Monday, November 12, 2007

Literatura II: Instructions for FINALS

You should write an essay on 2 (two) literary works discussed during the year. The thesis statement should be based on the axis around which the syllabus was constructed (i.e. Horror in Literature). Fifteen days before the date set for the exam you should submit via e-mail the thesis statement to agree on its workability. On the day of the exam you should make a 10-minute oral presentation of your essay. After your presentation you will be asked questions (from the rest of the syllabus) that relate directly or indirectly with your topic/thesis.
To sum up, the exam consists of these stages:
1- Oral presentation of your essay.
2- Questions on your topic/thesis.
3- Other questions from the syllabus.
Students who have attained the "regularidad" will soon receive an e-mail with the works assigned.

Literatura III: Instructions for FINAL EXAM ("Regular")

You should write an essay on a literary work you will be assigned (the work is by one of the authors discussed during the year). The thesis statement should be based on the axis around which the syllabus was constructed (i.e. Love in the Western World, de Rougemont, Configurations of Love). Fifteen days before the date set for the exam you should submit via e-mail the thesis statement to agree on its workability. On the day of the exam you should make a 10-minute oral presentation of your essay. After your presentation you will be asked questions (from the rest of the syllabus) that relate directly or indirectly with your topic/thesis.

To sum up, the exam consists of these stages:
1- Oral presentation of your essay.
2- Questions on your topic/thesis.
3- Other questions from the syllabus.
Students who have attained the "regularidad" will soon receive an e-mail with the work assigned.

Thursday, October 25, 2007

LEVIN / POLANSKI





IRA LEVIN

Born in 1929, NYC, Levin was the Stephen King of the 1960s and 1970s. He had a knack for turning absurd plots into realistic horrors, and like King, most of Levin's major works have been made into movies. His novels include This Perfect Day, Rosemary's Baby, The Stepford Wives, A Kiss Before Dying, The Boys from Brazil, and Sliver. His plays include Deathtrap, No Time for Sergeants, Critic's Choice, Footsteps, Dr. Cook's Garden, Cantorial, and Veronica's Room.
Levin was born in the Bronx, and as the family's toy business prospered his family relocated to the Upper West Side of Manhattan when he was 13. He went to college and earned two BAs at NYU. In 1949, CBS ran a contest for original teleplays, and Levin's entry was called "The Old Woman". Levin got second prize, $200, and later the same script was bought by NBC for $400, and filmed as an episode of that network's mystery-thriller anthology, Lights Out.
His first novel was A Kiss Before Dying, published in 1953. It's a remarkably well-constructed book, telling its story in three parts, from three different characters' perspectives. It's been filmed twice. Levin's second novel, published 14 years later, is his most famous work: Rosemary's Baby. The book was a huge best-seller, and the film made Polanski's career.
The Stepford Wives, about automatons in suburbia, has been filmed twice and sequelized twice for television.
In 2007, after the New York Times reported that students at Wilton High School in Wilton CT had been prohibited from staging an original play because its war theme was deemed "controversial", Levin wrote a scathing letter to the editor of The Times: "Wilton, Conn., where I lived in the 1960s, was the inspiration for Stepford, the fictional town I later wrote about in The Stepford Wives. I'm not surprised ... that Wilton High School has a Stepford principal."
Levin died in New York on November 14th last.





ROMAN POLANSKI
Roman Polanski is one of the most controversial contemporary directors in Cinema History. His name has become synonymous with events from his personal life, which in fact have at times detracted and taken precedence from his work as a filmmaker.
Roman has created films that unnerve and horrify the viewer such as "Rosemary's baby" and "The Tenant", as well as the masterpiece "Chinatown" starring, Jack Nicholson. He also directed the comedy vampire movie "Dance of the Vampires (also known as The Fearless Vampire Killers) and the period drama "Tess" based on the novel by Thomas Hardy starring, Nastassja Kinski. Both of these films exude a haunting yet luminous beauty.
As a filmmaker he is exceptional in his ability to produce works with a disturbing mood and atmosphere of suspense that is impossible to replicate. His hallmark is to utilize seemingly everyday events and situations and then expose the undercurrent of evil that lies beneath; he explores the thin line between madness and sanity with compelling expertise and intuitive mastery.
Roman Polanski was born to Polish parents in Paris 1933. Roman grew up in a constricted communist environment; however, he had a highly creative intellect and created his own exceptional world of fantasy. His imagination was the key that helped him overcome the horror of War in Europe.
Whenever Roman had a chance to visit the theatre he had no uncertainties that one day he would appear on centre stage or behind the camera as a director, Roman was an incredibly confident child with grand aspirations.
The changes to the Jewish community began slowly and unpleasantly. They were forced to move home by the Krakow Municipal Authorities. Soon after moving, Roman's sister pointed outside the window and Roman looked out to see men building a wall, he and his family were being imprisoned in a Jewish ghetto. During this time both his parents were taken to concentration camps, his mother was never to return. Roman always believed he would see her again as he had no knowledge of the Third Reich's 'Final Solution' and he never had the opportunity to say goodbye to her.
At the end of the World War II he was reunited with his father and began to pursue his dreams of having a career in the film industry, he started by working on a Children's radio programme called "The Merry Gang". He soon acquired a lead role in "The Son of the Regiment" the story of a Russian peasant boy. He attended Art School and finally with the help of Andrzej Wajda the great Polish director he applied to and was accepted at the Lodz Film School, the world of film and fantasy and the door to his dreams.
The first film he made that received significant attention was "Knife in the Water" made in 1962, this was nominated for an Academy Award for best foreign language film. He then directed three films in England including "Cul de Sac" and "Repulsion" starring Catherine Deneuve as a young woman suffering from a mental illness.
He married the gentle, and talented actress Sharon Tate who starred in "The Dance of the Vampires", who was brutally murdered in 1969. His next film "Macbeth" is notorious for it's violent and bloody adaptation of the play by the English playwright, William Shakespeare.
In 1977 he was involved in an American sex scandal, he fled to France where he has lived a rather reclusive life with his wife the gifted and skilled actress Emmanuelle Seigner and their two children. Polanski is admired by many other filmmakers all over the world for his genius as a director.
His most recent productions have been "The Ninth Gate" starring Johnny Depp, and "The Pianist", based on the book by Wladyslaw Szpilman's - a memoir of the author's experiences growing up in the Warsaw ghetto and surviving concentration camps during the second world war, this film will be released soon.


© 2007 Soylent Communications
© 2002 Minadream.com.

Sunday, October 21, 2007

DESIRE UNDER THE ELMS (scene)

Wednesday, October 17, 2007

MCCARTHYISM


McCarthyism


Throughout the 1940s and 1950s America was overwhelmed with concerns about the threat of communism growing in Eastern Europe and China. Capitalizing on those concerns, a young Senator named Joseph McCarthy made a public accusation that more than two hundred "card-carrying" communists had infiltrated the United States government. Though eventually his accusations were proven to be untrue, and he was censured by the Senate for unbecoming conduct, his zealous campaigning ushered in one of the most repressive times in 20th-century American politics.
While the House Un-American Activities Committee had been formed in 1938 as an anti-Communist organ, McCarthy’s accusations heightened the political tensions of the times. Known as McCarthyism, the paranoid hunt for infiltrators was notoriously difficult on writers and entertainers, many of whom were labeled communist sympathizers and were unable to continue working. Some had their passports taken away, while others were jailed for refusing to give the names of other communists. The trials, which were well publicized, could often destroy a career with a single unsubstantiated accusation. Among those well-known artists accused of communist sympathies or called before the committee were Dashiell Hammett, Waldo Salt, Lillian Hellman, Lena Horne, Paul Robeson, Elia Kazan, Arthur Miller, Aaron Copland, Leonard Bernstein, Charlie Chaplin and Group Theatre members Clifford Odets, Elia Kazan, and Stella Adler. In all, three hundred and twenty artists were blacklisted, and for many of them this meant the end of exceptional and promising careers.During this time there were few in the press willing to stand up against McCarthy and the anti-Communist machine. Among those few were comedian Mort Sahl, and journalist Edward R. Murrow, whose strong criticisms of McCarthy are often cited as playing an important role in his eventual removal from power. By 1954, the fervor had died down and many actors and writers were able to return to work. Though relatively short, these proceedings remain one of the most shameful moments in modern U.S. history.

Thursday, October 11, 2007

MEDEA

Medea

by James Hunter at http://www.pantheon.org/

Medea was a devotee of the goddess Hecate, and one of the great sorceresses of the ancient world. She was the daughter of King Aeetes of Colchis, and the granddaughter of Helios, the sun god.


King Aeetes' most valuable possession was a golden ram's fleece. When Jason and the crew of the Argo arrived at Colchis seeking the Golden Fleece, Aeetes was unwilling to relinquish it and set Jason a series of seemingly impossible tasks as the price of obtaining it. Medea fell in love with Jason and agreed to use her magic to help him, in return for Jason's promise to marry her.
Jason fled in the Argo after obtaining the golden fleece, taking Medea and her younger brother, Absyrtis, with him. King Aeetes pursued them. In order to delay the pursuit, Medea killed her brother and cut his body into pieces, scattering the parts behind the ship. The pursuers had to stop and collect Absyrtis' dismembered body in order to give it proper burial, and so Jason, Medea and the Argonauts escaped.


After the Argo returned safely to Iolcus, Jason's home, Medea continued using her sorcery. She restored the youth of Jason's aged father, Aeson, by cutting his throat and filling his body with a magical potion. She then offered to do the same for Pelias the king of Iolcus who had usurped Aeson's throne. She tricked Pelias' daughters into killing him, but left the corpse without any youth-restoring potion.


After the murder of Pelias, Jason and Medea had to flee Iolcus; they settled next in Corinth. There Medea bore Jason two children before Jason forsook her in order to marry the daughter of Creon, the king of Corinth. Medea got revenge for Jason's desertion by killing the new bride with a poisoned robe and crown which burned the flesh from her body; King Creon died as well when he tried to embrace his dying daughter. Medea fled Corinth in a chariot, drawn by winged dragons, which belonged to her grandfather Helios. She took with her the bodies of her two children, whom she had murdered in order to give Jason further pain.


Medea then took refuge with Aegeus, the old king of Athens, having promised him that she would use her magic to enable him to have more children. She married Aegeus and bore him a son, Medus. But Aegeus had another son, Theseus. When Theseus returned to Athens, Medea tried to trick her husband into poisoning him. She was unsuccessful, and had to flee Athens, taking Medus with her. After leaving Athens, Medus became king of the country which was later called Media.

Tuesday, October 09, 2007

WOMEN AND MASS HYSTERIA

Women and mass hysteria. Skeptical Inquirer, New York, 2007.

In mass hysteria, psychological distress is converted or channeled into physical symptoms. There are two common types: anxiety hysteria and motor hysteria. The former is of shorter duration, usually lasting a day, and is triggered by the sudden perception of a threatening agent, most commonly a strange odor. Symptoms typically include headache, dizziness, nausea, breathlessness, and general weakness. Motor hysteria is prevalent in intolerable social situations such as strict school and religious settings where discipline is excessive. Symptoms include trance-like states, melodramatic acts of rebellion known as histrionics, and what physicians term "psychomotor agitation" (temporary bouts of twitching, spasms, and shaking). Motor hysteria appears gradually over time and usually takes weeks or months to subside. The term mass hysteria is often used inappropriately to describe collective delusions, as the overwhelming majority of participants are not exhibiting hysteria, except in extremely rare cases. In short, all mass hysterias are collective delusions as they involve false or exaggerated beliefs, but only rarely do collective delusions involve mass hysteria as to do so, they must report illness symptoms.
Many factors contribute to the formation and spread of collective delusions and hysterical illness: the mass media; rumors; extraordinary anxiety or excitement; cultural beliefs and stereotypes; the social and political context; and reinforcing actions by authorities such as politicians, or institutions of social control such as the police or military. Episodes are also distinguishable by the redefinition of mundane objects, events, and circumstances and reflect a rapidly spreading folk belief which contributes to an emerging definition of the situation.

History House: Why Only Women Get Hysterical
©1996-2006 History House Inc.

The medical establishment’s opinion of women throughout Western history has been particularly deficient, due to its misconception of women’s seemingly magical reproductive powers. Predictably, the Church didn’t help any, as it considered women’s sexuality to be like some vicious beast ready to lash out at any moment. As Carole Rawcliffe notes in her book, Medicine & Society In Later Medieval England, “The curse of menstruation, first inflicted upon Eve as a result of her fall from grace, came to be seen as another badge of infamy, born conspicuously by all womankind.” Reproductive ability proved mysterious and threatening to early doctors, who thought it a source of evil. Danielle Jacquart and Claude Thomasset describe the prevailing view of postmenopausal women in Sexuality and Medicine in the Middle Ages:
Whatever the reason put forward, the work of the imagination in the Middle Ages transformed woman into a “machine” capable of producing a certain dose of poison every month... As for the older woman, after menopause, the poison contained in her body had to find an exit; the venomous humour was evacuated from the body by means of the eyes...
Similarly, Albertus Magnus, in his Middle Age work Secrets of Women, claimed that “women are venomous during the time of their flowers [periods] and so very dangerous that they poison beasts with their glance and little children in their cots, sully and stain mirrors, and on some occasions those men who lie with them in carnal intercourse are made leprous.” Ranke-Heinemann notes in the classically titled Eunuchs for Heaven: Women, Sexuality, and the Catholic Church the perils that befell children conceived during estrus. These youngsters might be stillborn, “possessed of the devil, or leprous, or epileptic, or hunchbacked, or blind, or malformed, or feeble-minded, or club-headed.” Menses were considered a poison, and menopausal women were considered repositories of this distilled evil. The cessation of menstruation in post-menopausal women would cause a buildup of the malignant humors; the older they got, the worse the proposed condition. Rawcliffe writes, “Clearly, a penurious old crone surviving by the skin of her few remaining teeth presented a prime target for abuse and denunciation.”
Equally distressing was the problem of “uterine displacement”. Medical doctors, starting with the ancient Greeks and making it all the way to the early 20th century, were firmly convinced that aberrant behaviors displayed by women were directly caused by their uteri. This perception of the uterus as a troublesome organ and thus the direct cause of varying malaises made it until the beginning of the twentieth century. It was a widespread belief of the medical community that the uterus precipitated a large number of diseases and aberrant behaviors. This belief peaked at the end of the 19th century, when white, middle-classed women went through an epidemic of “hysteria”.
Unfortunately for the doctors, they also considered the maternal organ to be so potent in affecting behavior that women might be carried away in any number of passions. So while it was understood that sexual feelings were “unwomanly” or “pathological”, women were still subject to the overwhelming control of their uteri, and occasionally had their free wills usurped by the fertile tissues. To check for this “problem”, doctors would fondle the privies, watching carefully for a reaction yet ready to defend themselves lest they awaken the wild, passionate, uncontrollable succubus within. Physician Robert Brudenell Carter wrote in his 1853 tome On the Pathology and Treatment of Hysteria, ... no one who has realized the amount of moral evil wrought in girls... whose prurient desires have been increased by Indian hemp and partially gratified by medical manipulations can deny that the remedy is worse than the disease. I have... seen young unmarried women... asking every medical practitioner... to institute an examination of the sexual organs. That a sizeable proportion of Dr. Carter’s patients got stoned and were so hard up that they begged for pelvic exams strikes this author as improbable.
This view depicting women as sexually voracious was widely held, and because the women needed to keep their uteri healthy to reproduce but not developed to the point of gaining control, the medical community had to figure out some way to get to the happy medium. The solution: bed rest. This provided a convenient argument as to why women shouldn’t be in medical school (“they would faint in anatomy lectures,” claimed nineteenth-century physicians) and why they couldn’t vote (a contemporary legislator claimed, “Grant suffrage to women, and you will have to build insane asylums in every county, and establish a divorce court in every town. Women are too nervous and hysterical to enter into politics.”) It was widely understood that women weren’t fit to do anything (The medical community conveniently ignored the legions of poorer women who toiled in the fields or were servants).
This business about hysteria stemmed from the idea that women were fragile, nervous wrecks who would freak out at every opportunity:
Meanwhile, most doctors felt that it was necessary to treat hysteria rather than accommodate women’s emotional needs. The historian Carrol Smith-Rosenberg, as quoted by Ehrenreich and English, says “doctors recommended suffocating hysterical women until their fits stopped, beating them across the face and body with wet towels, and embarrassing them in front of family and friends.” Nineteenth-century doctor F.C. Skey: “Ridicule to a woman of sensitive mind, is a powerful weapon... but there is not an emotion equal to fear and the threat of personal chastisement... they will listen to the voice of authority.” As hysteria began to crop up all over the nation, the doctors felt that more and more punishments were required to bring it into check, while still vainly trying to categorize it as a physical disease rather than just a put-on by housewives desperate for attention. With the cases mounting, doctors were quick to diagnose any independent action by a woman as hysteria and humiliated or beat them accordingly.
Enter Viennese psychoanalyst Sigmund Freud, who decided that hysteria really was a mental problem and spent a lot of his time convincing these same plighted women to just suck it up and accept their joyless roles in Western middle-class society. This paved the way for extensive abuse of valium by similarly subjugated women in the 1950s, and was only recently corrected by day care centers which allowed them to go out and have careers. The next challenge is to stop children from going hysterical. Ritalin?

Friday, October 05, 2007

THE CRUCIBLE: ACCUSATION SCENE

video

ARTHUR MILLER


Playwright, born in New York City, New York, USA. He graduated from the University of Michigan (1938), where he won a prize for playwriting. After serving in the US Army in World War 2, he enjoyed his first success with a novel, Focus (1945). His first play, The Man Who Had All the Luck (1944), was a flop, but All My Sons (1947) won the New York Drama Critic Circle Award. Two years later, Death of a Salesman won both the Drama Critics Circle Award and the Pulitzer Prize; the play, considered his most enduring work and an American classic, depicts the corrosive effects of self-deception on an ordinary man and his family. An Enemy of the People (1950) was a new translation of the Ibsen play. The Crucible (1953) told of the witch trials in Salem and was seen as a metaphor for his views on contemporary McCarthyite red-baiting. Later plays include A View from the Bridge (1955) and After the Fall (1964), widely assumed to be based on his marriage to Marilyn Monroe (1956-60). He wrote an original screenplay, The Misfits (1961), which starred Monroe. His later works, including The American Clock (1980), met with little enthusiasm in the USA, but he continued to enjoy a wide following in the UK, and his plays are performed in translations throughout the world. At age 89 in 2004, Miller debuted yet another work, Finishing the Picture, at New York's Goodman Theatre. Miller died on February 10, 2005 of congestive heart failure at his home in Roxbury, Connecticut.
biography.com

HISTORICAL EVENTS IN SALEM

Visit this site for a short account on the Salem trials
http://www.law.umkc.edu/faculty/projects/ftrials/salem/SALEM.HTM

CRUCIBLE


1: a vessel of a very refractory material (as porcelain) used for melting and calcining a substance that requires a high degree of heat
2: a severe test
3: a place or situation in which concentrated forces interact to cause or influence change or development

merriam-webster.com

Monday, September 17, 2007

OTHELLO - ADVENTURE AS SEDUCTION

Othello is, in one sense of the word, by far the most romantic figure among Shakespeare's heroes; and he is so partly from the strange life of war and adventure which he has lived from childhood. He does not belong to our world, and he seems to enter it we know not whence - almost as if from wonderland. There is something mysterious in his descent from men of royal siege; in his wandering in vast deserts and among marvellous peoples; in his tales of magic handkerchiefs and prophetic Sibyls; in the sudden vague glimpses we get of numberless battles and sieges in which he has played the hero and has borne a charmed life; even in chance references to his baptism, his being sold to slavery, his sojourn in Aleppo.
(...)
So he comes before us, dark and grand, with a light upon him from the sun where he was born; but no longer young, and now grave, self-controlled, steeled by the experience of countless perils, hardships and vicissitudes, at once simple and stately in bearing and in speech, a great man naturally modest but fully conscious of his worth, proud of his services to the state, unawed by dignitaries and unelated by honours, secure, it would seem, against all dangers from without and all rebellion from within. And he comes to have his life crowned with the final glory of love, a love as strange, adventurous and romantic as any passage of his eventful history, filling his heart with tenderness and his imagination with ecstasy. For there is no love more steeped in imagination than Othello's.
Bradley, A. C., "Lecture V Othello" in Shakespearean Tragedy, New York, Macmillan, 1966.

Monday, September 10, 2007

OTHELLO THE SOLDIER

OTHELLO THE SOLDIER.
  • A soldier is always supposed to be involved in some sort of mission, away from home. It's here where Othello's request to take Desdemona is at once comprehensible and contradictory.
  • Love and war may appear to be incompatible. However, there is something that unites love and war for Othello, and this is adventure, adventure of the unknown, of the mysterious.
  • Military function is bound not only to courage but also to adventure in Othello. Adventure comes first, it's an adventure that results in gains but also in substance for story-telling.

Friday, September 07, 2007

MESMERIC REVELATION

MESMERIC REVELATION
Edgar Allan Poe
1844

WHATEVER doubt may still envelop the rationale of mesmerism, its startling facts are now almost universally admitted. Of these latter, those who doubt, are your mere doubters by profession–an unprofitable and disreputable tribe. There can be no more absolute waste of time than the attempt to prove, at the present day, that man, by mere exercise of will can so impress his fellow as to cast him into an abnormal condition, of which the phenomena resemble very closely those of death, or at least resemble them more nearly than they do the phenomena of any other normal condition within our cognizance; that, while in this state, the person so impressed employs only with effort, and then feebly, the external organs of sense, yet perceives, with keenly refined perception, and through channels supposed unknown, matters beyond the scope of the physical organs; that, moreover, his intellectual faculties are wonderfully exalted and invigorated; that his sympathies with the person so impressing him are profound, and, finally, that his susceptibility to the impression increases with its frequency, while in the same proportion, the peculiar phenomena elicited are more extended and more pronounced.
I say that these–which are the laws of mesmerism in its general features–it would be supererogation to demonstrate; nor shall I inflict upon my readers so needless a demonstration to-day. My purpose at present is a very different one indeed. I am impelled, even in the teeth of a world of prejudice, to detail without comment, the very remarkable substance of a colloquy occurring between a sleep-waker and myself.
I had long been in the habit of mesmerizing the person in question (Mr. Vankirk), and the usual acute susceptibility and exaltation of the mesmeric perception had supervened. For many months he had been laboring under confirmed phthisis, the more distressing effects of which had been relieved by my manipulations; and on the night of Wednesday, the fifteenth instant, I was summoned to his bedside.
The invalid was suffering with acute pain in the region of the heart, and breathed with great difficulty, having all the ordinary symptoms of asthma. In spasms such as these he had usually found relief from the application of mustard to the nervous centres, but to-night this had been attempted in vain.
As I entered his room he greeted me with a cheerful smile, and although evidently in much bodily pain, appeared to be, mentally, quite at ease.
"I sent for you to-night," he said, "not so much to administer to my bodily ailment, as to satisfy me concerning certain physical impressions which, of late, have occasioned me much anxiety and surprise. I need not tell you how skeptical I have hitherto been on the topic of the soul's immortality. I cannot deny that there has always existed, as if in that very soul which I have been denying, a vague half-sentiment of its own existence. But this half-sentiment at no time amounted to conviction. With it my reason had nothing to do. All attempts at logical inquiry resulted, indeed, in leaving me more sceptical than before. I had been advised to study Cousin. I studied him in his own works as well as in those of his European and American echoes. The 'Charles Elwood' of Mr. Brownson for example, was placed in my hands. I read it with profound attention. Throughout I found it logical but the portions which were not merely logical were unhappily the initial arguments of the disbelieving hero of the book. In his summing up it seemed evident to me that the reasoner had not even succeeded in convincing himself. His end had plainly forgotten his beginning, like the government of Trinculo. In short, I was not long in perceiving that if man is to be intellectually convinced of his own immortality, he will never be so convinced by the mere abstractions which have been so long the fashion of the moralists of England, of France, and of Germany. Abstractions may amuse and exercise, but take no hold on the mind. Here upon earth, at least, philosophy, I am persuaded, will always in vain call upon us to look upon qualities as things. The will may assent–the soul–the intellect, never.
"I repeat, then, that I only half felt, and never intellectually believed. But latterly there has been a certain deepening of the feeling, until it has come so nearly to resemble the acquiesence of reason, that I find it difficult to distinguish the two. I am enabled, too, plainly to trace this effect to the mesmeric influence. I cannot better explain my meaning than by the hypothesis that the mesmeric exaltation enables me to perceive a train of ratiocination which, in my abnormal existence, convinces, but which, in full accordance with the mesmeric phenomena, does not extend, except through its effect, into my normal condition. In sleep-waking, the reasoning and its conclusion–the cause and its effect–are present together. In my natural state, the cause vanishes, the effect only, and perhaps only partially, remains.
"These considerations have led me to think that some good results might ensue from a series of well-directed questions propounded to me while mesmerized. You have often observed the profound self-cognizance evinced by the sleep-waker–the extensive knowledge he displays upon all points relating to the mesmeric condition itself, and from this self-cognizance may be deduced hints for the proper conduct of a catechism."
I consented of course to make this experiment. A few passes threw Mr. Vankirk into the mesmeric sleep. His breathing became immediately more easy, and he seemed to suffer no physical uneasiness. The following conversation then ensued:-V. in the dialogue representing the patient, and P. myself.
P. Are you asleep?
V. Yes–no; I would rather sleep more soundly.
P. [After a few more passes.] Do you sleep now?
V. Yes.
P. How do you think your present illness will result?
V. [After a long hesitation and speaking as if with effort.] I must die.
P. Does the idea of death afflict you?
V. [Very quickly.] No–no!
P. Are you pleased with the prospect?
V. If I were awake I should like to die, but now it is no matter. The mesmeric condition is so near death as to content me.
P. I wish you would explain yourself, Mr. Vankirk.
V. I am willing to do so, but it requires more effort than I feel able to make. You do not question me properly.
P. What then shall I ask?
V. You must begin at the beginning.
P. The beginning! But where is the beginning?
V. You know that the beginning is GOD. [This was said in a low, fluctuating tone, and with every sign of the most profound veneration.]
P. What, then, is God?
V. [Hesitating for many minutes.] I cannot tell.
P. Is not God spirit?
V. While I was awake I knew what you meant by "spirit," but now it seems only a word–such, for instance, as truth, beauty–a quality, I mean.
P. Is not God immaterial?
V. There is no immateriality–it is a mere word. That which is not matter, is not at all–unless qualities are things.
P. Is God, then, material?
V. No. [This reply startled me very much.]
P. What, then, is he?
V. [After a long pause, and mutteringly.] I see–but it is a thing difficult to tell. [Another long pause.] He is not spirit, for he exists. Nor is he matter, as you understand it. But there are gradations of matter of which man knows nothing; the grosser impelling the finer, the finer pervading the grosser. The atmosphere, for example, impels the electric principle, while the electric principle permeates the atmosphere. These gradations of matter increase in rarity or fineness until we arrive at a matter unparticled–without particles–indivisible-one, and here the law of impulsion and permeation is modified. The ultimate or unparticled matter not only permeates all things, but impels all things; and thus is all things within itself. This matter is God. What men attempt to embody in the word "thought," is this matter in motion.
P. The metaphysicians maintain that all action is reducible to motion and thinking, and that the latter is the origin of the former.
V. Yes; and I now see the confusion of idea. Motion is the action of mind, not of thinking. The unparticled matter, or God, in quiescence is (as nearly as we can conceive it) what men call mind. And the power of self-movement (equivalent in effect to human volition) is, in the unparticled matter, the result of its unity and omniprevalence; how, I know not, and now clearly see that I shall never know. But the unparticled matter, set in motion by a law or quality existing within itself, is thinking.
P. Can you give me no more precise idea of what you term the unparticled matter?
V. The matters of which man is cognizant escape the senses in gradation. We have, for example, a metal, a piece of wood, a drop of water, the atmosphere, a gas, caloric, electricity, the luminiferous ether. Now, we call all these things matter, and embrace all matter in one general definition; but in spite of this, there can be no two ideas more essentially distinct than that which we attach to a metal, and that which we attach to the luminiferous ether. When we reach the latter, we feel an almost irresistible inclination to class it with spirit, or with nihilty. The only consideration which restrains us is our conception of its atomic constitution; and here, even, we have to seek aid from our notion of an atom, as something possessing in infinite minuteness, solidity, palpability, weight. Destroy the idea of the atomic constitution and we should no longer be able to regard the ether as an entity, or, at least, as matter. For want of a better word we might term it spirit. Take, now, a step beyond the luminiferous ether–conceive a matter as much more rare than the ether, as this ether is more rare than the metal, and we arrive at once (in spite of all the school dogmas) at a unique mass- an unparticled matter. For although we may admit infinite littleness in the atoms themselves, the infinitude of littleness in the spaces between them is an absurdity. There will be a point–there will be a degree of rarity at which, if the atoms are sufficiently numerous, the interspaces must vanish, and the mass absolutely coalesce. But the consideration of the atomic constitution being now taken away, the nature of the mass inevitably glides into what we conceive of spirit. It is clear, however, that it is as fully matter as before. The truth is, it is impossible to conceive spirit since it is impossible to imagine what is not. When we flatter ourselves that we have formed its conception, we have merely deceived our understanding by the consideration of infinitely rarefied matter.
P. There seems to me an insurmountable objection to the idea of absolute coalescence;–and that is the very slight resistance experienced by the heavenly bodies in their revolutions through space- a resistance now ascertained, it is true, to exist in some degree, but which is, nevertheless, so slight as to have been quite overlooked by the sagacity even of Newton. We know that the resistance of bodies is, chiefly, in proportion to their density. Absolute coalescence is absolute density. Where there are no interspaces, there can be no yielding. An ether, absolutely dense, would put an infinitely more effectual stop to the progress of a star than would an ether of adamant or of iron.
V. Your objection is answered with an ease which is nearly in the ratio of its apparent unanswerability.–As regards the progress of the star, it can make no difference whether the star passes through the ether or the ether through it. There is no astronomical error more unaccountable than that which reconciles the known retardation of the comets with the idea of their passage through an ether, for, however rare this ether be supposed, it would put a stop to all sidereal revolution in a very far briefer period than has been admitted by those astronomers who have endeavored to slur over a point which they found it impossible to comprehend. The retardation actually experienced is, on the other hand, about that which might be expected from the friction of the ether in the instantaneous passage through the orb. In the one case, the retarding force is momentary and complete within itself–in the other it is endlessly accumulative.
P. But in all this–in this identification of mere matter with God–is there nothing of irreverence? [I was forced to repeat this question before the sleep-waker fully comprehended my meaning.]
V. Can you say why matter should be less reverenced than mind? But you forget that the matter of which "mind" or "spirit" of the schools, so far as regards its high capacities, and is, moreover, the "matter" of these schools at the same time. God, with all the powers attributed to spirit, is but the perfection of matter.
P. You assert, then, that the unparticled matter, in motion, is thought.
V. In general, this motion is the universal thought of the universal mind. This thought creates. All created things are but the thoughts of God.
P. You say, "in general."
V. Yes. The universal mind is God. For new individualities, matter is necessary.
P. But you now speak of "mind" and "matter" as do the metaphysicians.
V. Yes–to avoid confusion. When I say "mind," I mean the unparticled or ultimate matter, by "matter," I intend all else.
P. You were saying that "for new individualities matter is necessary."
V. Yes; for mind, existing unincorporate, is merely God. To create individual, thinking beings, it was necessary to incarnate portions of the divine mind. Thus man is individualized. Divested of corporate investiture, he were God. Now the particular motion of the incarnated portions of the unparticled matter is the thought of man; as the motion of the whole is that of God.
P. You say that divested of the body man will be God?
V. [After much hesitation.] I could not have said this; it is an absurdity.
P. [Referring to my notes.] You did say that "divested of corporate investiture man were God."
V. And this is true. Man thus divested would be God–would be unindividualized. But he can never be thus divested–at least never will be–else we must imagine an action of God returning upon itself–a purposeless and futile action. Man is a creature. Creatures are thoughts of God. It is the nature of thought to be irrevocable.
P. I do not comprehend. You say that man will never put off the body?
V. I say that he will never be bodiless.
P. Explain.
V. There are two bodies–the rudimental and the complete, corresponding with the two conditions of the worm and the butterfly. What we call "death," is but the painful metamorphosis. Our present incarnation is progressive, preparatory, temporary. Our future is perfected, ultimate, immortal. The ultimate life is the full design.
P. But of the worm's metamorphosis we are palpably cognizant.
V. We, certainly–but not the worm. The matter of which our rudimental body is composed, is within the ken of the organs of that body; or, more distinctly, our rudimental organs are adapted to the matter of which is formed the rudimental body, but not to that of which the ultimate is composed. The ultimate body thus escapes our rudimental senses, and we perceive only the shell which falls, in decaying, from the inner form, not that inner form itself; but this inner form as well as the shell, is appreciable by those who have already acquired the ultimate life.
P. You have often said that the mesmeric state very nearly resembles death. How is this?
V. When I say that it resembles death, I mean that it resembles the ultimate life; for when I am entranced the senses of my rudimental life are in abeyance and I perceive external things directly, without organs, through a medium which I shall employ in the ultimate, unorganized life.
P. Unorganized?
V. Yes; organs are contrivances by which the individual is brought into sensible relation with particular classes and forms of matter, to the exclusion of other classes and forms. The organs of man are adapted to his rudimental condition, and to that only; his ultimate condition, being unorganized, is of unlimited comprehension in all points but one–the nature of the volition of God–that is to say, the motion of the unparticled matter. You may have a distinct idea of the ultimate body by conceiving it to be entire brain. This it is not, but a conception of this nature will bring you near a comprehension of what it is. A luminous body imparts vibration to the luminiferous ether. The vibrations generate similar ones within the retina; these again communicate similar ones to the optic nerve. The nerve conveys similar ones to the brain; the brain, also, similar ones to the unparticled matter which permeates it. The motion of this latter is thought, of which perception is the first undulation. This is the mode by which the mind of the rudimental life communicates with the external world; and this external world is, to the rudimental life, limited, through the idiosyncrasy of its organs. But in the ultimate, unorganized life, the external world reaches the whole body, (which is of a substance having affinity to brain, as I have said,) with no other intervention than that of an infinitely rarer ether than even the luminiferous; and to this ether–in unison with it–the whole body vibrates, setting in motion the unparticled matter which permeates it. It is to the absence of idiosyncratic organs, therefore, that we must attribute the nearly unlimited perception of the ultimate life. To rudimental beings, organs are the cages necessary to confine them until fledged.
P. You speak of rudimental "beings." Are there other rudimental thinking beings than man?
V. The multitudinous conglomeration of rare matter into nebulae, planets, suns, and other bodies which are neither nebulae, suns, nor planets, is for the sole purpose of supplying pabulum for the idiosyncrasy of the organs of an infinity of rudimental beings. But for the necessity of the rudimental, prior to the ultimate life, there would have been no bodies such as these. Each of these is tenanted by a distinct variety of organic rudimental thinking creatures. In all, the organs vary with the features of the place tenanted. At death, or metamorphosis, these creatures, enjoying the ultimate life–immortality–and cognizant of all secrets but the one, act all things and pass every where by mere volition:–indwelling, not the stars, which to us seem the sole palpabilities, and for the accommodation of which we blindly deem space created–but that space itself–that infinity of which the truly substantive vastness swallows up the star-shadows–blotting them out as non-entities from the perception of the angels.
P. You say that "but for the necessity of the rudimental life, there would have been no stars." But why this necessity?
V. In the inorganic life, as well as in the inorganic matter generally, there is nothing to impede the action of one simple unique law–the Divine Volition. With the view of producing impediment, the organic life and matter (complex, substantial and law- encumbered) were contrived.
P. But again–why need this impediment have been produced?
V. The result of law inviolate is perfection–right–negative happiness. The result of law violate is imperfection, wrong, positive pain. Through the impediments afforded by the number, complexity, and substantiality of the laws of organic life and matter, the violation of law is rendered, to a certain extent, practicable. Thus pain, which is the inorganic life is impossible, is possible in the organic.
P. But to what good end is pain thus rendered possible?
V. All things are either good or bad by comparison. A sufficient analysis will show that pleasure in all cases, is but the contrast of pain. Positive pleasure is a mere idea. To be happy at any one point we must have suffered at the same. Never to suffer would have been never to have been blessed. But it has been shown that, in the inorganic life, pain cannot be; thus the necessity for the organic. The pain of the primitive life of Earth, is the sole basis of the bliss of the ultimate life in Heaven.
P. Still there is one of your expressions which I find it impossible to comprehend–"the truly substantive vastness of infinity."
V. This, probably, is because you have no sufficiently generic conception of the term "substance" itself. We must not regard it as a quality, but as a sentiment:–it is the perception, in thinking beings, of the adaptation of matter to their organization. There are many things on the Earth, which would be nihility to the inhabitants of Venus–many things visible and tangible in Venus, which we could not be brought to appreciate as existing at all. But to the inorganic beings–to the angels–the whole of the unparticled matter is substance; that is to say, the whole of what we term "space," is to them the truest substantiality;–the stars, meantime, through what we consider their materiality, escaping the angelic sense, just in proportion as the unparticled matter, through what we consider its immateriality, eludes the organic.
As the sleep-waker pronounced these latter words, in a feeble tone, I observed on his countenance a singular expression, which somewhat alarmed me, and induced me to awake him at once. No sooner had I done this than, with a bright smile irradiating all his features, he fell back upon his pillow and expired. I noticed that in less than a minute afterward his corpse had all the stern rigidity of stone. His brow was of the coldness of ice. Thus, ordinarily, should it have appeared, only after long pressure from Azrael's hand. Had the sleep-waker, indeed, during the latter portion of his discourse, been addressing me from out the regions of the shadows?
THE END

MESMERISM




Mesmerism is a bit of medical quackery developed in the 18th-century by Dr. Franz Anton Mesmer. It involves some social role-playing with the mesmerizer making suggestions and his clients becoming absolutely mesmerized by him. Mesmer used his extraordinary powers of suggestion to send people into frenzied convulsions or sleeplike trances. He was so successful that to this day we use his name to describe the exercise of such powers over others.



In the early 1770s, Mesmer, a Viennese physician who got his doctorate for a plagiarized dissertation on how the planets affect health, met Maximillian Hell, a Viennese Jesuit and healer. The rest, as they say, is history. Fr. Hell cured people with a magnetic steel plate. Hell's "proof" of magnetic healing was that it worked, i.e., he had a lot of satisfied customers. Mesmer plagiarized Hell's magnetic therapy and posited that it works because there is a very subtle magnetic fluid flowing through everything but which sometimes gets disturbed and needs to be restored to its proper flow. Hell, Mesmer theorized, was unblocking the flow of this magnetic fluid with his magnets. Mesmer eventually discovered that he got the same results without the magnets. Rather than attribute this to the placebo effect, he posited that "animal magnetism" accounted for his ability to correct the flow of the universal magnetic fluid.



Mesmer also discovered that even though he didn't need magnets to get results, the dramatic effect of waving a magnetized pole over a person, or having his subjects sit in magnetized water or hold magnetized poles, etc., while he moved around in brightly colored robes playing the scientific faith healer, made for better drama and for larger audiences. He was able to evoke from a number of his clients entertaining behaviors ranging from sleeping to dancing to having convulsions. Mesmer did basically what today's hypnotists do in the showroom and the clinic, and what faith healers do in the circus tents and churches, only he did them together, making a great show out of his magnetic cures. With Louis XVI's and Marie Antoinette's help, Mesmer set up a Magnetic Institute where he had his patients do such things as sit with their feet in a fountain of magnetized water while holding cables attached to magnetized trees. He was later denounced as a fraud by the French medical establishment and by a commission which included Benjamin Franklin.



Did Fr. Hell and Dr. Mesmer really cure anyone? No, of course not. Did any of their patients feel better after taking the cure, or did they declare that they had been healed? Yes, of course. Faith healers and quacks always have "successes." In some cases, they create the illnesses themselves through their power of suggestion and the receptiveness of their subjects. These iatrogenic diseases may or may not have painful physical manifestations. These "diseases" can be as serious as demonic possession or as trivial as excessive giggling. They can present dramatic manifestations such as convulsions or soporific manifestations such as a sleeplike stupor.




(...)


Carroll, R. The Skeptics Dictionary. New York: Wiley, 2003.

Thursday, August 30, 2007

VIRGINIA WOOLF



Virginia Woolf was the daughter of Leslie Stephen, a remarkable Victorian editor and writer, member of one of the most respected families in the realm. She was educated at home mainly by her father, and as the Victorian custom dictated, she was not allowed to follow a University career (something she would always resent). This was only reserved to the boys in the family. Nonetheless, her father’s library, remarkably complete, was open to her from early youth and she was and avid reader. Her culture was then vast and she had permanent contact with the brilliant personalities which were part of her family’s circle. At Cambridge, her brother Thoby Stephen and some friends organised what they called “Midnight Society,” and this nucleus came to constitute the origin for the later Bloomsbury Group, famous in British literary circles. Bloomsbury is a distinguished district in London, conveniently near the British Museum, where the Stephens and several of their friends lived. It was at the Stephens’ house that this group came to meet regularly. In the years before World War I the whole of Cambridge University seemed to have moved to Bloomsbury and the recollections of the members of the group prove that the evenings they spent together were unforgettable, truly memorable. Nearly all of these young men were descendants of eminent Victorians and they spent hours discussing the most serious problems of their times. Among them there were sociologists, economists, historians, politicians, painters, as well as novelists, essayists and poets. It was an exclusive intellectual circle. Clive Bell, married to Virginia’s sister Vanessa, said that what characterised the group was “a taste for truth and beauty, tolerance, intellectual honesty, dislike for vulgarity, brutality and over-emphasis, freedom from superstition and prudery, a fearless acceptance of the good things of life, a desire for complete self-expression and for a liberal education, a contempt for utilitarianism, in two words, sweetness and light.” The group was attacked by writers like D. H. Lawrence, who accused them of being snobs, bohemians and aesthetes. Lawrence could not tolerate these well-bred people, intelligent, rich and self-sufficient.

Leslie Stephen married first the youngest of Thackeray’s daughters, with whom he had two children - of which Laura suffered from mental illness from childhood. Then, after his first wife’s death, he married Julia Duckworth, a beautiful woman whom he loved deeply. With her he had two sons and two daughters, of which Virginia was the youngest of the girls. Being still young, Virginia suffered a first serious depression at the death of her mother and she attempted suicide by jumping out of a window. Sir Stephen’s personality also suffered a change with his wife’s death and he became excessibly authoritarian, possessive and stern with his children to the point of resenting any sign of gaiety or happiness in them. Virginia admired her father deeply but at the age of 46 she writes in her diary that his influence over her was both inspiring - he encouraged her to write - and destructive. The most important events during Virginia’s youth were tragic: after her mother’s death came her father’s and her sister Stella’s and then still very young, her beloved brother Thoby whose memory would never abandon her. Vanessa, intimately linked to her was soon married to Clive Bell and had children. Virginia too wanted to marry and as regards children, she often felt their lack. She was always very warm-hearted and kind to her nephews. They later remembered her as gay, always good-humoured. Virginia married Leonard Woolf (“a Jew without a penny”) and he became her life-long friend and protector, forever shielding her from the outside world, forever watching over her to foresee and counteract her fits of depression. Together they organised the Hogarth Press, in its beginning only a family printing house mainly to give Virginia something practical to do to distract her from the worries and speculations of her task as a novelist. Later it became a leading enterprise. In 1915 Virginia had a second crisis: she had hallucinations and she heard voices, she felt desperate and refused to eat and speak. Again she tried to commit suicide by an overdose of Veronal. The last fit came in 1941 and led her to drown herself in the river Ouse. According to her diary, she felt that his time she would be unable to overcome the crisis and that she would have to live the rest of her life in a state of total alienation. The war had affected both her and Leonard deeply. As a Jew he knew he would be killed by Hitler if the Germans succeeded in landing in England and the risk of this happening was serious enough at the time. So much so that they had agreed, if this came to happen, to commit suicide together. Their house in London had already been partially destroyed by bombing and they were living in Monk’s House, Surrey, when they once hardly escaped being bombed. In one of the letters she left for her husband she says: “I have the feeling that I shall go mad. I hear voices and I cannot concentrate on my work. I have fought against it, but cannot fight any longer. I owe all my happiness in life to you. You have been so perfectly good. I cannot go and spoil your life.”

She does not in her work probe and portray the obscure continents of madness. The only character who suffers from a mental illness is Septimus Smith in “Mrs Dalloway.” In her first novels Virginia Woolf is present as a narrator but it is soon evident that her aim is to present life as it is felt and experienced by human beings. This made her break with existing traditions and impelled her to eliminate the narrator from the scene. Her personal vision of reality is here all important to understand her approach to fiction. There is in her both a feeling of intense joy of living coinciding with the perception of life as fragmentary, chaotic and disillusioning. Life is for her a composite of experiences of diverse kinds, a plurality of isolated moments, a chaotic crowding of sensations.

Virginia Woolf has often been seen as the last expression of the aestheticism of Walter Pater. For him, life was just a stream of impressions dissolving one into the other as they flow continuously through our minds. Some are peculiarly pleasant, while they are with us we feel our spirit expanded, enriched, delighted. Aestheticism rests on two facts: life is essential transience and unintelligibility on the one hand, and on the other its capacity for bringing us impressions of beauty.

Virginia Woolf’s books are remarkable for both their power to convey the shifting, fluent quality of life and for the radiant perception of beauty which illuminates them. Yet she could not make of aestheticism a gospel of living. She is constantly searching for a unifying principle in life, to put some order in the chaos of experience which threatens her with disintegration. Throughout her life she strives for harmony and meaningfulness. She was certain that behind the superficial diversity of life, there lay hidden a more ordered and significant reality of which we have only momentary glimpses. Although she called herself an atheist, in all her work we find her need for merging with the universe, for an indissoluble union with nature and the beyond. Her final gesture, her choice of water as a means of death may be interpreted as a surrender to that inner urge to merge with the elements.

Truth, to be found in this underlying reality evaded her. The nearest she ever got to it was through the moments of awareness. In these fleeting experiences she can have a glimpse of the reality hidden behind appearance, at the uniqueness that underlines plurality. They are moments of ecstasy, complete in themselves, that suffer no explanation or rational understanding and which may be equated to mystical experiences. The object on which attention is focused during these experiences is not in itself important; the experience depends on the observer’s ability to shed preconceptions and prejudices, on his capacity to see the world of things and people with the clear, pure vision of the child. Then all the divine uniqueness and beauty of things break upon us and we overflow with happiness. Only these experiences can warm men to the struggle against suffering, disillusionment and meaninglessness.

These experiences are inexplicable. We do not know how or by which means we get to them. All of a sudden the human being seems to come into a world where the shadow of madness and dissolution is effaced by the light of meaningful reality. In “To the Lighthouse,” the painter Lily Briscoe muses: “The great revelation perhaps never did come. Instead there were little miracles, daily illuminations, matches struck in the dark ... in the midst of chaos there was shape; this eternal passing and flowing (she looked at the clouds going and the leaves shaking) was struck into stability.” In this novel Virginia Woolf tries to prove that the private quest for enduring and harmonious reality finds its satisfaction in art as a means of immortalising those few moments of awareness in man’s life when truth is revealed in all its crudeness and beauty. The most characteristic example of a “moment of awareness” is to be found in “Between the Acts”: a child is observing a flower, “The flower blazed between the angles of the roots. Membrane after membrane was torn. It blazed a soft yellow, a lambent light under a film of velvet; it filled the caverns behind the eyes with light. All that inner darkness became a hall, leaf smelling, earth smelling of yellow light. And the tree was beyond the flower; the grass, the flower, and the tree were entire. Down on his knees grubbing he held the flower complete.” Beauty is undoubtedly of great importance in this experience but there is a stronger emphasis on that which is beyond the beauty of the object itself. The flower as such has sacramental vision of reality. Virginia Woolf affirms that only by practising non-attachment, by suppressing the ego, can we see the divine uniqueness and beauty of things. The secret seems to lie in opening oneself up to that which surrounds us, in embracing reality with the pure and unprejudiced heart of a child for whom every morning is an awakening to breathless adventure and discovery. Memory, Virginia Woolf tells us, is often an element of dissociation, an intruder that can banish the beauty and uniqueness of the present moment. If we compare this moment of apprehension with that one in which the child gazes at the flower, we discover that while one is a composite of “a thousand odd, disconnected fragments” which ends by completely obliterating the present moment the other is a highly charged moment of experience full of meaning and untainted by associations, previous knowledge, national concepts.

Wednesday, August 29, 2007

BRIEF SAMPLE ESSAY

Rebecca Menhart
English 4904
Dr. A. den Otter
April 4, 2002

Anglo-American Gynocritics: Doris Lessing’s “To Room Nineteen”

To explore the role that the Gynocritical School plays in Lessing’s depiction of a woman who is battling to find her true identity, I have chosen to look at the many asides that Lessing includes in parentheses. These remarks might seem to be innocent little comments, but in a short story, every detail has been placed for effect and therefore must be inscribed with meaning. In the case of Lessing’s “To Room Nineteen,” these asides show Susan’s honest journey to self-awareness and freedom. Elaine Showalter advocates a formation of a new world of female culture and experience- a “visible” world (Towards a Feminist Poetics 149). This new world is fleshed out in Susan’s asides; her private thoughts are brought to the fore, and hence become visible through the medium of literature.

Though Susan’s asides are included to illustrate how she perceives her own life, the very fact that these thoughts are included as unvoiced afterthoughts make this story an atypical example of Gynocritics. The inclusion of Susan’s thoughts is, however, a step in the right direction. Susan may not be able to openly reveal her thoughts to those around her, but we, as readers hear them loud and clear. These asides occur only when Susan’s search for her true self has begun and they increase in frequency and focus as she increasingly craves a space all her own. Only when she is alone in room nineteen is Susan able to just be; the asides are no longer necessary; she has escaped her demons, she has bought her freedom (Lessing 548).

On the surface, Susan’s and Matthew’s marriage was perfect; they had the big, white house, four happy children, a mother who was seemingly content to stay home and raise her children. It is only in these bracketed asides that the reader is allowed a look into Susan’s honest emotions. Matthew comes home from a hard day at the office and tells Susan about his day, and she does the same, but her experience is “not as interesting, but that was not her fault” (Lessing 527). It is with this realization that up to this point her life had been out of her control that Susan’s journey to self-fulfillment begins.

The couple starts out being aware of the “hidden resentments and deprivations of the woman who has lived her own life – and above all, has earned her own living – and is now dependent on a husband for outside interests and money” (Lessing 527). It is only when these “hidden” resentments are allowed to be expressed that Susan’s internal conversations with herself become more frequent. She begins to state how she is really feeling, if only to herself. She now wants a place of her own where she can be free of the “resentment that the seven hours of freedom in every day…were not free, that never, not for one second, ever, was she free from the pressure of time, from having to remember this or that” (Lessing 533).

Her search for freedom intensifies and she begins to question the validity of her thoughts. She realizes that her resentment of her family’s demands on her time is “poisoning her” (Lessing 533), but in parentheses she again questions this opinion: “She looked at this emotion and thought it was absurd. Yet she felt it” (Lessing 533). These asides are finally becoming expressions of honest emotions, but according to Showalter, in including these beliefs as thoughts, not voice, Lessing is still “alienated from the authentic female perspective” (Showalter, A Literature of Their Own 311).

It is not until Lessing leads Susan on the path to suicide that she is finally freeing her in true feminist fashion. “A woman writer must kill the Angel in the House, that phantom of female perfection who stands in the way of freedom” (Showalter, A Literature of Their Own, 265). But of what value is this so-called feminist literature if the only option is death? There must be a better choice and Lessing may have found it. In showing Susan’s thought processes, Lessing gives her a voice, and even if it is only heard by the reader, the message is still put forth.

Showalter writes that “reclamation of suffering is the beginning” (Towards a Feminist Poetics, 152), but that literature must go beyond this to “discover the new world” (Towards a Feminist Poetics, 152). In these asides, Lessing has indeed made this reclamation, but there is no subsequent discovery. So, does this story fit the Gynocritics theory? Perhaps in part, but it certainly does not fully realize all of the criteria. In resorting to suicide as the only means for Susan to escape, it becomes again the same old lesson that writers have explored for eons; namely that there are only two choices for women- marriage or death. A woman cannot stand alone, choose to leave when she is unhappy, or work to change her lot in life.

Lessing proves this latter part with the many infringements on Susan’s search for freedom. The housekeeper is reluctant to let her go, even for a day, the children take over her attic room, and her husband hires a detective to discover her ‘secret’. She is allowed no privacy and is forced to report her every action. Even though her husband buys her silence each week, in the end there is still a price. She must lie and say she is having an affair to cover for her “weird” wish for solitude.

It is only when Susan finds her peace in Room Nineteen that the asides draw to an end. She deals with erroneous assumptions about the reasons for wanting the room for the afternoon and is finally free. “(But she knew, already, how very much she did belong; the room had been waiting for her to join it)” (Lessing 541). Lessing gives few details about what Susan does in the room, perhaps the most successful strategy in terms of gynocritical theory, but we do know that she is happy there. Like an addict, her use of the room increases with her realization that it really is her desire to be alone with herself.

After her husband “discovers” and is seemingly pleased with her supposed infidelity, there are no more asides. It is as if, along with her freedom to be alone, Susan has given up hope in ever having it again. When she returns to Room Nineteen for the last time, freedom has indeed taken on a new, dark meaning. In a jump back to the standard picture of escape through death, Susan turns on the gas and for the first time lies on the motel bed, assuming the position of someone who has indeed been unfaithful. Choosing to die in this fashion rather than return to her old life with her family, Susan seemingly chooses the only avenue available to women. Her freedom in life was fleeting and apparently, necessarily secret. Once found out, her freedom is forever gone.
The title itself implies a journey- it is “To Room Nineteen”, not simply room nineteen. This journey that Susan takes ends in failure, but there is still that belief that she finds eternal freedom in death. Empowering in a way, but a death, a loss, nonetheless. Showalter would appreciate the experimental nature of Susan’s search, and Lessing’s use of parentheses to include Susan’s thoughts, but is this story really a new model for displaying female experience (Towards a Feminist Poetics 149)? With the inevitable suicide, I’d have to say it tells the same old, feminist ‘I’d rather die than live like this’ themes that literature has always employed.

Works Cited
Lessing, Doris.“To Room Nineteen.”The Norton Anthology ofShort Fiction.6th ed.Eds. R.V. Cassil and Richard Bausch. New York: Norton, 2000. 524-49.
Showalter, Elaine.A Literature of Their Own: British Women Novelists from Brontë to Lessing.Princeton: Princeton UP,1977.
---. “Towards a Feminist Poetics.”Modern Literary Theory.4th ed.Eds.Philip Rice and Patricia Waugh.New York: Oxford UP, 1989. 146-55.

WRITING A LITERARY ESSAY

Writing a Literary Essay (Simon Fraser University, California, U.S.A.)
  • Try to write about something you find interesting that also addresses the concerns and preoccupations of the course.
  • Give your essay an interesting title that has something to do with the position you are taking.
  • Assume intelligent readers who have read the material (though they'll need reminders).
  • Keep your tone straightforward and your explanations concise. Write as directly and clearly as you can, but remember that "simple" does not mean "simplistic."
  • Don't retell the story. Plot is of limited value in literary essays and is usually used only to set up the context of the quotations you plan to analyze. Instead, express an opinion about what you've read. Don't be afraid to take risks to interpret. Aim for a thesis that not everyone would agree with. Don't assume there's one correct view; in literary study there isn't. This does not mean that ANY position you take about the text is correct; some arguments fit the evidence better than others, so beware! You can assert any view that arises from thoughtful discussion and convincing analysis of textual evidence.
  • Explain your arguments thoroughly and patiently. Don't expect the reader to grasp your claims easily.
  • Organize your paragraphs according to the development of your argument, not according to the chronological order of a text. Cover one aspect of your argument per paragraph or section (set of related paragraphs) of your essay. Use transitions to show how sections are logically connected to each other and to your thesis.
  • Don't try to say everything you've figured out about the readings in one essay. Select only those quotations that advance and support a particular thesis. Set up quotations with a brief reminder to readers of what is happening in the text at that point. Integrate quotations into your essay so that everything reads as coherent sentences. Keep quotations as brief as you can.
  • Use present tense to show that literary works and the issues they raise are still alive. Not "Othello was..." but "Othello is...."
  • Show that you care about your work by proofreading carefully for small errors.

Thursday, August 16, 2007

POE


Edgar Allan Poe was born January 19, 1809 in Boston, where his mother had been employed as an actress. Elizabeth Arnold Poe died in Richmond on December 8, 1811, and Edgar was taken into the family of John Allan, a member of the firm of Ellis and Allan, tobacco-merchants.
Poe's mother, Elizabeth Arnold Poe, died in Richmond on December 8, 1811.


After attending schools in England and Richmond, young Poe registered at the University of Virginia on February 14, 1826, the second session of the University. He lived in Room 13, West Range. He became an active member of the Jefferson Literary Society, and passed his courses with good grades at the end of the session in December. Mr. Allan failed to give him enough money for necessary expenses, and Poe made debts of which his so-called father did not approve. When Mr. Allan refused to let him return to the University, a quarrel ensued, and Poe was driven from the Allan home without money.


Mr. Allan probably sent him a little money later, and Poe went to Boston. There he published a little volume of poetry, Tamerlane and Other Poems.


Moldavia, Poe's last home in Richmond located at Fifth and Main Streets. John Allan bought the house in 1825, and Edgar lived there before entering the University of Virginia in 1826.


In Boston on May 26, 1827, Poe enlisted in The United States Army as a private using the name Edgar A. Perry. After two years of service, during which he was promoted to the rank of Sergeant-major, he secured, with Mr. Allan's aid, a discharge from the Army and went to Baltimore. He lived there with his aunt, Mrs. Maria Poe Clemm, on the small amounts of money sent by Mr. Allan until he received an appointment to the U.S. Military Academy at West Point.
Meanwhile, Poe published a second book of poetry in 1829: Al Aaraaf, Tamerlane and Minor Poems. After another quarrel with Allan (who had married a second wife in 1830), Poe no longer received aid from his foster father. Poe then took the only method of release from the Academy, and got himself dismissed on March 6, 1831.


Soon after Poe left West Point, a third volume appeared: Poems by Edgar Allan Poe, Second Edition. While living in Baltimore with his aunt, Mrs. Clemm, young Poe began writing prose tales. Five of these appeared in the Philadelphia Saturday Courier in 1832.


With the December issue of 1835, Poe began editing the Southern Literary Messenger for Thomas W. White in Richmond; he held this position until January, 1837. During this time, Poe married his young cousin, Virginia Clemm in Richmond on May 16, 1836.


Poe's slashing reviews and sensational tales made him widely known as an author; however, he failed to find a publisher for a volume of burlesque tales, Tales of the Folio Club. Harpers did, however, print his book-length narrative, Arthur Gordon Pym in July of 1838.


Little is known about Poe's life after he left the Messenger; however, in 1838 he went to Philadelphia where he lived for six years. He was an editor of Burton's Gentleman's Magazine from July, 1839 to June, 1840, and of Graham's Magazine from April, 1841 to May, 1842. In April, 1844, with barely car fare for his family of three, [including his aunt, Virginia's mother, who lived with them], Poe went to New York where he found work on the New York Evening Mirror.


In 1840, Poe's Tales of the Grotesque and Arabesque was published in two volumes in Philadelphia. In 1845, Poe became famous with the spectacular success of his poem "The Raven," and in March of that year, he joined C. F. Briggs in an effort to publish The Broadway Journal. Also in 1845,Wiley and Putnam issued Tales by Edgar A. Poe and The Raven and Other Poems.


The year 1846 was a tragic one. Poe rented the little cottage at Fordham, where he lived the last three years of his life. The Broadway Journal failed, and Virginia became very ill and died on January 30, 1847. After his wife's death, Poe perhaps yielded more often to a weakness for drink, which had beset him at intervals since early manhood. He was unable to take even a little alcohol without a change of personality, and any excess was accompanied by physical prostration. Throughout his life those illnesses had interferred with his success as an editor, and had given him a reputation for intemperateness that he scarcely deserved.


In his latter years, Poe was interested in several women. They included the poetess, Mrs. Sarah Helen Whitman, Mrs. Charles Richmond, and the widow, Mrs. Sarah Elmira Shelton, whom he had known in his boyhood as Miss Royster.


The circumstances of Poe's death remain a mystery. After a visit to Norfolk and Richmond for lectures, he was found in Baltimore in a pitiable condition and taken unconscious to a hospital where he died on Sunday, October 7, 1849. He was buried in the yard of Westminster Presbyterian Church in Baltimore, Maryland.


In personal appearance, Poe was a quiet, shy-looking but handsome man; he was slightly built, and was five feet, eight inches in height. His mouth was considered beautiful. His eyes, with long dark lashes, were hazel-gray.

Sunday, July 01, 2007

DORIS LESSING


Doris Lessing was born Doris May Taylor in Persia (now Iran) on October 22, 1919. Both of her parents were British: her father, who had been crippled in World War I, was a clerk in the Imperial Bank of Persia; her mother had been a nurse. In 1925, lured by the promise of getting rich through maize farming, the family moved to the British colony in Southern Rhodesia (now Zimbabwe). Doris's mother adapted to the rough life in the settlement, energetically trying to reproduce what was, in her view, a civilized, Edwardian life among savages; but her father did not, and the thousand-odd acres of bush he had bought failed to yield the promised wealth.
Lessing has described her childhood as an uneven mix of some pleasure and much pain. The natural world, which she explored with her brother, Harry, was one retreat from an otherwise miserable existence. Her mother, obsessed with raising a proper daughter, enforced a rigid system of rules and hygiene at home, then installed Doris in a convent school, where nuns terrified their charges with stories of hell and damnation. Lessing was later sent to an all-girls high school in the capital of Salisbury, from which she soon dropped out. She was thirteen; and it was the end of her formal education.
But like other women writers from southern African who did not graduate from high school (such as Olive Schreiner and Nadine Gordimer), Lessing made herself into a self-educated intellectual. She recently commented that unhappy childhoods seem to produce fiction writers. "Yes, I think that is true. Though it wasn't apparent to me then. Of course, I wasn't thinking in terms of being a writer then - I was just thinking about how to escape, all the time." The parcels of books ordered from London fed her imagination, laying out other worlds to escape into. Lessing's early reading included Dickens, Scott, Stevenson, Kipling; later she discovered D.H. Lawrence, Stendhal, Tolstoy, Dostoevsky. Bedtime stories also nurtured her youth: her mother told them to the children and Doris herself kept her younger brother awake, spinning out tales. Doris's early years were also spent absorbing her fathers bitter memories of World War I, taking them in as a kind of "poison." "We are all of us made by war," Lessing has written, "twisted and warped by war, but we seem to forget it."
In flight from her mother, Lessing left home when she was fifteen and took a job as a nursemaid. Her employer gave her books on politics and sociology to read, while his brother-in-law crept into her bed at night and gave her inept kisses. During that time she was, Lessing has written, "in a fever of erotic longing." Frustrated by her backward suitor, she indulged in elaborate romantic fantasies. She was also writing stories, and sold two to magazines in South Africa.
Lessing's life has been a challenge to her belief that people cannot resist the currents of their time, as she fought against the biological and cultural imperatives that fated her to sink without a murmur into marriage and motherhood. "There is a whole generation of women," she has said, speaking of her mother's era, "and it was as if their lives came to a stop when they had children. Most of them got pretty neurotic - because, I think, of the contrast between what they were taught at school they were capable of being and what actually happened to them." Lessing believes that she was freer than most people because she became a writer. For her, writing is a process of "setting at a distance," taking the "raw, the individual, the uncriticized, the unexamined, into the realm of the general."
In 1937 she moved to Salisbury, where she worked as a telephone operator for a year. At nineteen, she married Frank Wisdom, and had two children. A few years later, feeling trapped in a persona that she feared would destroy her, she left her family, remaining in Salisbury. Soon she was drawn to the like-minded members of the Left Book Club, a group of Communists "who read everything, and who did not think it remarkable to read." Gottfried Lessing was a central member of the group; shortly after she joined, they married and had a son.
During the postwar years, Lessing became increasingly disillusioned with the Communist movement, which she left altogether in 1954. By 1949, Lessing had moved to London with her young son. That year, she also published her first novel, The Grass is Singing, and began her career as a professional writer.
Lessing's fiction is deeply autobiographical, much of it emerging out of her experiences in Africa. Drawing upon her childhood memories and her serious engagement with politics and social concerns, Lessing has written about the clash of cultures, the gross injustices of racial inequality, the struggle among opposing elements within an individuals own personality, and the conflict between the individual conscience and the collective good. Her stories and novellas set in Africa, published during the fifties and early sixties, decry the dispossession of black Africans by white colonials, and expose the sterility of the white culture in southern Africa. In 1956, in response to Lessing's courageous outspokenness, she was declared a prohibited alien in both Southern Rhodesia and South Africa.
Over the years, Lessing has attempted to accommodate what she admires in the novels of the nineteenth century - their "climate of ethical judgement" - to the demands of twentieth-century ideas about consciousness and time. After writing the Children of Violence series (1951-1959), a formally conventional bildungsroman (novel of education) about the growth in consciousness of her heroine, Martha Quest, Lessing broke new ground with The Golden Notebook (1962), a daring narrative experiment, in which the multiple selves of a contemporary woman are rendered in astonishing depth and detail. Anna Wulf, like Lessing herself, strives for ruthless honesty as she aims to free herself from the chaos, emotional numbness, and hypocrisy afflicting her generation.
Attacked for being "unfeminine" in her depiction of female anger and aggression, Lessing responded, "Apparently what many women were thinking, feeling, experiencing came as a great surprise." As at least one early critic noticed, Anna Wulf "tries to live with the freedom of a man" - a point Lessing seems to confirm: "These attitudes in male writers were taken for granted, accepted as sound philosophical bases, as quite normal, certainly not as woman-hating, aggressive, or neurotic."
In the 1970s and 1980s, Lessing began to explore more fully the quasi-mystical insight Anna Wulf seems to reach by the end of The Golden Notebook. Her "inner-space fiction" deals with cosmic fantasies (Briefing for a Descent into Hell, 1971), dreamscapes and other dimensions (Memoirs of a Survivor, 1974), and science fiction probings of higher planes of existence (Canopus in Argos: Archives, 1979-1983). These reflect Lessing's interest, since the 1960s, in Idries Shah, whose writings on Sufi mysticism stress the evolution of consciousness and the belief that individual liberation can come about only if people understand the link between their own fates and the fate of society.
Lessing's other novels include The Good Terrorist (1985) and The Fifth Child (1988); she also published two novels under the pseudonym Jane Somers (The Diary of a Good Neighbour, 1983 and If the Old Could..., 1984). In addition, she has written several nonfiction works, including books about cats, a love since childhood. Under My Skin: Volume One of My Autobiography, to 1949, appeared in 1995 and received the James Tait Black Prize for best biography.
Addenda (by Jan Hanford)
In June 1995 she received an Honorary Degree from Harvard University. Also in 1995, she visited South Africa to see her daughter and grandchildren, and to promote her autobiography. It was her first visit since being forcibly removed in 1956 for her political views. Ironically, she is welcomed now as a writer acclaimed for the very topics for which she was banished 40 years ago.
She collaborated with illustrator Charlie Adlard to create the unique and unusual graphic novel, Playing the Game. After being out of print in the U.S. for more than 30 years, Going Home and In Pursuit of the English were republished by HarperCollins in 1996. These two fascinating and important books give rare insight into Mrs. Lessing's personality, life and views.
In 1996, her first novel in 7 years, Love Again, was published by HarperCollins. She did not make any personal appearances to promote the book. In an interview, she describes the frustration she felt during a 14-week worldwide tour to promote her autobiography: "I told my publishers it would be far more useful for everyone if I stayed at home, writing another book. But they wouldn't listen. This time round I stamped my little foot and said I would not move from my house and would do only one interview." And the honors keep on coming: she was on the list of nominees for the Nobel Prize for Literature and Britain's Writer's Guild Award for Fiction in 1996.
Late in the year, HarperCollins published Play with A Tiger and Other Plays, a compilation of 3 of her plays: Play with a Tiger, The Singing Door and Each His Own Wilderness. In an unexplained move, HarperCollins only published this volume in the U.K. and it is not available in the U.S., to the disappointment of her North American readers.
In 1997 she collaborated with Philip Glass for the second time, providing the libretto for the opera "The Marriages Between Zones Three, Four and Five" which premiered in Heidelberg, Germany in May. Walking in the Shade, the anxiously awaited second volume of her autobiography, was published in October and was nominated for the 1997 National Book Critics Circle Award in the biography/autobiography category. This volume documents her arrival in England in 1949 and takes us up to the publication of The Golden Notebook. This is the final volume of her autobiography, she will not be writing a third volume.
Her new novel, titled "Mara and Dann", was been published in the U.S in January 1999 and in the U.K. in April 1999. In an interview in the London Daily Telegraph she said, "I adore writing it. I'll be so sad when it's finished. It's freed my mind." 1999 also saw her first experience on-line, with a chat at Barnes & Noble. In May 1999 she will be presented with the XI Annual International Catalunya Award, an award by the government of Catalunya.
December 31 1999: In the U.K.'s last Honours List before the new Millennium, Doris Lessing was appointed a Companion of Honour, an exclusive order for those who have done "conspicuous national service." She revealed she had turned down the offer of becoming a Dame of the British Empire because there is no British Empire. Being a Companion of Honour, she explained, means "you're not called anything - and it's not demanding. I like that". Being a Dame was "a bit pantomimey". The list was selected by the Labor Party government to honor people in all walks of life for their contributions to their professions and to charity. It was officially bestowed by Queen Elizabeth II.
In January, 2000 the National Portrait Gallery in London unveiled Leonard McComb's portrait of Doris Lessing.
Ben, in the World, the sequel to The Firth Child was published in Spring 2000 (U.K.) and Summer 2000 (U.S.).

Tuesday, June 26, 2007

DOPPELGÄNGER



DOPPELGÄNGER: German, “double goer.” A mysterious double; a common figure in literature. Poe’s “William Wilson” and Conrad’s The Secret Sharer are stories of people haunted by the image of a double. Wilde’s The Picture of Dorian Gray is a variation on the theme.



Harmon, W. and Holman, C. H. 2000. A Handbook to Literature. New Jersey: Prentice Hall.


***



Doppelgänger: (Also known as The Double.) A literary technique by which a character is duplicated (usually in the form of an alter ego, though sometimes as a ghostly counterpart) or divided into two distinct, usually opposite personalities. The use of this character device is widespread in nineteenth- and twentieth-century literature, and indicates a growing awareness among authors that the "self" is really a composite of many "selves." A well-known story containing a Doppelgänger character is Robert Louis Stevenson's Dr. Jekyll and Mr. Hyde, which dramatizes an internal struggle between good and evil.



Thomson and Gale Resources. Glossary of Terms.

Saturday, June 23, 2007

STEVENSON: A link

Suggested website: R. L. Stevenson in The National Library of Scotland.

Sunday, May 27, 2007

WHAT IS THEME IN LITERATURE?

Here, some definitions of THEME:

  • (from A Handbook to Literature, Harmon-Holman, Prentice, N.Y., 1999)

THEME: A central idea. In nonfiction prose it may be thought of as the general topic of discussion, the subject of the discourse, the THESIS. In poetry, fiction, and drama it is the abstract concept that is made concrete through representation in person, action, and image. No proper theme is simply a subject or an activity. Both theme and thesis imply a subject and a predicate of some kind – not just vice in general, say, but some such proposition as “Vice seems more interesting than virtue but turns out to be destructive.” “Human wishes” is a topic or subject; the “vanity of human wishes” is a theme.

  • (from Literature and the Writing Process, McMahan et al., Prentice, New Jersey, 1993)

... It is easy to confuse subject with theme. The subject is the topic or material the story examines - love, death, war, human relations, growing up, and so forth. But the theme is the direct or implied statement that the story makes about the subject. (...) The theme (...) is the insight that we gain from thinking about what we have read.

  • (from El Análisis Literario, Castagnino, A., Nova, Buenos Aires, 1979)
... Cuando se aborda el estudio de los contenidos de una obra literaria, en primer lugar se procura reconocer el tema [theme], es decir, la materia del texto; en otras palabras, el asunto que elabora en tema literario, el cual puede estar fundado en la realidad inmediata, o puede ser de resonancia lejana, totalmente imaginativa: por otra parte, el asunto tiene derivaciones hacia el orden personal, sentimental psicofisiológico, hacia lo social, lo estético; en el espacio y en el tiempo. ...

Saturday, May 26, 2007

FAULKNER


Born in New Albany, Mississippi, Faulkner was brought up in Oxford, which, under the name of Jefferson, became the locale for much of his fiction. With his third novel Sartoris (1929) he discovered that his own 'little postage of soil was worth writing about', and embarked on the creation of his mythical Yoknapatawpha County. Sartoris states, in embryo at least, most of the themes he would develop in a series of works, which, thinking of the interconnected novels of Balzac or Proust, he often referred to as 'the book'. There is the influence of past on present, central to Absalom, Absalom!; the isolation of the individual, treated more focally in The Sound and the Fury (1929) and Light in August (1932); the moral decay of the old South, and the erosion of its traditions by the secular values of the modern age.
The violence in his work is explicable in terms of the apparent sources of his Southern myth. The poet and critic Allen Tate (1899-1979) suggests that 'the Greco-Trojan myth (Northerners as the upstart Greeks, Southerners as the older, more civilised Trojans) presented Faulkner ... with a large semi-historical background' against which his characters 'could be projected in more than human dimensions'.
(from Walker, Marshall, The Literature of the U.S.A., Macmillan, London, 1983)

Friday, May 18, 2007

THE INNOCENTS (FOOTAGE)

Thursday, May 17, 2007

CRITICAL INTERPRETATIONS ON THE TURN OF THE SCREW

I quote here the conclusion by Dr. Parkinson (turnofthescrew.com):


The Turn of the Screw
A History of Its Critical Interpretations 1898 - 1979
Edward J. Parkinson, PhD

Chapter Seven - Conclusion

The time has come to summarize this history of the criticism of The Turn of the Screw.

The first critic of note was James himself, who commented on the story in his Notebooks, in the Prefaces to Volumes 12 and 17 of the New York Edition, and in correspondence. I have demonstrated that these statements are not helpful to critics seeking to enlist James on one side or the other of the major controversies which have dominated the criticism of the novella -the reality of the ghosts, their nature, the moral stature of the governess, or even the seriousness and artistic merit of the work. On the contrary, we find in his statements such a pervasive ambiguity that the same statements have frequently been quoted as evidence for conflicting claims. On the other hand, I have cited evidence--particularly from the Prefaces--to indicate that his intention was to effect an unresolvable ambiguity in contrast to "the offered example, the imputed vice, the cited act, the limited deplorable presentable instance" (Preface to v. 12 xii); and we have made a case for placing James in the reader-response camp, in anticipation of critics such as Norman Holland, David Bleich, Wolfgang Iser, Stanley Fish and others:
Only make the reader's general vision of evil intense enough, I said to myself--and that already is a charming job--and his own experience, and his own imagination, his own sympathy (with the children) and horror (of their false friends) will supply him with all the particulars (Preface to v. 12 xxi).
One of the major trends I have noted in this study is the tendency of critics to move away from one-sided "stands" on the apparitionist/non-apparitionist controversy--particularly after Heilman's 1948 essay. I suggested in chapter four that, after Wilson had so ably argued the non-apparitionist position and Heilman had so brilliantly argued for an apparitionist interpretation, it became increasingly difficult for critics to ignore either set of elements in the novella. Consequently, I perceived--beginning with critics such as Bewley, Hoffman, Chase, Lydenberg, and Firebaugh--a tendency to offer interpretations which synthesized apparitionist and non-apparitionist readings and, beginning in the sixties, an increasing tendency to consider the work inherently and insolubly ambiguous and to concentrate on explaining how the ambiguity is produced by the structure of the text and the effects of this ambiguity on the reader. These trends culminated in the reader-response structuralist criticism of Felman and the linguistically based criticism of Brooke-Rose and Rimmon. Thus, in one sense, the critical history can be seen as a journey to the place where James began.
Beginning with the earliest critical reactions to the novella, we see a consistent consensus as to the great artistic merits of the story--with only a few scattered dissenting comments, such as those of G.K.Chesterton and Ezra Pound at the beginning of our story and Samuels and Lind at the end.
From the very beginning we see the story's ambiguity reflected in the large number of outstanding writers and critics on both sides of the apparitionist/non-apparitionist controversy. The non- apparitionist trend climaxed in Wilson's famous 1934 essay, while the apparitionist trend reached a similar climax in 1948, with the publication of Heilman's famous essay. After that, as I have noted, the trend was first toward achieving a synthesis of the opposing readings--leading in the sixties and seventies to very rich readings--such as those of Nardin, Fryer, Cole, Mogen, Stone, Spilka, Fraser, Rees, and Grunes--in which Marxist insights were synthesized with theological and psychoanalytic interpretations. Some early critics, such as Oliver Elton and Virginia Woolf, effected syntheses of sorts but, in so doing, did not present detailed analyses of the story. The first such detailed syntheses were offered by Lydenberg and Firebaugh in the fifties. One of the merits of Goddard's essay (written in the twenties but not published until the fifties, posthumously) is that it can easily be read in conjunction with essays such as those of Lydenberg, Firebaugh, Bewley, Hoffmann, and others which effect syntheses of the apparitionist and non-apparitionist positions.
We have seen that most of the very early criticism was impressionistic and subjective--with the critics tending mainly to record the effects of the work on themselves and to assume that other readers should and/or would be similarly affected. This is not surprising in view of the fact that the academic study of "English" was in its infancy at the turn of the century. Sir Arthur Quiller Couch had recently become the first Professor of English at Cambridge (Eagleton 28). In the United States, even outstanding writers such as Twain and Howells practiced literary criticism largely as a form of journalism.
This impressionistic stream found issue in two closely related tributaries--the phenomenological criticism of Kenton in the early twenties and the personal narrative criticism of Broun in the early thirties, which would reach its zenith in 1964 with the publication of Muriel West's A Stormy Night With The Turn of the Screw. Kenton's and Broun's essays appeared, of course, when Husserl was doing his most important philosophical work on the Continent. It is not surprising, therefore, that, during this period, a critic such as Kenton would attempt to clarify the hidden intentions of the author by intuiting gestalts from the text and relaying them to the reader, and attempt to achieve a "union" with the consciousness of the author by first identifying with the consciousness of a fictional character, the governess.
Other trends can be better understood when they are contrasted with the approach of Kenton. For example, although she attempts to understand the governess and the reader's response to the story, she must be distinguished from psychoanalytic critics such as Cargill, Bontly, Cranfill and Clark, Katan, and Aldrich--who seek such understanding through a detailed examination of the governess's words and actions in the light of psychoanalytic theories offered by Freud or other theorists, just as she must be distinguished from critics such as Felman and Brooke-Rose who attempt to understand the reader's responses through detailed studies of the structures of the text. Similarly, Kenton's attempts to understand the author's intentions are to be contrasted with psychoanalytic studies of the author such as those of Katan, Rosenzweig, or Aswell, and from historical-biographical approaches such as those of Sheppard, Stone, or Timms.
Wilson's 1934 essay was, of course, a watershed-- because of the persuasiveness and richness of the essay (its syntheses of psychological and sociological insights, for example, and its illuminating insights into the whole of the Jamesian canon), as well as because of Wilson's outstanding critical reputation. The 1938 version, with its addition of Jungian insights, was even more insightful and persuasive. The period from 1934 to 1948 was dominated by the apparitionist/non-apparitionist debate as critics reacted to Wilson. This debate reached its climax in 1948, with the appearance of Heilman's essay, an exponential/theological study arguably equal in stature to Wilson's psychoanalytic study. Some outstanding psychoanalytic criticism followed Wilson during this period--work by Edel, L.C. Knights, and Rosenzweig, for example. These would be followed in the fifties by more work by Edel, as well as Levy's brilliant combination of psychoanalytic authorial and reader-response criticism.
Wilson's essays were fine examples of that type of psychoanalytic criticism which focuses on the author and, in so doing, sheds additional light on the literary work. His criticism never deteriorated into mere psychoanalysis of an individual of historical importance; rather, his aim was always better to understand the works in question and the reader's responses to those works by exploring the creative processes of the author and the persona which the author projected in the narratives. His criticism related The Turn of the Screw to the rest of the Jamesian canon in such a way that the novella and the rest of the canon served to illuminate one another. The 1938 revision, in addition to considering additional internal evidence to support Wilson's thesis, and expanding the discussion of James's other works, offered insights which could be further developed in Jungian interpretations of the story--such as the work of Hallab in the seventies.
Most of the critical reactions during this period, however, were mixtures of formalistic analyses of the text and attempts to understand the author's intentions through an analysis of the statements James made about the story--i.e., the work of critics such as Stoll, Andreas, etc. Much of this criticism was unsophisticated by later standards--with Stoll, for example, confusing James's statements about the governess with Douglas's statements about her, and Fagin apparently forgetting that an author's stated intentions are irrelevant as guides to interpretation unless those intentions can be shown to have been realized in the work. This formalistic dominance is not surprising, since the period was dominated by the New Criticism
that began with the work of I.A. Richards and T.S. Eliot before the war in England, and was continued by figures such as John Crowe Ransom, W.K. Wimsatt, Cleanth Brooks, and Allen Tate in the United States during the forties, fifties, and sixties (Jefferson and Robey65).
Much of the analysis of James's statements can be attributed to critics incompletely convinced by the New Critical approach--consider, for example, Stoll's protest against critics who insist that "intentions do not matter" (233).
All of the psychoanalytic studies during this period focused primarily on the author. They were examples of what Wright calls "classical" psychoanalysis--the kind appearing in Imago "from 1912 to 1937" (Jefferson and Robey 113) and exemplified by Marie Bonaparte's study of Poe in 1949 (Jefferson and Robey 115), in which the psychoanalytic critic "treated the literary text as analogous to the dream and believed that by detailed examination of its workings he could make it yield up the psychology of its creator" (Jefferson and Robey 114). Later, structuralist psychoanalysis--focusing on the relations between the text and the reader--drew heavily on such concepts as the Lacanian theories of the relationship of sexuality to language (relating the Oedipal "loss" of the mother to the loss of correspondence between signifier and signified). This psychoanalysis began to become influential in the fifties--mediated through figures such as I.A. Richards and Ernest Kris (Jefferson and Robey 116-117). Both types of criticism continued throughout the period surveyed by this history--with the former type, probably by the virtue of a widely increasing sophistication in scholarship, becoming more and more like source studies--i.e., Cranfill and Clark, Cargill, and Lind--and also more concerned with the text's effects on the reader. The second type reached its zenith in the seventies--particularly in the work of Felman, but also in the work of Brooke-Rose, who integrated such psychoanalytic criticism into her linguistically based approach.
Wilson, of course, recognized the contribution Victorian class distinctions made to the problems of the governess and other fictional characters in James's canon. We find much more detailed and sophisticated integrations of sociological and psychological insights, however, in the sixties and seventies in the work of critics such as Spilka, Nardin, Cole, Rees, Stone, Fryer, and Fraser. The pattern of integrations was influenced, perhaps, by the pervasive influence--beginning in the sixties--of "structuralist" Marxists, such as the Marxist psychoanalytic theorist Louis Althusser (Selden 9-42).
Beginning in the sixties, also, we see the influence of structuralism in the increasing assumption that literature is an isolated and self-referential universe. We find this view reflected in Turn of the Screw criticism which attempts to contextualize the novella in the world of literature rather than to seek a "meaning" external to the world of literature. Thus, Enck understands the work in the context of similar works at the beginning of the twentieth century. Similarly, Heilman, Feuerlich, and Fraser see the work as part of a body of literature and contend that fictional works which are not sources can nevertheless aid in understanding The Turn of the Screw. Booth explains how other literary works necessarily predispose critics to read The Turn of the Screw in certain ways. Muriel West in A Stormy Night with The Turn of the Screw sees The Turn of the Screw as a literary work made up of bits and pieces of many other literary works. Also, West's A Stormy Night, like Solomon's study, is itself a literary work. West combines literary criticism and fiction to produce a hybrid form--her book is both a critical study and a novella with a fictional and largely unreliable narrator commenting on both real and imaginary authors and literary works--while Solomon hybridizes literary criticism and satirizing of other literary critics. Many critics during this period insisted that the work cannot be understood except in the context of the entire Jamesian canon--for example, Rubin, West, Vaid, Sharp, Shine, Ward, Krook, Spilka, Stone, Fraser, and Thomas. Thus, each author's canon is considered, in some sense, to be a distinct world with its own rules and criteria of meaning. In the seventies we see a continuation of the tendency to view the world of literature as an isolated and self-referential universe. This is reflected in the source studies of Sheppard, Purton, Ryburn, Tintner, and Duthie. It is also seen in the attempts of critics such as Voegelin, Wirth-Nesler, and Merrivale to understand the novella through comparisons with other literary works without suggesting that the other works are sources for The Turn of the Screw or that The Turn of the Screw is a source for the other works. Finally, many critics during this period sought to understand the novella by viewing it in the context of other Jamesian works--Sheppard, Huntley, Dyson, Voegelin--to cite a few examples.
Heilman's 1948 essay was a significant early example of archetypal criticism. In the fifties critics such as Firebaugh, Lydenberg, Bewley, Chase, and Hoffmann also noted the existence of archetypal elements in the story but tended to combine these sets of insights with Wilsonian insights concerning the self-interested motives, neurotic patterns, and self-deceptions of the governess. In the sixties and seventies these types of insights tended to be employed to make points about the response of the reader to the text. Thus, in A Stormy Night West saw the combinations of archetypes reflecting the chaotic pattern of a nightmare and having a comparable effect on the reader. In the seventies Hallab and Stepp saw the reader affected by the apperception of repressed and warring archetypes being harmonized in a grownup Miles--Douglas--and a governess who had become the self-reflective author of the narrative.
Also, from the very beginning of our story we see a few critics such as Grabo and Goddard concerned with analyzing the narrative structures of the work--consider Grabo's "wave theory" and Goddard's suggestion of the coexistence of two plots--the ghost story and the more credible story of two children in the care of an insane governess, to which the reader responds subliminally. This type of attempt was made again and again--for example, in the fifties and sixties with Collins's, Levy's, Rubin's, and Trachtenberg's analyses of the ambiguous fusion of the identities of Douglas and Miles, in the late fifties with Jones's analysis of the three narrator "frame" structure, and in the sixties with Costello's, Krook's, and Enck's studies of the patterns of the plot, and Muriel West's study of syntactical ambiguity in "The Death of Miles in The Turn of the Screw." It reached its zenith, of course, in the seventies with the structuralist psychoanalytic reader-response criticism of Felman and the linguistically based criticism of Brooke-Rose and Rimmon.

Sunday, May 13, 2007

SCREENING HENRY JAMES

Amazon.com

The definitive screen adaptation of Henry James's The Turn of the Screw, the 1961 production of The Innocents remains one of the most effective ghost stories ever filmed. Originally promoted as the first truly "adult" chiller of the big screen (a marginally valid claim considering the release of Psycho a year earlier), the film arrived at a time when the thematic depth of James's story could finally be addressed without the compromise of reductive discretion. And while the Freudian anxiety that fuels the story may seem tame by today's standards, the psychological horrors that comprise the story's "dark secret" are given full expression in a film that brilliantly clouds the boundary between tragic reality and frightful imagination.

In one of her finest performances, Deborah Kerr stars as Miss Giddons, a devout and somewhat repressed spinster who happily accepts the position of governess for two orphaned children whose uncle (Michael Redgrave) readily admits to having no interest in being tied down by two "brats." So Miss Giddons is dispatched to Bly House, the lavish, shadowy estate where young Flora (Pamela Franklin) and her brother Miles (Martin Stephens, so memorable in 1960's Village of the Damned) live with a good-natured housekeeper (Megs Jenkins). At first, life at Bly House seems splendidly idyllic, but as Miss Giddons learns the horrible truth about the estate's now-deceased groundskeeper and previous governess, she begins to suspect that her young charges are ensnared in a devious plot from beyond the grave.

Ghostly images are revealed in only the most fleeting glimpses, and the outstanding Cinemascope photography by Freddie Francis (who used special filters to subtly darken the edges of the screen) turns Bly House into a welcoming mansion by day, a maze of mystery and terror by night. Sound effects and music are used to bone-chilling effect, and director Jack Clayton, blessed with a script by William Archibald and Truman Capote, maintains a deliberate pace to emphasize the ambiguity of James's timeless novella. The result is a masterful film--comparable to the 1963 classic The Haunting--that uses subtlety and suggestion to reach the pinnacle of fear. --Jeff Shannon

Product Description
Deborah Kerr stars in this "horrifying Gothic ghost tale" (Newsweek) based on Henry James' "The Turn Of The Screw,' a powerful psychological drama about innocence possessed by evil. Shortly after coming to live with orphans Flora and Miles in their dark, eerie mansion, the new governess (Kerr) mistakes their strange behavior for preciousness. But she soon comes to believe that the charming, beautiful children are possessed by evil, malicious spirits - the souls of their previous governess and estate manager who are now dead. With its shocking conclusion and sinister cinematic effects. The Innocents "catches an eerie, spine-chilling mood right from the start" (Variety) that never lets up.

Otra vuelta de tuerca (VHS) available at Videoteca

Other filmed works that may be available at the local rental shops:

WASHINGTON SQUARE (La Heredera). VHS.
WINGS OF THE DOVE (Alas de la paloma). VHS.
PORTRAIT OF A LADY (Retrato de una dama). VHS / DVD

HENRY JAMES SPEAKS OF THE TURN OF THE SCREW


In speaking about "The Turn of the Screw" in the collected edition of his work, James talked forthrightly about Peter Quint and Miss Jessel as "my hovering blighting presences, my pair of abnormal agents"; he described them as the "haunting pair" driven by a "villainy of motive." He was careful not to make that motive explicit, and recalled telling himself, while writing the tale, "Only make the reader's general vision of evil intense enough ... and his own experience, his own imagination, his own sympathy (with the children) and horror (of their false friends) will supply him quite sufficiently with all the particulars." Most readers today who accept the ghosts as real suppose that their villainous motive was sexual corruption of some homoerotic kind. But this, as James would say, may be as much a comment on modern readers as on the story; the identity of ultimate horror may be different tomorrow.


Lewis, R. W. B. "Introduction" in James, H. The Turn of the Screw and Other Short Fiction. New York, Bantam, 1981.


Saturday, May 12, 2007

SHAKESPEAREAN TRAGEDY (BRADLEY)

The Substance of Shakespearean Tragedy (Bradley)

  • It is pre-eminently the story of one person, the 'hero', or at most of two, the 'hero' and 'heroine'.
  • The story leads up to the death of the hero.
  • It is essentially a tale of suffering and calamity conducting to death, a total reverse of fortune, coming unawares upon a man who 'stood in high degree', happy and apparently secure.
  • The hero's fate affects the welfare of a whole nation or empire; and when he falls suddenly from the height of earthly greatness to the dust, his fall produces a sense of contrast, of the powerlessness of man, and of the omnipotence - perhaps the caprice - of Fortune or Fate, which no tale of private life can possibly rival.
  • No one ever closes the book with the feeling that man is a poor mean creature. He may be wretched and he may be awful, but he is not small.

(Bradley, A. C. 1966. ‘The Substance of Shakespearean Tragedy’ in Shakespearean Tragedy. London: Macmillan.)

Thursday, May 10, 2007

Lit. II: HOST (dictionary entry)

host
...
2 a : a living animal or plant on or in which a parasite lives b : the larger, stronger, or dominant member of a commensal or symbiotic pair c : an individual into which a tissue, part, or embryo is transplanted from another

Merriam Webster's Collegiate Dictionary

THE FEMME FATALE

Salome
In Christian mythology, Salome was the daughter of Herodias and stepdaughter of Herod Antipas, ruler of Galilee in Palestine. Her infamy comes from causing St. John the Baptist's execution. The saint had condemned the marriage of Herodias and Herod Antipas, as Herodias was the divorced wife of Antipas's half brother Philip. Incensed, Herod imprisoned John, but feared to have the well-known prophet killed. Herodias, however, was not mollified by John's incarceration and pressed her daughter Salome to "seduce" her stepfather Herod with a dance, making him promise to give her whatever she wished. At her mother's behest, Salome thus asked for the head of John the Baptist on a platter. Unwillingly, Herod did her bidding, and Salome brought the platter to her mother.

The popular story made for excellent subject matter in artwork of Gustave Moreau and Aubrey Beardsley, and revisions of Salome appear in literature. Oscar Wilde wrote his one-act play Salomé, originally written in French, to shock audiences with its spectacle of perverse passions. The censor stopped rehearsals because of its use of biblical characters, though the play did go on to be published in 1893 with an English translation following in 1894 including the famous illustrations of Beardsley (one of them above).

Wilde's play became the source and inspiration for Richard Strauss's one-act opera also named Salomé, first produced in 1905. Herod's lust for Salome is emphasized, which Salome uses to gain her wishes by performing the famous "Dance of the Seven Veils." Salome, in turn, desires to have John the Baptist — a new interpretation of the original myth. In the end, the only way Salome may have any part of John, quite literally, meant that she must demand his head be given to her. Salome fulfils her passion by kissing the dead lips of John's decapitated head, who had previously rejected her. This new and more familiar version of Salome depicts her as a seductress of her stepfather and a murderer of a saint, thereby becoming a symbol of the erotic and dangerous woman, the femme fatale.


(The Victorian Web)

Tuesday, April 24, 2007

SONG OF SONGS: PRECIS

Song of Songs allows 2 interpretations: a) allegorical (love between God and the people of Israel); b) pagan/heathen (a song of erotic love).

Four basic axes: 1) the need of a meeting; 2) beauty of the lovers; 3) chorus interventions; 4) praise exchange.

Pastoral features; full of sensory images: ointments, perfumes, metals (gold, silver).

Friday, April 20, 2007

WHAT IS SETTING?

When analising setting of a literary work, we could be looking at more than just place and time where the story takes place. Look at the definition by Harmon and Holman in A Handbook to Literature (OUP, 1996)

SETTING: The physical, and sometimes spiritual, background against which the action of a narrative (novel, drama, short story, poem) takes place. The elements which go to make up a setting are: (1) the actual geographical location, its topography, scenery, and such physical arrangements as the location of the windows and doors in a room; (2) the occupations and daily manner of living of the characters; (3) the time or period in which the action takes place, e.g., epoch in history, season of the year, etc.; (4) the general environment of the characters, e.g., religious, mental, moral, social, and emotional conditions through which the people in the narrative move. ...
We may broaden the scope of the concept of "story" to include any set of events told by an agent in a medium. Derived from narratology, the idea of narrative text to mean a story told by an agent in a medium brings about a widening of whatever we think of as "story" moving from the mere fictionalised piece of literature to include such things as everyday conversations, a painting, a news item in a newspaper, a movie, etc.
Definitions of HORROR, FEAR, TERROR.

Friday, April 13, 2007

CONFIGURATIONS OF LOVE

Love in the Western World as central topic for the syllabus. Neither a 'history of love' nor a 'definition of love' but rather the configurations of love in the literature in English.

What's 'love'? What's a 'configuration'?

Configuration: a particular arrangement of figures which, put together, allow for the reading of something, as in this case, of love. More especifically, a configuration would be a changeable and updatable realisation of figures pertaining to the literary tradition, which materialise textually.

Historical figures (Napoleon), mythical figures (Greek gods), artistic figures (Michelangelo's Pieta?), biblical figures (Salome? or the femme fatale); literary figures (Romeo and Juliet).

Themes, motifs, figures: love and death, adultery / incest, eroticism, transgression, obstacles, love grief, love and power, etc.



Friday, June 02, 2006

LLI iii: More of Character Sketch

Here is a general plan for writing a paper about a character in literature:

1. BEGINNING. Identify the character you are analyzing and state the main point you intend to make about him/her (this point will serve as your thesis sentence).

2. MIDDLE. Present the details of the character's personality that led you to your thesis. Pay attention to the following: what the character says, thinks, and does; what other characters say and think about the person; and what the narrator tells about the character.

3. END. Conclude your intepretation and reinforce how this character's role functions to reveal theme.

[Extracted from:
McMahan, Elizabeth et al. 1996. Literature and the Writing Process. New Jersey: Prentice Hall.]

Sunday, May 21, 2006

LLI ii: The Gothic - Two short articles

Characteristics of the Gothic Genre

  • The setting is an old, grand, and often decaying castle or villa.
  • The protagonists, often female, are beset by perverted designs on their physical safety and virtue.
  • Mysterious phenomena occur, sometimes apparently supernatural.
  • One or more deeply evil antagonists are usually skilled at deception and black magic.
  • Suspense is sustained as perplexing circumstances conspire against the hero or heroine.
  • Eventually a natural explanation of apparently supernatural phenomena is revealed, with inevitable punishment for the wicked and reward (often in the form of marriage) for the virtuous.

Bell, Arthur H. et al. 1994. English Literature 1800-1900. New York: Barrons.

What is Gothic Literature?

The Gothic novel dominated English literature from its conception in 1764, with the publication of The Castle of Otranto by Horace Walpole, which has been continually criticised by numerous critics for its sensationalism, melodramatic qualities, and its play on the supernatural.
The genre drew many of its intense images from the graveyard poets Gray and Thompson, intermingling a landscape of vast dark forest with vegetation that bordered on excessive, concealed ruins with horrific rooms, monasteries and a forlorn character who excels at the melancholy. A fabled spectre or perhaps a bleeding nun were images often sought after by those who fell victim to the supernatural influences of these books. Gothic literature as a movement was a disappointment to the idealistic romantic poets for the sentimental character idealised by Ann Radcliffe could not transcend into reality.
Although the Gothic novel influenced many of the emerging genres, the outpouring of Gothic novels started to ease by 1815 and with the publication of Charles Maturin's Melmoth the Wanderer the genre began to fade. The Gothic novel had come full circle, from rebellion to the Age of Reason order, to its encompassing and incorporation of Reason as derived from terror. The influence of the Gothic novel is felt today in the portrayal of the alluring antagonist, whose evil characteristics appeal to ones sense of awe, or the melodramatic aspects of romance, or more specifically in the Gothic motif of a persecuted maiden forced apart from a true love.
The Gothic genre today has remained an elusive minor literary upheaval that has had immense influence on genres today. Literary critics though, have been slow to accept Gothic literature as a valuable genre. The first critics to examine the Gothic approached it reverently with historical interest. They tried to rescue it, to revive the dead and obscure genre. These critics looked at the presence of the text by examining it within a historical context. The original critical approach of historical interpretation allowed the text to validate the text, as it was a reaction to the age of reason, order, and politics of Eighteenth century England.
The development of the Gothic Novel from the melancholy overtures of sentimental literature to the rise of the sublime in the graveyard poets had a profound impact on the budding Romantic Movement from Wordsworth to Shelley. The astounding features and use of the sublime and the overt use of the supernatural profoundly influenced the style and material of the emerging romantics. Gothic Novels such as The Castle of Otranto by Horace Walpole, The Adventures of Ferdinand Count Fathom by Tobias Smollett, Longsword, Earl of Salisbury by Thomas Leland, The Old English Baron: A Gothic Story by Clara Reeve and Vathek: An Arabian Tale by William Beckford, led Coleridge to write a Gothic drama, Shelley to write two Gothic Novels and Byron to write Manfred.
The effects of the Gothic still reverberate through modern literature from Joyce Carol Oates to Ann Rice. The literary motifs set forth by Horace Walpole can be found scattered throughout all forms of literature, yet the Gothic Novel has been left to moulder in libraries in obscurity and except in rare instances, the novel has all but vanished from the canon of western literature.

Potter, Franz and Serena Potter. 2003/2005. The Gothic Canon. Zittaw Press. Online at http://members.aol.com/iamudolpho/basic.html

Sunday, May 14, 2006

The Turn of the Screw: A History of Its Critical Interpretations









Please note that the correct URL for this site is

http://www.turnofthescrew.com

In Programme II, there was a redundant 'the' in the address.