an atmosphere of strict Catholic observance, both cultivated and embodied by Stephen’s mother Mary Dadelus. This baseline framework by which Stephen experiences the world seems reasonable and sensible to the young adolescent; although the degree to which it affects Stephen’s views and understanding of Emma Clery underscores its ultimate fallibility – it is too stark, too moralistic, too black-and-white to allow room for the subtleties of genuine human beings to be accounted for. Hence, Emma becomes iconic of all things pure and feminine; not unlike Stephen’s probable vision of his mother at this juncture in his life, or the virtues of the Virgin Mother Mary, held in such holy regard by Catholics.
Stephen’s view of the world, and therefore his actions and his character, change once he begins having sexual affairs with prostitutes, and indulging in other morally forbidden behaviors. This phase of his life contrasts starkly with his pious religious upbringing, and with it comes intense guilt and shame. This period of Stephen’s life comes to an abrupt end when the young man is audience to three especially fiery and topical sermons; these well-timed messages ring true to the adolescent, and he returns once more to the Catholic fold, this time with a pious zeal which is undeniably noticeable to all those around him.
Stephen’s roller-coaster ride of personal exploration, reflection, and identity crisis is tempered all along by his artistic nature, his love of beauty, and his philosophical consideration of how best to live his life. It is this side of the now-young adult which ultimately comes to fruition; Stephen’s observation of a young and beautiful girl wading at the beach one day brings about an epiphany that aesthetic beauty is a real and undeniable and worthwhile principle by which to guide one’s life. Following this epiphany, Stephen departs for college, where he finds among conversations with is friends a fully realized synthesis of the young artist’s views and philosophies regarding art, beauty, creativity, and existence itself. He concludes that to be fully himself, he must simultaneously renounce the constrictions which have been culturally engrained in him, while also paying heed and homage to those people and movements which have undeniably shaped his world and experiences thus far.
This ultimate acknowledgement and acceptance of personal balance and honest expression is in contrast with those Irish authors and artists who found it natural to fully support Ireland’s movement for independence. This form of nationalism was and is both common and understandable; however, the lesson of Joyce’s Stephen Dadelus (and, for that matter, Joyce’s own perspective on the issue) is that in order for an artist – or indeed any human being seeking to be fully genuine and authentic – to be completely self-realized and not just a product of a time and place, they must look beyond the social and cultural movements of their day in order to find out who they truly are, what is truly important to them, and what is necessary for them to fulfill their obligation of genuine self-expression. This is difficult to do when one is nearly or entirely defined by the social agenda and values handed to them by way of random chance (i.e., where and when they were born).
It is interesting to note that Stephen Dadelus’ process and conclusion of authentic self-exploration and –realization, as both a young man and as an artist, has parallels in other spiritual and philosophical coming-of-age stories. I was personally struck by the common aspects between Stephen’s journey of perception and understanding with the Buddha’s procession from sensual prince to ascetic pauper to balanced and enlightened teacher, who taught living by “the Middle Path.” Where the Buddha found purely sensual and purely spiritual/ascetic ways of living to be equally unrealistic and detrimental, so too does Stephen find neither his strict Catholic piety nor his attempts at living in pure indulgent debauchery to be fully authentic, engaging, or satisfying. In this light, it seems perhaps inevitable that one must explore the extremes of one’s experience before they can honestly and contentedly express a more objective, realistic, and pragmatic approach to living their life.
Tuesday, March 16, 2010
Dorian Grey Article
This week’s reading, “The Gay Artist as a Tragic Hero in The Picture of Dorian Gray” by Henry M. Alley, was insightful and informative. Alley’s perspective on the homo-erotic subtext of Dorian Gray does much to put the story line and its historical references and influences into a meaningful context.
The relevance of terms like “hamartia” and “dandy” to Dorian Gray become quite apparent upon brief investigation. Hamartia is defined simply as “tragic flaw” on Dictionary.com; Wikipedia offers a more in-depth explanation of the term:
This form of drawing emotion from the audience is a staple of the Greek tragedies. In Greek tragedy, stories that contain a character with a hamartia often follow a similar blueprint. The hamartia, as stated, is seen as an error in judgment or unwitting mistake is applied to the actions of the hero. For example, the hero might attempt to achieve a certain objective X; by making an error in judgment, however, the hero instead achieves the opposite of X, with disastrous consequences.
This I think quite directly applies to Dorian Gray in the form of the character Basil. The assertion made, by Alley and others cited by him, that Basil is the principle hero of Dorian Gray is convincing to me and would seem to be quite obvious, seeing as Basil alone mantains an essence of goodness and goodwill throughout the story, whereas Lord Henry’s influence is a corrupting factor, and Dorian’s presence to all those around him is toxic. Basil has a good in his heart which is fitting of a prototypical hero, but the “error in judgement or unwitting mistake” which defines the artist is of course his all-pervasive and all-powerful love and longing for Dorian, whose unavailability and calamitous influence on those around him tears at Basil as much as his own inability to express and pursue his heart’s desire with conviction and success.
The term “dandy” is also relevant to Wilde’s novel. It has been noted that Lord Henry’s uncle refers to him as a “dandy;” Wikipedia offers us this working definition of the term:
A dandy (also known as a beau, or gallant) is a man who places particular importance upon physical appearance, refined language, and leisurely hobbies, pursued with the appearance of nonchalance in a cult of Self. Historically, especially in late 18th- and early 19th-century Britain, a dandy, who was self-made, often strove to imitate an aristocratic style of life despite coming from a middle class background.
This of course describes Basil (to a degree, but especially in how he covets physical appearances), Lord Henry (he of the influential yellow book and it’s guidance along in the “cult of Self”), and most of all Dorian Gray. Gray encapsulates the spirit of the dandy in it’s darkest manifestation, where appearance becomes not only everything, but a means by which to hide true darkness and malevolence. Dorian Gray is very much the proverbial wolf in sheep’s clothing, maintaining a façade of regal sophistication and dashing debonairness while beneath the surface festers a conniving, self-serving hedonist egomaniac.
I found The Portrait of Dorian Gray to be maybe our most interesting and pleasurable reading assignment thus far in class. Alley’s insights into the text, and especially his understanding of the relationship between Gray as a novel and Oscar Wilde’s own real-life proclivities, proved to be quite fascinating and, I think, helpful in gaining a more meaningful understanding of the book’s message.
The relevance of terms like “hamartia” and “dandy” to Dorian Gray become quite apparent upon brief investigation. Hamartia is defined simply as “tragic flaw” on Dictionary.com; Wikipedia offers a more in-depth explanation of the term:
This form of drawing emotion from the audience is a staple of the Greek tragedies. In Greek tragedy, stories that contain a character with a hamartia often follow a similar blueprint. The hamartia, as stated, is seen as an error in judgment or unwitting mistake is applied to the actions of the hero. For example, the hero might attempt to achieve a certain objective X; by making an error in judgment, however, the hero instead achieves the opposite of X, with disastrous consequences.
This I think quite directly applies to Dorian Gray in the form of the character Basil. The assertion made, by Alley and others cited by him, that Basil is the principle hero of Dorian Gray is convincing to me and would seem to be quite obvious, seeing as Basil alone mantains an essence of goodness and goodwill throughout the story, whereas Lord Henry’s influence is a corrupting factor, and Dorian’s presence to all those around him is toxic. Basil has a good in his heart which is fitting of a prototypical hero, but the “error in judgement or unwitting mistake” which defines the artist is of course his all-pervasive and all-powerful love and longing for Dorian, whose unavailability and calamitous influence on those around him tears at Basil as much as his own inability to express and pursue his heart’s desire with conviction and success.
The term “dandy” is also relevant to Wilde’s novel. It has been noted that Lord Henry’s uncle refers to him as a “dandy;” Wikipedia offers us this working definition of the term:
A dandy (also known as a beau, or gallant) is a man who places particular importance upon physical appearance, refined language, and leisurely hobbies, pursued with the appearance of nonchalance in a cult of Self. Historically, especially in late 18th- and early 19th-century Britain, a dandy, who was self-made, often strove to imitate an aristocratic style of life despite coming from a middle class background.
This of course describes Basil (to a degree, but especially in how he covets physical appearances), Lord Henry (he of the influential yellow book and it’s guidance along in the “cult of Self”), and most of all Dorian Gray. Gray encapsulates the spirit of the dandy in it’s darkest manifestation, where appearance becomes not only everything, but a means by which to hide true darkness and malevolence. Dorian Gray is very much the proverbial wolf in sheep’s clothing, maintaining a façade of regal sophistication and dashing debonairness while beneath the surface festers a conniving, self-serving hedonist egomaniac.
I found The Portrait of Dorian Gray to be maybe our most interesting and pleasurable reading assignment thus far in class. Alley’s insights into the text, and especially his understanding of the relationship between Gray as a novel and Oscar Wilde’s own real-life proclivities, proved to be quite fascinating and, I think, helpful in gaining a more meaningful understanding of the book’s message.
Tuesday, March 2, 2010
Literary Criticism
For this assignment, I chose to read Michael Davis’ (of the University of Birmingham) Gothic’s Enigmatic Signifier: The Case of Sheridan Le Fanu’s Carmilla. The thrust of Davis’ argument is as follows:
o Dreams are similar to the Gothic, in that dreams and the Gothic are both enigmatic, with meaningful subtext which needs to be explored to reach a true understanding
o A part of the enigmatic nature of both dreams and the Gothic involves the notion of that which cannot be decoded, deduced, understood, or fathomed … the “enigmatic signifier”
o In Carmilla, the relationship and attraction between Laura and Carmilla is defined by this factor of the “enigmatic signifier;” the mysterious, powerful, and ambiguous pull between Laura and Carmilla … a connection which baffles, thrills, seduces, and sometimes terrifies Laura, even years after the relationship in question has ended.
In Gothic’s Enigmatic Signifier, Davis chooses to examine Carmilla through the lens of William Veeder’s (distinguished Professor of English at the University of Chicago) noted Freudian analysis of the vampire novella, relying as well on Jean Laplanche (French author, theorist, and psychoanalyst) and his expert musings on Freud’s seduction theory. Citing John Fletcher’s documentation of Laplanche’s most recent work, Davis notes that
“Laplanche’s revision of the inauguration of human sexuality shifts the location of its source ‘from a biological stimulus to an exciting internal foreign body that attacks the ego from within.’ And the source of this assault is ‘the intrusive intimacies of the other.’ At the heart of this intrusion lies a situation of primal seduction. Laplanche writes:
I am, then, using the term primal seduction to describe a fundamental situation in which an adult proffers to a child verbal, non-verbal and even behavioural signifiers which are pregnant with unconscious sexual significations. We do not have to look far to find concrete examples of what I call enigmatic signifiers. (Davis, p.224)
This is a primary underpinning of Davis’ further exploration of the meaning and allegorical subtext of Carmilla. He posits that during the initial dream encounter between Laura and Carmilla, there was deposited this “exciting internal foreign body that attacks the ego from within … this assault (of) the intrusive intimacies of the other … a situation of primal seduction.” This “seed,” the energetic foundation of the future reunion and liason between Laura and Carmilla, is characterized as an undecipherable, ambiguous, emotionally- and energetically-charged message communicated to a child by a parent figure, which remains unsolvable and unknowable and powerfully mysterious yet unconsciously repressed in the heart of the young.
Davis clarifies his intentions by explaining, “rather than reading the tale as a narrative of (barely) repressed lesbian desire, I shall trace the traumatizing incursions of sexuality from the other (italics added) and, in Laplanchian terms, also examine Laura’s failure to translate the other’s enigmatic address into stable meaning – with all its consequences. Thus, I propose to read the text not literally (or at the level of Freud’s manifest content) but as an allegory of the psychic processes identified by Laplanche. In this sense my reading will be situated at a different level of unconscious meaning” (Davis, p.227)
This is precisely what Davis goes on to do. He interprets Laura’s behavior, and the strange power Carmilla has over her young object, as symbolic of the pervasiveness of the enigmatic other, the mystery which grows from within. The sexual nature of the relationship between Laura and Carmilla, and of the powerful sway Carmilla holds over Laura, is essential to Davis’ assertion that Carmilla as a novella exhibits simultaneously Gothic and Freudian undertones.
Davis observes, “For Laura the memories of the past, sexually arousing experiences remain enigmatic: vivid and yet vague, clear and yet obscure, but retain their power to re-invoke the disturbing effects of (wild and terrible) trauma. As Laplanche points out ‘it is in the very nature of sexuality to have a traumatic effect.’ And as Laura’s psychic disequilibrium testifies, the trauma of sexual seduction remains ‘encysted,’ an inner (unconscious) foreign body waiting to break out from within; ‘a sort of waste-product of certain processes of memorisation.’” (Davis, p.228)
I find Davis’ analysis of Carmilla to be compelling. Certainly, the profound psychological influence which Carmilla wields so dominatingly over the hapless Laura is made clear when, in Carmilla, Sheridan La Fanu writes (as Laura):
I now write, after an interval of more than ten years, with a trembling hand, with a confused and horrible recollection of certain occurrences and situations, in the ordeal through which I was unconsciously passing; though with a vivid and very sharp remembrance of the main current of my story. But, I suspect, in all lives there are certain emotional scenes, those in which our passions have been most wildly and terribly roused, that are of all others the most vaguely and dimly remembered. (La Fanu, p.261)
This passage captures the essence of the effect which Carmilla has had on Laura, the psychic stain, the residue which has been left to fester and thrive deep within Laura’s wounded psyche: sexual in nature, thrilling throughout the whole spectrum of emotions, lasting, and inexplicable. The Sigmund Freud-based interpretation of Davis, and by extension Veeder and Laplanche, is novel to me, but persuasive nonetheless. It is clear that Laura is essentially defined by her irrestible lure towards Carmilla, and the degree to which this unknowable force within her dominates her state of being makes clear that this is something deep and powerful within her. Davis’ assertion that Laura illustrates the power and the importance of the unknowable subconscious enigma characteristic of the Gothic is convincing.
Some questions to further engender conversation about Davis’ examination of Carmilla are:
o How does the imprinted stain upon the spirit and subconscious of Laura impact her relationships with others in her life, if at all?
o To what degree is Carmilla affected like-wise by her part in the relationship, in the enigma? Is the effect as powerful upon the “giver of the mark” as it is on those who have been “marked?”
o If this analysis of Carmilla in the context of Freudian psychology is accurate relative to the Gothic in general, what are some examples we can find in other Gothic works which demonstrate similar psychological underpinnings and concepts?
o Dreams are similar to the Gothic, in that dreams and the Gothic are both enigmatic, with meaningful subtext which needs to be explored to reach a true understanding
o A part of the enigmatic nature of both dreams and the Gothic involves the notion of that which cannot be decoded, deduced, understood, or fathomed … the “enigmatic signifier”
o In Carmilla, the relationship and attraction between Laura and Carmilla is defined by this factor of the “enigmatic signifier;” the mysterious, powerful, and ambiguous pull between Laura and Carmilla … a connection which baffles, thrills, seduces, and sometimes terrifies Laura, even years after the relationship in question has ended.
In Gothic’s Enigmatic Signifier, Davis chooses to examine Carmilla through the lens of William Veeder’s (distinguished Professor of English at the University of Chicago) noted Freudian analysis of the vampire novella, relying as well on Jean Laplanche (French author, theorist, and psychoanalyst) and his expert musings on Freud’s seduction theory. Citing John Fletcher’s documentation of Laplanche’s most recent work, Davis notes that
“Laplanche’s revision of the inauguration of human sexuality shifts the location of its source ‘from a biological stimulus to an exciting internal foreign body that attacks the ego from within.’ And the source of this assault is ‘the intrusive intimacies of the other.’ At the heart of this intrusion lies a situation of primal seduction. Laplanche writes:
I am, then, using the term primal seduction to describe a fundamental situation in which an adult proffers to a child verbal, non-verbal and even behavioural signifiers which are pregnant with unconscious sexual significations. We do not have to look far to find concrete examples of what I call enigmatic signifiers. (Davis, p.224)
This is a primary underpinning of Davis’ further exploration of the meaning and allegorical subtext of Carmilla. He posits that during the initial dream encounter between Laura and Carmilla, there was deposited this “exciting internal foreign body that attacks the ego from within … this assault (of) the intrusive intimacies of the other … a situation of primal seduction.” This “seed,” the energetic foundation of the future reunion and liason between Laura and Carmilla, is characterized as an undecipherable, ambiguous, emotionally- and energetically-charged message communicated to a child by a parent figure, which remains unsolvable and unknowable and powerfully mysterious yet unconsciously repressed in the heart of the young.
Davis clarifies his intentions by explaining, “rather than reading the tale as a narrative of (barely) repressed lesbian desire, I shall trace the traumatizing incursions of sexuality from the other (italics added) and, in Laplanchian terms, also examine Laura’s failure to translate the other’s enigmatic address into stable meaning – with all its consequences. Thus, I propose to read the text not literally (or at the level of Freud’s manifest content) but as an allegory of the psychic processes identified by Laplanche. In this sense my reading will be situated at a different level of unconscious meaning” (Davis, p.227)
This is precisely what Davis goes on to do. He interprets Laura’s behavior, and the strange power Carmilla has over her young object, as symbolic of the pervasiveness of the enigmatic other, the mystery which grows from within. The sexual nature of the relationship between Laura and Carmilla, and of the powerful sway Carmilla holds over Laura, is essential to Davis’ assertion that Carmilla as a novella exhibits simultaneously Gothic and Freudian undertones.
Davis observes, “For Laura the memories of the past, sexually arousing experiences remain enigmatic: vivid and yet vague, clear and yet obscure, but retain their power to re-invoke the disturbing effects of (wild and terrible) trauma. As Laplanche points out ‘it is in the very nature of sexuality to have a traumatic effect.’ And as Laura’s psychic disequilibrium testifies, the trauma of sexual seduction remains ‘encysted,’ an inner (unconscious) foreign body waiting to break out from within; ‘a sort of waste-product of certain processes of memorisation.’” (Davis, p.228)
I find Davis’ analysis of Carmilla to be compelling. Certainly, the profound psychological influence which Carmilla wields so dominatingly over the hapless Laura is made clear when, in Carmilla, Sheridan La Fanu writes (as Laura):
I now write, after an interval of more than ten years, with a trembling hand, with a confused and horrible recollection of certain occurrences and situations, in the ordeal through which I was unconsciously passing; though with a vivid and very sharp remembrance of the main current of my story. But, I suspect, in all lives there are certain emotional scenes, those in which our passions have been most wildly and terribly roused, that are of all others the most vaguely and dimly remembered. (La Fanu, p.261)
This passage captures the essence of the effect which Carmilla has had on Laura, the psychic stain, the residue which has been left to fester and thrive deep within Laura’s wounded psyche: sexual in nature, thrilling throughout the whole spectrum of emotions, lasting, and inexplicable. The Sigmund Freud-based interpretation of Davis, and by extension Veeder and Laplanche, is novel to me, but persuasive nonetheless. It is clear that Laura is essentially defined by her irrestible lure towards Carmilla, and the degree to which this unknowable force within her dominates her state of being makes clear that this is something deep and powerful within her. Davis’ assertion that Laura illustrates the power and the importance of the unknowable subconscious enigma characteristic of the Gothic is convincing.
Some questions to further engender conversation about Davis’ examination of Carmilla are:
o How does the imprinted stain upon the spirit and subconscious of Laura impact her relationships with others in her life, if at all?
o To what degree is Carmilla affected like-wise by her part in the relationship, in the enigma? Is the effect as powerful upon the “giver of the mark” as it is on those who have been “marked?”
o If this analysis of Carmilla in the context of Freudian psychology is accurate relative to the Gothic in general, what are some examples we can find in other Gothic works which demonstrate similar psychological underpinnings and concepts?
Tuesday, February 23, 2010
response to "Carmilla"
Reading Carmilla has been a pleasant experience! The language was accessible, the story engrossing. There is a delicious and satisfying sense of creeping and impending evil as the narrator, Laura, comes to know Carmilla over time. I must admit, in reading this delightful vampire story that I was slightly dubious as to how it related to the historical, contextual focus of our class. The idea that Carmilla’s vampire-flavored villain could be symbolically representative of one of the battling factors in Ireland’s political saga is interesting. I suppose Carmilla, as the urgent and seductive lover promising care and security while intending selfish gratification no matter the cost, could be read as an embodiment of the British presence in Ireland’s government. The Irish parliament, effectively controlled by Great Britain, surely did it’s best to ease the growing tide of questioning, complaining, and challenging with assurances that the interests of the people were it’s own, that everyone would be okay, that they were cared for and in good hands. This is not unlike Carmilla’s creepy attempts to woo Laura into a love affair – talk of a grand plan, of mutual destiny, of a love that needn’t concern itself with the well-being of all people … just those who matter. “I live in you; and you would die for me, I love you so.” (Carmilla to Laura, pg.274) This might be me reading too much into Carmilla’s character and the intentions or beliefs of the author. I do, however, find the afore-mentioned similarities between the nature of Carmilla and the role and presence of the Irish parliament to exist regardless, and they are compelling to me.
The role of sexuality in Carmilla seems limited to Carmilla’s character, though in her case it plays a somewhat significant factor in establishing and defining her persona. Her unabashed desire for Laura is both inexplicable and highly telling. Her intentions are selfish, draped in the verbiage of a grand affair for the ages. The fact that her passion is for another woman is not really addressed as odd or troubling within the context of the narrative or the tone of the book. However, if one were to look at the subtext of the characters and the meaning of their personalities, it could be argued that it is significant that Carmilla’s role is that of both lesbian temptress and undead evil vampire monster – in some way correlating the two in kind, if not degree. Again, this theory might be a bit far-reaching, but it could be imagined that Laura’s character could have just as easily been a young man; there has to be some reason the love affair was chosen to be homosexual.
I really enjoyed reading Carmilla; I hope that my understanding of its narrative and its subtext are at least somewhat accurate. It is my hope that at least one of our other readings this semester will involve a monster of some sort; perhaps a Bigfoot or a werewolf.
The role of sexuality in Carmilla seems limited to Carmilla’s character, though in her case it plays a somewhat significant factor in establishing and defining her persona. Her unabashed desire for Laura is both inexplicable and highly telling. Her intentions are selfish, draped in the verbiage of a grand affair for the ages. The fact that her passion is for another woman is not really addressed as odd or troubling within the context of the narrative or the tone of the book. However, if one were to look at the subtext of the characters and the meaning of their personalities, it could be argued that it is significant that Carmilla’s role is that of both lesbian temptress and undead evil vampire monster – in some way correlating the two in kind, if not degree. Again, this theory might be a bit far-reaching, but it could be imagined that Laura’s character could have just as easily been a young man; there has to be some reason the love affair was chosen to be homosexual.
I really enjoyed reading Carmilla; I hope that my understanding of its narrative and its subtext are at least somewhat accurate. It is my hope that at least one of our other readings this semester will involve a monster of some sort; perhaps a Bigfoot or a werewolf.
Tuesday, February 16, 2010
Blackface Thady
Greetings, my fellow online classmates! I hope all of you are well.
Susan Egenolf's attempt to connect the portrayal of Thady to the black face and minstrel movement was very provocative and intriguing. After a little thought, it makes sense. As I understand it, black face and minstrelsy were about presenting a “different” people as especially different, and usually with a focused lampooning of those traits and qualities which were seen worthy of mocking. In the case of Thady, this same spirit does seem to be alive in the manner in which he’s presented. His dialect, coupled with his unusually long-winded and multi-tangential approach to conveying ideas and observations, provide an extreme and somewhat comical portrayal of the Irish. Thady’s ill-advised and at times pathetic loyalty to his series of masters can be seen as critical of the intelligence of the Irish landowners of the time.
The comparisons between Maria Edgeworth’s Castle Rackrent and the work of other authors makes sense. I especially can see where the Jonathon Swift comparison fits, as both authors used their prose as a tool of social critique and parody. Both authors couched their insights and criticisms within deceptively comical and witty narratives.
The episode in Castle Rackrent in which Thady conducts a living wake for Sir Condy was, to me, primarily an example of the ridiculousness of the heads of the Rackrent estate. My interpretation of that event was that it indicated the pettiness and shallow nature of Sir Condy, who for all intents and purposes was the most noble of the heads of estate; at least he seemed to be motivated by good, and kindness and generosity for those around him. The fact that he desired a living wake – in order to hear what people thought of him, as far as I could tell – does not speak highly of Sir Condy’s true character. By extension, this does not speak well of Irish landowners in general. However, any sense of the supernatural within this narrative was lost on me.
Please allow me at this time to say that I think reading Egenolf’s Maria Edgeworth in Blackface before Castle Rackrent would have been very helpful, and much preferred to reading it afterwards. Having found the original reading so difficult, I feel I would have benefited from reading some insights and critiques of Rackrent beforehand, to guide and focus my understanding of the text. I think that my ability to understand and appreciate the nuances of Edgeworth’s novel would have been greatly enhanced if I had known going into the novel what its acknowledged intentions were. Instead, I found the book itself to be a long and rambling and oftentimes seemingly pointless series of words and observations. Apparently, there was much between the lines that I was missing. Having struggled through the book regardless, I’m a little sad to know that I absorbed so little of what was intended to be conveyed.
Well that’s it for now. I’m excited to read Carmella … a vampire novella should be much more readily accessible and exciting than the mundane goings-on of Castle Rackrent. Be well everybody.
Susan Egenolf's attempt to connect the portrayal of Thady to the black face and minstrel movement was very provocative and intriguing. After a little thought, it makes sense. As I understand it, black face and minstrelsy were about presenting a “different” people as especially different, and usually with a focused lampooning of those traits and qualities which were seen worthy of mocking. In the case of Thady, this same spirit does seem to be alive in the manner in which he’s presented. His dialect, coupled with his unusually long-winded and multi-tangential approach to conveying ideas and observations, provide an extreme and somewhat comical portrayal of the Irish. Thady’s ill-advised and at times pathetic loyalty to his series of masters can be seen as critical of the intelligence of the Irish landowners of the time.
The comparisons between Maria Edgeworth’s Castle Rackrent and the work of other authors makes sense. I especially can see where the Jonathon Swift comparison fits, as both authors used their prose as a tool of social critique and parody. Both authors couched their insights and criticisms within deceptively comical and witty narratives.
The episode in Castle Rackrent in which Thady conducts a living wake for Sir Condy was, to me, primarily an example of the ridiculousness of the heads of the Rackrent estate. My interpretation of that event was that it indicated the pettiness and shallow nature of Sir Condy, who for all intents and purposes was the most noble of the heads of estate; at least he seemed to be motivated by good, and kindness and generosity for those around him. The fact that he desired a living wake – in order to hear what people thought of him, as far as I could tell – does not speak highly of Sir Condy’s true character. By extension, this does not speak well of Irish landowners in general. However, any sense of the supernatural within this narrative was lost on me.
Please allow me at this time to say that I think reading Egenolf’s Maria Edgeworth in Blackface before Castle Rackrent would have been very helpful, and much preferred to reading it afterwards. Having found the original reading so difficult, I feel I would have benefited from reading some insights and critiques of Rackrent beforehand, to guide and focus my understanding of the text. I think that my ability to understand and appreciate the nuances of Edgeworth’s novel would have been greatly enhanced if I had known going into the novel what its acknowledged intentions were. Instead, I found the book itself to be a long and rambling and oftentimes seemingly pointless series of words and observations. Apparently, there was much between the lines that I was missing. Having struggled through the book regardless, I’m a little sad to know that I absorbed so little of what was intended to be conveyed.
Well that’s it for now. I’m excited to read Carmella … a vampire novella should be much more readily accessible and exciting than the mundane goings-on of Castle Rackrent. Be well everybody.
Tuesday, February 9, 2010
rackrent
Reading Caste Rackrent was a touch unbearable. The paragraphs which lasted more than two pages, the sentences lasting almost as long as the paragraphs, the archaic language … it was all a bit much. Reading which lent itself comfortably to neither silent reading nor to reading aloud.
Anyways, there was a story in there, and I can’t say I found that story all too compelling. I’ll admit, it was amusing at times. The ridiculous degree to which the Rackrent estate was in disarray was comical, as was good ol’ Thady’s pathetically loyal interpretation of the events.
Jason, Thady’s son and Sir Condy’s financial nemesis, is more of a villain than a hero to me. My reading of the story might not be entirely accurate (the unorthodox language and format ensured that), but as far as my understanding is concerned, Jason was a coldly logical investor looking to capitalize off the misfortune of the bone-headed-but-golden-hearted Sir Condy. It seems clear that Condy had a good heart and a terrible way with managing financial decisions; the way Jason seemed so ready and eager to swoop in and capitalize from Condy’s downfall was distasteful to me.
Thady as a narrator was a little tough to take. His tendency to refer to his humble, honest qualities made it clear these qualities most likely did not exist. His unwaivering loyalty to the Rackrent estate, even in the face of financial and social blunders, calls into question his motive for viewing and presenting the Rackrents in such a forgiving iight. He seemed unwilling to admit any wrong on behalf of any of the Rackrents or their clear misdoings. Ultimately this made Thady come across as a somewhat sniveling hanger-on loyalist to a stumbling, failing estate family.
I can’t say I picked up on any of the social, historical, or political over- or –undertones that were apparently contained within the text. I was too busy struggling with the sentences composed of thirty to fifty separate thought snippets, tied together with commas galore. I genuinely struggled my way through the text , having to stop every two or three pages to attempt to render into modern English what I had just read. Upon investigating the terms “1798 Uprising” and “Act of Union,” I came across little which seemed to relate to the novel itself. This is frustrating; I feel as if I were supposed to get more out of the story than just the reward having of completed it, difficult writing considered.
It was interesting, however, to do a little research on the novel itself. Apparently “Castle Rackrent” was the first book o utilize a narrator who’s account is neither accurate nor unbiased. This certainly defines old Thady, as his rose-(I should say Rackrent!)-colored glasses saw little of the goings-on of the Rackrent Estate in anything close to an objective manner. Obviously the preface alludes to the subjective nature of Thady’s narrative, and the benefit to such a skewed report. It paints the picture of life in those times in an intimate, accurate way, and in that regard presents an even more honest account than a dry, factual history of the Rackrent family affairs.
All in all, “Castle Rackrent” was a relatively frustrating first read here in an Introduction to the Irish Novel. I trust future books will be more directly informative and enlightening. Until then … thank you and goodnight.
Anyways, there was a story in there, and I can’t say I found that story all too compelling. I’ll admit, it was amusing at times. The ridiculous degree to which the Rackrent estate was in disarray was comical, as was good ol’ Thady’s pathetically loyal interpretation of the events.
Jason, Thady’s son and Sir Condy’s financial nemesis, is more of a villain than a hero to me. My reading of the story might not be entirely accurate (the unorthodox language and format ensured that), but as far as my understanding is concerned, Jason was a coldly logical investor looking to capitalize off the misfortune of the bone-headed-but-golden-hearted Sir Condy. It seems clear that Condy had a good heart and a terrible way with managing financial decisions; the way Jason seemed so ready and eager to swoop in and capitalize from Condy’s downfall was distasteful to me.
Thady as a narrator was a little tough to take. His tendency to refer to his humble, honest qualities made it clear these qualities most likely did not exist. His unwaivering loyalty to the Rackrent estate, even in the face of financial and social blunders, calls into question his motive for viewing and presenting the Rackrents in such a forgiving iight. He seemed unwilling to admit any wrong on behalf of any of the Rackrents or their clear misdoings. Ultimately this made Thady come across as a somewhat sniveling hanger-on loyalist to a stumbling, failing estate family.
I can’t say I picked up on any of the social, historical, or political over- or –undertones that were apparently contained within the text. I was too busy struggling with the sentences composed of thirty to fifty separate thought snippets, tied together with commas galore. I genuinely struggled my way through the text , having to stop every two or three pages to attempt to render into modern English what I had just read. Upon investigating the terms “1798 Uprising” and “Act of Union,” I came across little which seemed to relate to the novel itself. This is frustrating; I feel as if I were supposed to get more out of the story than just the reward having of completed it, difficult writing considered.
It was interesting, however, to do a little research on the novel itself. Apparently “Castle Rackrent” was the first book o utilize a narrator who’s account is neither accurate nor unbiased. This certainly defines old Thady, as his rose-(I should say Rackrent!)-colored glasses saw little of the goings-on of the Rackrent Estate in anything close to an objective manner. Obviously the preface alludes to the subjective nature of Thady’s narrative, and the benefit to such a skewed report. It paints the picture of life in those times in an intimate, accurate way, and in that regard presents an even more honest account than a dry, factual history of the Rackrent family affairs.
All in all, “Castle Rackrent” was a relatively frustrating first read here in an Introduction to the Irish Novel. I trust future books will be more directly informative and enlightening. Until then … thank you and goodnight.
Tuesday, February 2, 2010
Lloyd Article
So you weren't kidding when you said that Lloyd was going to be tricky. I tried reading it online but it was more so something that needed to be done on a couch, in bed, at work , in the bath. Yep, it wasn't something for one session either it was an article to read and come back to and look over and dwell a little. It was nice to rehash some of the things I learned about Irish history (in my History of Northern Ireland class) and see how someone could relate those events to a topic seemingly unrelated. So besides noticing the fact that Lloyd loves the term "insofar" heres what I've gathered:
So ever since I took this history class I have noticed a generalization on my part, I think of Ireland's history as pure turmoil, you know, the issues with religion, nationalism, unionism, famine, dirty protests and so on. Lloyd expresses that this is usually the generalization made by most , he also states that the violence was more of a "struggle of and Irish people forming itself in sporadic but connected risings against British domination." (125) By this Lloyd implies that this was not violence in vain but one with a purpose and a drive, Ireland was under British dominance and not unlike other forming nations, needed to use violence to get a point across. Lloyd also states that "Violence is understood as an atavistic and disruptive principle" (125) but it seems that Ireland was not given the justification of being a nation under a rule that it wished not to be under.
The above instability was one of the reasons, Lloyd says, people usually give for the inadequacy of the Irish novel. The general instability and violence was not the proper breeding ground for a novel of quality. I feel that what is implied here is that, since the Irish weren't conforming to the English ways it could never have success with writing. The general explosiveness of the Ireland was not the type of environment in which a proper novel could thrive. On the contrary it seems to me that most novels are based on the current going ons of the surroundings of the writer ( at a look at post 9/11 novels i.e. Extremely Loud and Incredibly Close) and how, in a situation tainted with violence can one possibly write a proper novel? It doesn't seem that the novel was seen as a service to a nation by its critics. I feel that a novel's purpose, aside from expressing the feelings of the author) is to bind people with common thoughts and this was obviously not taken into consideration when the success of the 19th century novel was dissected.
This dissection and classification seems to me through Lloyds writing to be judged by some (hoydy-toydy ) Englishmen with wigs and what not (that's just what I see don't ask. I've always wondered what makes a "classic" a "classic" are there criteria that must be matched? Is there a rubric out there? Now, looking back we think of Wilde and JOyce to be classic but was it apparently not always this way. When did it become so? I think that this judgement can easily be made by the government. It seems to be that too often in history have books not just been frown upon but banned all together by a government. Soviet Russia was well known for banning books that disagreed with their ideals Nobel Prize winner and novelist, Boris Pasternak (Dr. Zhivago) was made to turn down his Prize by the pressure of the Soviet government for that exact reason. Even more so it is evident when a more "established" nation discredits writers from less established ones, and this seemed to be the exact case with Britain and Ireland during the 19th century.
In the end I realized that I have never thought of the importance of knowing the history of a nation and relating it to its art forms, in this case it writing. It was fun thinking back to that history class I took and looking at it from a different angle I without a doubt thought about the major events I learned about and thought about how those could have contributed to Irelands literary world.
So ever since I took this history class I have noticed a generalization on my part, I think of Ireland's history as pure turmoil, you know, the issues with religion, nationalism, unionism, famine, dirty protests and so on. Lloyd expresses that this is usually the generalization made by most , he also states that the violence was more of a "struggle of and Irish people forming itself in sporadic but connected risings against British domination." (125) By this Lloyd implies that this was not violence in vain but one with a purpose and a drive, Ireland was under British dominance and not unlike other forming nations, needed to use violence to get a point across. Lloyd also states that "Violence is understood as an atavistic and disruptive principle" (125) but it seems that Ireland was not given the justification of being a nation under a rule that it wished not to be under.
The above instability was one of the reasons, Lloyd says, people usually give for the inadequacy of the Irish novel. The general instability and violence was not the proper breeding ground for a novel of quality. I feel that what is implied here is that, since the Irish weren't conforming to the English ways it could never have success with writing. The general explosiveness of the Ireland was not the type of environment in which a proper novel could thrive. On the contrary it seems to me that most novels are based on the current going ons of the surroundings of the writer ( at a look at post 9/11 novels i.e. Extremely Loud and Incredibly Close) and how, in a situation tainted with violence can one possibly write a proper novel? It doesn't seem that the novel was seen as a service to a nation by its critics. I feel that a novel's purpose, aside from expressing the feelings of the author) is to bind people with common thoughts and this was obviously not taken into consideration when the success of the 19th century novel was dissected.
This dissection and classification seems to me through Lloyds writing to be judged by some (hoydy-toydy ) Englishmen with wigs and what not (that's just what I see don't ask. I've always wondered what makes a "classic" a "classic" are there criteria that must be matched? Is there a rubric out there? Now, looking back we think of Wilde and JOyce to be classic but was it apparently not always this way. When did it become so? I think that this judgement can easily be made by the government. It seems to be that too often in history have books not just been frown upon but banned all together by a government. Soviet Russia was well known for banning books that disagreed with their ideals Nobel Prize winner and novelist, Boris Pasternak (Dr. Zhivago) was made to turn down his Prize by the pressure of the Soviet government for that exact reason. Even more so it is evident when a more "established" nation discredits writers from less established ones, and this seemed to be the exact case with Britain and Ireland during the 19th century.
In the end I realized that I have never thought of the importance of knowing the history of a nation and relating it to its art forms, in this case it writing. It was fun thinking back to that history class I took and looking at it from a different angle I without a doubt thought about the major events I learned about and thought about how those could have contributed to Irelands literary world.
Sunday, January 24, 2010
First Blog
Hi! My name is Ann Kannel I'm a junior and a Conservation and Environmental Science major. I am not Irish... I am half Nicaraguan and half German. I work as a butcher at Outpost Natural Foods Cooperative which most people find strange. I also don't own a television. I'm obsessed with music and music festivals and driving to see the music I love.
I'm taking this course not only for GER requirements but with with my major I don't have much time for reading so this way I'll have an excuse to spend time with a book. I also haven't spent much time learning some of the classics that will be covered in this class so I'm looking forward to that as well.
I guess I don't have a favorite novel per say but I have read The Wizard of Oz every year since I was seven. I love anything by William Blake, he was one of the first poets to embrace a return to nature. I just finished reading David Byrne's ( of the Talking Heads) latest book "The Bicycle Diaries" which was amazing and am now reading a collection of stories put together by Graeme Gibson "The Bedside Book of Beasts" which compiles some great literature about human relationships with Animals (it also features some great artwork). I like any type of book that educates me be it a fiction or non, novel or short story I want to finish it as a smarter person.
I have taken all kinds of English classes, last semester it was Blues Poetry, then before that it was Post Modern Fiction. I'm hoping that the online format will allow me to express my ideas more openly, I have issues with that in a classroom setting. I shy away from speaking because it isn't my area of study and I am afraid of coming off as ignorant in the subject. I am not necessarily not "well read" I love to read and always have I have read all kinds of books and have been caught many times sitting behind the meat counter with one (which usually gets me into some trouble).
I am a part of Facebook but nothing else I can't say that I spend much time on the internet but I'm sure I won't mind this blogging business.
www.belamuseprints.com
^This is probably the website I frequent most often it has beautiful artwork in print and postcard form with quotes by poets. I finally got one this past Christmas from my beloved boyfriend who put me on to my favorite youtube video:
http://www.youtube.com/watch?v=zSgiXGELjbc
^ You can't beat Carl Sagan and Stephen Hawking... remixed. I love "If you wish to make an apple pie from scratch, you must first invent the universe."
Finally,
This is a food market in Nicaragua, it smells like heaven, everything is so fresh and colorful. It's my favorite place in the world.
Be Well Everyone
I'm taking this course not only for GER requirements but with with my major I don't have much time for reading so this way I'll have an excuse to spend time with a book. I also haven't spent much time learning some of the classics that will be covered in this class so I'm looking forward to that as well.
I guess I don't have a favorite novel per say but I have read The Wizard of Oz every year since I was seven. I love anything by William Blake, he was one of the first poets to embrace a return to nature. I just finished reading David Byrne's ( of the Talking Heads) latest book "The Bicycle Diaries" which was amazing and am now reading a collection of stories put together by Graeme Gibson "The Bedside Book of Beasts" which compiles some great literature about human relationships with Animals (it also features some great artwork). I like any type of book that educates me be it a fiction or non, novel or short story I want to finish it as a smarter person.
I have taken all kinds of English classes, last semester it was Blues Poetry, then before that it was Post Modern Fiction. I'm hoping that the online format will allow me to express my ideas more openly, I have issues with that in a classroom setting. I shy away from speaking because it isn't my area of study and I am afraid of coming off as ignorant in the subject. I am not necessarily not "well read" I love to read and always have I have read all kinds of books and have been caught many times sitting behind the meat counter with one (which usually gets me into some trouble).
I am a part of Facebook but nothing else I can't say that I spend much time on the internet but I'm sure I won't mind this blogging business.
www.belamuseprints.com
^This is probably the website I frequent most often it has beautiful artwork in print and postcard form with quotes by poets. I finally got one this past Christmas from my beloved boyfriend who put me on to my favorite youtube video:
http://www.youtube.com/watch?v=zSgiXGELjbc
^ You can't beat Carl Sagan and Stephen Hawking... remixed. I love "If you wish to make an apple pie from scratch, you must first invent the universe."
Finally,
This is a food market in Nicaragua, it smells like heaven, everything is so fresh and colorful. It's my favorite place in the world.
Be Well Everyone
Subscribe to:
Posts (Atom)
