This page is where I will post questions, excerpts from texts, videos, etc. in order that we may extend our discussions beyond the classroom. Please read the About page before commenting on posts.
Directions for Extra Credit Response: Attend the conference, listen actively, and take notes. Afterwards, write a 1.5-2 page double-spaced response. Don’t attempt to summarize the talk(s) in your response. Instead, discuss what you learned from it/them. For example, you might choose two or three of the most surprising, interesting, or thought-provoking things you learned and discuss those. … More Extra Credit Response #4
From April 13 through April 24, Stuart Hall’s Race, The Floating Signifier will be on reserve in the Kolligian Library Audio Visual Room. The AV Room can accommodate up to fifteen students, so you can even arrange a viewing party if you’d like. For information on reserving the room, follow this link. Watch Race, The Floating … More Extra Credit Response #3
The prescriptive rule regarding singular generic he emerged in the eighteenth century, when grammarians decided that the indefinite pronouns (e.g., anyone, everyone, somebody, each) must always be singular. They subsequently had to decide between the feminine and masculine singular pronouns (she and he and their inflectional forms) for the generic, in order that pronouns and their antecedents would match in number. They … More Is “he” really generic?
Above is a clip from John Huston’s 1987 film adaptation of Joyce’s “The Dead”. Compare Huston’s interpretation of the scene with our reading of the passage on page 48. Think especially about Joyce’s use of character focalization and free indirect discourse in the passage. How are Joyce’s literary techniques translated for the medium of film? … More “The Dead” on Film
Using what you’ve learned from our unit on Post-Structuralism and our unit on Feminist Criticism, discuss what is going on in these tweets (compiled by Grace Spelman for Buzzfeed). Think especially about Baudrillard’s discussion of the “simulacrum” and that crucial third stage in which the sign disguises the fact that there is no corresponding reality … More Combining Perspectives: Poststructuralism and Feminist Criticism
You’ve read Laura Mulvey’s analysis of Sternberg’s Morocco (1930). Now take a look at the film’s trailer. Where do you see examples of Mulvey’s arguments about narrative cinema? How might bell hooks respond to Mulvey’s arguments about the film? What might hooks add to the critique? What might a postcolonial feminist critic, like Gayatri Spivak, … More Mulvey on Morocco