Posts Tagged ‘Pale FIre’
Fall Syllabus #2: ENGLISH 3000: Utopia in America!
And here’s the other course for this fall, “ENGLISH 3000: Utopia in America.” Like the Watchmen class, it will be using a mix of synchronous and asynchronous instruction to muddle through this weird semester…
101 MWF 11:00-11:50 Professor Gerry Canavan
Course Title: Utopia in America
Course Description: 2020 marks the 505th anniversary of Sir Thomas More’s Utopia, which inaugurated a genre of political and social speculation that continues to structure our imagination of what is possible. This course serves as an entry point for advanced study in the English discipline, using depictions of political utopias from antiquity to the present as a way to explore how both literature and literary criticism do their work. We will study utopia in canonical historical literature, in contemporary pop culture, and in the presidential election, as well as utopian critical theory from major thinkers like Fredric Jameson, China Miéville, Derrick Bell, Toni Morrison, Ursula K. Le Guin, and N.K. Jemisin — but the major task before us will be exploring the role utopian, quasi-utopian, dystopian, and downright anti-utopian figurations have played in the work of major authors of the 20th century, among them Gabriel García Márquez, Vladimir Nabokov, and Octavia E. Butler.
Assignments: Class participation, including individual and group presentations; discussion posts. Students will also construct their own utopian manifesto.
W | Aug 26 | S | FIRST DAY OF CLASS
Introduction to the Course What Is Utopia? |
F | Aug 28 | A | New Criticism
How to Interpret Literature: “New Criticism” Robert Frost, “Mending Wall” [D2L] |
M | Aug 31 | S | Sir Thomas More, Utopia, “Concerning” and Book One |
W | Sep 2 | S | Sir Thomas More, Utopia, Book Two |
F | Sep 4 | A | China Miéville, Introduction to Utopia (2017): “Close to the
Shore” and “The Limits of Utopia” |
M | Sep 7 | LABOR DAY—NO CLASS | |
W | Sep 9 | S | Structuralism
How to Interpret Literature: “Structuralism” Ursula K. Le Guin, “The Ones Who Walk Away from Omelas” [D2L] |
F | Sep 11 | A | Intertextuality
N.K. Jemisin, reply to Le Guin [Web] |
M | Sep 14 | S | Marxism
How to Interpret Literature: “Marxism” Karl Marx and Fredrich Engels, “The Communist Manifesto” [Web] Mark Bould, “The Futures Market: American Utopias” [D2L] |
W | Sep 16 | S | Utopia
Fredric Jameson, “Reification and Utopia in Mass Culture” (first half; second half optional) [D2L] Black Mirror: “San Junipero” [Netflix] |
F | Sep 18 | A | Sandbox: Fredric Jameson, “Utopia as Replication” [D2L] |
M | Sep 21 | S | Postcoloniality and Race Studies
How to Interpret Literature: “Postcolonial and Race Studies” Derrick Bell, “The Space Traders” [D2L] |
W | Sep 23 | S | Toni Morrison, “Recitatif” [D2L]
Toni Morrison, excerpt from Playing in the Dark [D2L] |
F | Sep 25 | A | Sandbox: #BlackLivesMatter Syllabus [Web] |
M | Sep 28 | S | Gabriel García Márquez, One Hundred Years of Solitude, Chapter 1 |
W | Sep 30 | S | One Hundred Years of Solitude, Chapters 2-3 |
F | Oct 2 | A | Sandbox: One Hundred Years of Solitude, Chapters 4-6 |
M | Oct 5 | S | One Hundred Years of Solitude, Chapters 7-9 |
W | Oct 7 | S | One Hundred Years of Solitude, Chapters 10-12 |
F | Oct 9 | A | Sandbox: One Hundred Years of Solitude, Chapters 13-15 |
M | Oct 12 | S | One Hundred Years of Solitude, Chapters 16-18 |
W | Oct 14 | S | One Hundred Years of Solitude, whole book
Gabriel García Márquez, “The Solitude of Latin America” [Web] Gregory Lawrence, “Marx in Macondo” [D2L] |
F | Oct 16 | FALL BREAK—NO CLASS | |
M | Oct 19 | S | Feminism
How to Interpret Literature: “Feminism” Karen Joy Fowler, “Game Night at the Fox and Goose” [D2L] |
W | Oct 21 | S | Sexuality
How to Interpret Literature: “Queer Studies” Alice Sheldon as James Tiptree, Jr., “Houston, Houston, Do You Read?” [D2L] |
F | Oct 23 | A | Sandbox: Octavia E. Butler, “Bloodchild” |
M | Oct 26 | S | Environmental Studies
How to Interpret Literature: “Environmental Criticism” Ramin Bahrani, “Plastic Bag” [YouTube] |
W | Oct 28 | S | Disability Studies
How to Interpret Literature: “Disability Studies” Octavia E. Butler, “The Evening and the Morning and the Night” Octavia E. Butler, “Speech Sounds” |
F | Oct 30 | A | Sandbox: Octavia E. Butler, “The Book of Martha” |
M | Nov 2 | S | Historicism and Cultural Studies
How to Interpret Literature: “Historicism and Cultural Studies” Vladimir Nabokov, Pale Fire, “Foreword” and “Pale Fire” |
W | Nov 4 | S | Pale Fire, “Foreword and “Pale Fire” continued |
F | Nov 6 | A | Sandbox |
M | Nov 9 | S | Pale Fire, Commentary, Canto I |
W | Nov 11 | S | Pale Fire, Commentary, Canto II |
F | Nov 13 | A | Sandbox |
M | Nov 16 | S | Pale Fire, Commentary, Canto III |
W | Nov 18 | S | Pale Fire, Commentary, Canto IV (including index) |
F | Nov 20 | A | Reader Response
How to Interpret Literature: “Reader Response” Pale Fire, whole book and interpretations |
M | Nov 23 | S | FINAL PROJECT WORKSHOP |
F | Dec 4
5:30 PM |
FINAL PROJECT DUE IN D2L DROPBOX |
Saturday Night Tab Closin’
* If it’s possible to miss the point of Pale Fire any worse than this, I don’t want to know about it. Via PCEgan.
* I second both Steven Chu’s call to paint our roofs white and Atrios’s call for “Green Recovery” government stimulus to pay people to do this work.
* Learned helplessness watch: Congressional Democrats, obviously feeling the heat from my persistent calls to use reconciliation to get around Republican filibusters, have now taken reconciliation off the table altogether. Idiots.
* At least Elaine Marshall is ahead in Carolina.
* Speaking my language: Dreamlands, one of the temporary exhibits currently at the Pompidou Center in Paris, highlights Kandor-Con from artist Mike Kelley, with these observations:
The comics present a different image of the Kryptonian city on each occasion, and Kelley sees in this a complex allegory, the diversity of representations signifying the instability of memory. The installation Kandor-Con includes architecture students who continuously design new Kandors, feeding them to a Superman fan site. For the artist, the inability of the original draughtsmen, the new designers or the hero’s internet fans to fix the form of Kandor once and for all illustrates “the stupidity and ridiculousness of technological utopianism.” The capital of the planet Krypton, says Kelley, is “the utopian city of the future that never came to be.”
You had me at “Bonjour.”
* I was kidnapped by lesbian pirates from outer space! A comic, via MetaFilter.
* Added to my Netflix queue: Brick City, a documentary about Newark said to be “a real-life version of The Wire.” Also via MeFi.
* And added to my torrent queue: The Yes Men Fix the World (legal!). Via Boing Boing.
"Synecdoche, New York"
Lately I’ve shied away from reviewblogging, partly because I don’t think I’m especially good at it but mostly because I haven’t been moved to write about anything I’ve seen. Synecdoche, New York moves me, but only to say “Go see it.”
Almost certainly the best film of 2008—only Dark Knight really comes close—and Kaufman’s best film since Being John Malkovich, Synecdoche can’t really be described without being reduced to a series of gimmicks. I wouldn’t even read reviews of it. Just go.
For those who have seen it, or who plan to flaunt my sage advice, the best writing I’ve seen about Synecdoche has been from Adam Kotsko, who writes, insightfully:
While watching Synecdoche, New York this week, a thought occurred to me: the reviews that presented the movie as an elaborate puzzle requiring multiple viewings to unravel are wrong….
[T]here is, within the frame of the movie, no “underlying reality” that can be uncovered through the work of decoding, not even that of Caden Cotard’s dream. All the action is taking place directly at the surface. That’s what the proposed title “Simulacrum” is telling us (a name he suggests to Claire, not Hazel, pace Dargis).
“What really happened” is only what you can see: Kaufman is being brutally direct. No amount of plot summary can get at what it feels like to be watching this movie, and to get to caught up in trying to decipher “what’s going” on is to run the risk of failing to feel what it feels like to be watching this movie.
I’d even go so far as to suggest that Synecdoche should really only be viewed once. The novels to which one might be tempted to compare it—Ulysses? Pale Fire? If on a Winter’s Night a Traveler?—are surely not “elaborate puzzles” to be solved but do possess rich textual subtleties that reward an nth reading. Synecdoche, I fear, may not only lack these subtleties, but may in fact be significantly worse when re-viewed in the context of a known whole.
In particular I’m afraid any rewatch would just direct us more and more towards the notion that [SPOILER—HIGHLIGHT TO READ] Cotard is in the process of dying, likely from suicide committed either very early in the movie or perhaps slightly before it began, and Synecdoche is his dream. To the extent that the suggestion of any “underlying reality” can be deciphered in Synecdoche, it seems to me it can only be this one—and just the slightest taste of that is more than enough.
But wherever they point us, I feel fairly certain the uncovering of any “clues” upon rewatching would only throw the movie’s vital ambiguity off-balance. It’d ruin it. Synecdoche‘s a truly great film, that is to say, but probably just the once.
UPDATE: Copied from Facebook wall scribblings:
my fave reader review from the nyt:
This movie was really boring! Just like life! This movie thought it was original and cutting edge but wasn’t! Just like life! This movie has been made before about seven trillion billion times! Just like life! This movie was way too long! Just like life! The first half was okay but the second half made up for it! Just like life! I almost walked out of this movie! Just like life! Some people don’t realize how awful this movie is and actually think it is good! Just like life!