Howard's plight

My last post shall be short and sweet, for I think that best suits. 

It is much easier to talk about something than to actually do it.

The Rhime of the Ancient Mariner in relations to omens and objects. 

What is a good-luck object and can we marry/ be with a good-luck object? Could the albatross represent what we see within our society today with the Hugh Hefners and their young bunnies?Could these people we 'love'; these trophies, be objects for us?

There is an issue when attempting to label someone's love as objectified. Would that person, you're attempting to judge, then not try to justify the relationship they have as personally meaningful to them? Simply because you label an older/younger relationship as objectifying certainly does not mean others will. Each relationship has to be left to its own criterion. There can't really be any overall consensus by others. That really boils down to simple gossip and judgmental attitudes, in the end. 

Multiculturalists tell us to stop valuing the author. That there are no geniuses. And an issue has come up as to whether the labeling of artists as geniuses is gendered. Why so many academic books focused on male achievements throughout history? You never see women authors or painters or composers researched. This could all be resolved; however, by simply ceasing to debate over it and write the much needed book about a female geniuses. And if it were a woman who wrote the book would they, hopefully, not be able to write an un-objectified account of that artist?

Is the idea of the Renaissance a fallacy? The idea of the human? Well, everything does, in fact, influence us, so there is actually no thing or idea we can ever produce or invent that has not been influenced, in some way, by some action made upon us. Simple Cause and Effect. 

Multiculturalism and 'Great Art'

As Zadie Smith points out in an interview:

If a writer berates you with an idea, then you cannot trust them. The biggest obstacle to life is vanity (self-deception); it is also the biggest obstacle to art. Art is an analogy of morals. We should attempt to be truthful and honest as an adult, and by achieving this we need to construct our perspective from different points of view. 

Multiculturalism 

"Culture wars"  is fight between the left and the right. The right simply views Shakespeare as genius. The left; however, wants more minority in the cannon. 

We can view someone like Zadie Smith as propaganda for the left. Is she then still really Zadie Smith? Zadie Smith vs. 'Zadie Smith' 

Shall we call her book great art? This was a question arising in class as to what to label the novel if it delivered on our expectations. Well the expectations on the board, were certainly not my expectations, and I'm sure they were not others as well. Shouldn't aesthetics of art be based on individual interpretation rather than overall consensus?  

This family within the story prides themselves on being a family practicing free thinking, yet they refuse to acknowledge their own son's desire to free himself intellectually, from their oppression, and seek out answers for himself. A little hypocritical it would seem. 

Define Epic Art 

Define Modern Life

Question 2: Can there be heroes in modern life?

 

For Aurora's conception of generations and time, this becomes a problem. According to her, each era views itself as the absolute worst, and it is only far afterwards, in viewing the accomplishments of the past that one can appreciate the advancements of the time. Myopic was Barrett Browning's word for describing this outlook, and it can be commonly understood, for, how often are we bombarded day in and day out with tragic news. Far more than we hear of amazing accomplishments. The ugly, the frightening, and the depressive seems to dominate daily opinion as it draws more readers on a continual basis than uplifting stories ever will. And we all can be sure that the media will continue to focus on that which draws in the masses. Perhaps, even this whole idea of a pessimistic society based on mass reporting is simply our own way of 'looking down on the faults of our own time', thus confirming Aurora's position. 

Question 3: Who are the modern day equivalents of the poets that A.L. is writing about?

In keeping with Aurora's thought would she not be the exact poet she is trying to describe. By taking note of the accomplishments before her, and realizing the potential in her own age, by her own peers, she steps outside of that very myopic thought discussed earlier. And now, in an age passed, she has become a celebrated poet in her own right, continuing that very circle of praise upon former generations she illustrated so eloquently within her poem. 

Elizabeth Browning published her first book of poetry at age 22. She came close to becoming poet laureate, and was opposed to industrial revolution. Browning's mother died at 20, and it was after this that the girl eventually formed a dependance on  the drug morphine. In 1845 she met Robert Browning and a year later they eloped. She came to write some of the most beautiful love poetry ever written, including: "How do I love Thee?"
Within the the first book, young Aurora Leigh's life appears nothing like that of the Elizabeth Browning.

Aurora Leigh.
There are two uses of the word "live" here, both pertaining to physical and spiritual aspects.
What does it mean to be alive..? Aurora's aunt within the poem dislikes her brother's wife because it was their marriage that her inheritance promise. By marrying a Tuscan woman the brother has become uncommon, in the sense that he has left behind all his lordship responsibilities and inheritances. However his defiance of English life comes to an end by his wife's sudden demise.
This poem too joins the great english epics in the sense that it is a growth of a poets mind, yet, in this case the poet is a woman.

Our minds are palimpsests: We grow in the cultural surroundings we find ourself in, taking on the thoughts and ideas of those who influence us; which as it happens, is usually everyone we come in contact with, in one way or another. Each thing we experience influences us in some way, even if to persuade us to never come in contact with that particular thing again.

Outer Infinite equals a kind of innocence within the poem. And one could make a case here for absolutely adoring mothers spawning geniuses. Aurora, herself,  hungers for that deep unconditional love throughout the world. Like a bird torn from the nest. The phrase "kissing full sense into empty words"... evokes the notion of  bringing a child into language as each child invariably takes from the example set before them. 

Aurora

A girl torn away from everything she loves and yet still making the best of her situations. That's an honorable person. Her cultural surroundings certainly were bleak, yet this individual has not let her heartaches in life overpower her; at least not in the first book. She has had her share of traumatizing experiences, especially with that strange picture on the wall, and then losing the only thing in the world that seemed to give her comfort. Yet, through it all she arrives at her new-found location and refuses to act insubordinately. Perhaps she sees no hope in rebelling, but either way, I admire the characters attempt at contentment. We'll see how long it lasts...

Laura's Take:
Could Latimer truly read Alfred's mind and yet proclaim that Alfred has no doubts whatsoever. Surely all men have doubts, even small ones, but no mind could be completely complacent.

The Class: Its true that Latimer is angry at Alfred but it seems he doesn't really know him at all. Alfred has always been the father's favorite son, evoking a feeling of resentment within Latimer from an early age. Latimer becomes a discredited source when he proclaims Alfred would find no evil by not marrying Bertha - for we know that one day Alfred does find evil, in death.
"The fear of poison is feeble against the sense of thirst"
For Latimer to acknowledge Bertha's true nature he would have to accept that his visions are not accurate That he is in fact imagining all that he sees and that his foreknowledge is not factual.  In other words he does not have the powers he thinks he does. But by admitting this he would be discrediting himself. Perhaps also we could think as to whether it may be impossible to project onto someone you truly love. Or does Latimer not truly love Bertha at all; does he only love what he envisions Bertha to be..? Perhaps Latimer's projection reaches out in two extremes; on one side he idealizes her- on the other size he demonizes her. Could his ideals of Bertha have spawned from his mother's angelic upbringing towards him?

By assuming to know everyone and their shortcomings, you place yourself on a pedestal far above all, when, in reality, you have as many faults as everyone around you. Yet it is your refusal to acknowledge these faults that leads your to occupy your time  concerned with others.

Stream of consciousness ...

An Illustration of J.K. Rowling and Kyra Sedgwick has been shown...

Rowling is clearly thinking here, " I have more money than the Queen but do you really need to be in my face taking my picture like that. Oh well, I hope it doesnt end up on the internet to be googled by those Harry Potter freaks.

Sedgewick, on the other hand,  is surely feeling uncomfortable " I cannot hold this pose much longer, my back has gone numb. I wonder if my hair look good, is my face in the light; here, let me pout my lips a little more...

How easy is it to read the thoughts of another...

Does Latimer really have the supernatural powers he thinks he does?

Well, his vision of Prague first stimulates this ability, and upon visiting the city he affirms his notions that his vision was in fact accurate. Latimer is highly susceptible to art, though, and the bridge at Prague is one of the most painted bridges in the world. Perhaps, this man simply saw an image, remembered it vividly, and traveled there to affirm this image in his head.

So why can he not read Bertha's mind..? She is fun. If you want someone to be something you will project those desired traits onto that person. So what does Bertha actually do? She plays with his mind by not revealing to him a whole lot, thereby leaving room for speculation.

Giorgianni's cruel eyed woman is the painting he views when he thinks about the elder Bertha; his wife. When someone who doesn't need anyone or anything exercises their control over a weak, needy person, that former individual is worshipped by the latter. Just as the critic is loved by the one who is always praised. Latimer believes that he can move her, possibly relating back to his demanding father and his mother who worshipped him and then died.

Latimer sees himself as dying. Plain and simple. Yet he still views himself as a genius, mentally exceptional -not exceptionally mental- but feels that he needs something more to compliment his already overwhelming intellect. His soul is drastically lower than that of the poet for they can write- he cannot- and they have hope of one day having their work read.

Jean Jacque's Confessions. Latimer contrasts his poetical self with the realistic constantly. He refers to himself as a Romantic and believes Bertha to be attracted to that romanticism.

tagcrowd.com
etc.princeton.
project gutneberg
sarah olinger link

Is Latimer like Victor? 

As Victor struggled to be the greatest scientist of his day he naively believed he could achieve supernatural feats. His own shortsightedness failed to take into account the implications of such an experiment, and thus he lead an irresponsible failure. Latimer, here too, is positive that he can achieve something supernatural. His belief that he has the ability to see future events and read peoples minds is a sad projection of what he innermost desires within the world. Many could make the argument that Victor and the monster were one and the same; Victor becoming that which he created. Well the same could be said for Latimer. He convinces himself wholeheartedly that he can do these things. He becomes a character that he has created for himself, and in the process never stops to think of the moral implications of such a duplicitous lifestyle. 

interior monologue:
In novels it was Jane Austin who invented free indirect discourse. For films the voice-over was not that successful; close-ups, images, cuts, juxtapositions are more important in the medium. For games, such as when playing an avatar, their identity of the character becomes your identity as the player. 

Is a sentence like an algorithm, is the question today? Perhaps you put in an idea at one end and it sometimes comes out different on the other. Though this could be true, by letting a thought run you often times stray too far off topic. Initial ideas are often more powerful and by straying you lose the impact of that original though. The class notes that there is a transformation within people throughout the novel Frankenstein. You see Walton, for instance, learn from Victor's mistakes and actually turn himself around. In this particular case the individual does not have to run into a dramatic end, Victor has already done this for us. Walton can save his life- he can truly live- instead of blindly chasing some glory across the Arctic. 

We, as a class, need to investigate some motivations of heroism that are less than ideal. Laura mentions heroism could be an attempt to escape intimacy. Often times, those who are heroes have one thought on their minds: one focus, and intimacy would only distract from this sole goal. Though tempting, it would all depend on the the potential hero or heroine to decide how far they are willing to go for that which they desire.

More Frankenstein Notes.

The monster decides he wants a mate. So Victor starts the task of building one, but upon realizing the potential danger, destroys his work. The monster then threatens to kill someone on his wedding night. Yet, at any one meeting the monster could have killed Victor. Why didn't he? Are Victor and the monster one and the same person? Is this all hallucination in the form of the monster? Is Victor a self-destructive person? A Jake Lamotta? And if you've never seen Raging Bull you probably won't get that reference.



If they are in fact the same person, why would Victor want to kill his loved ones? It seems as if Victor uses wretched to describe all that is bad in his life, or perhaps all that does not live up to a certain level of expectation, in regards to happiness for him. He also curiously used the word to describe his homestead after the devastation of his brother's death. Shelley seems to allow the character Walton to use this word when describing Victor upon seeing him in the Arctic, much in the same way Victor will continually describe himself throughout the rest of the novel.

The only other example of wretch being used to describe anything other than the monster or Victor himself is in the description of Victor's father's friend, Beaufort.

A wretch looks in the mirror and sees a wretch...





The "one" who achieves life, the "one" who prevents death..
Are the death's of Victor's family members and friend part of Victor's worry that they could potentially hurt him too much?

The Romantics valued Milton's Satan over Milton's God. Our tendency to sympathize with the villian, perhaps because we see so much of ourselves in him, certainly comes into play here.

Notes

Many Different Perspectives on Bringing up Children

Mary Shelley writes Frankenstein at 19. How could such a young girl write about things so horrible? 

We could look towards Locke's essays as thought on how children are formed. It is said if you bring up children properly you will have a better world. Yet, Day decides he won't teach his children anything... let them decide for themselves. Let them stick their hands in fire and get burned. "On Prejudices" mentions giving children something to go on: children tear their toys apart to see how they work. Still, Godwin makes mention that the peasants grew up watching aristocrats, and thus learned the nature of killing and implemented it into the revolution.

So are we all narcissists because of our parents' cultivation of us, our supposed progressive upbringing? Neglect from his parent, provokes the monster's atrocities. All the monster knows is violence. Nature vs. Nurture comes into play here. The monster is so impressionable for he has no one to teach him right from wrong. He simply goes from experience. But surely this monster knows that murder was wrong, as clearly he put the picture in Justine's pocket to frame her of such an atrocity.

Do parents sometimes raise their children in a certain way, so as to prove their superior parenting skills? "My child is better than yours!" Look how many sports he plays, instruments he commands, grades he maintains. Could there be any relationship between kids acting in way that is deemed 'inappropriate' by their parents (in order to prove, to the parents, that they refuse to be that which the adults want so much and seem only to love the child for -instead of loving them for who already are) and the monster's actions upon poor murdered William. When we look closer though, we see not an initial desire to kill William, but instead an attempt to befriend him.

Just as driving cannot be taught in a test- you learn the basics but truly acquiring road skills comes only from experience on the road: navigating disasters, avoiding obstacles, gaining knowledge: however, parenting can not be learned any other way than being one. There is no great rule-book, you simply try your best and pick it up over time. Knowledge is gained eventually and only through your initial set of  values and personal convictions  can you hope to even come through as a decent parent, from those ignorant beginnings at the birth of the child.

The Unwanted Child

The Monster's story allows for more respect concerning his existence and struggle, even going so far as to beg you to sympathize with him. His story recounts things we all have gone through: rejection, loneliness, a desire to fit in, to know our purpose; yet his is a story so dramatic that this mythical creature, who seems a phantom or emblem of fear at first notice, becomes at once understood and pitied.
Slowly he has become aware of the unethical creation behind his life, and probably the most horrific realization of all: that his very creator wants nothing to do with him, even despising his very existence.
So the monster fights to make sense of this world and surroundings that he finds himself in, the unwanted child of society, yet never giving up; finding inspiration in those he lodges next door to. At first, he contributes to the poverty of his neighbors and upon the guilt he feels from that action, tries to make it right by secretly giving back. Not much unlike Victor's guilt, I'm sure, for the accusation of Justine in the murder of his brother.
Nevertheless, the monster does make attempts to become 'human', yet he is rejected both by his neighbors and also by an action to help a girl in need.
One can understand slowly the dread towards human nature that would build up, in this being, after time, and has eventually become apparent in the murder of Victor's kid brother.
The monster's request for a mate seems reasonable, but we as the reader know just how much of Victor's life will be required to go back into that process of creation. And lest he should allow someone else, like Elizabeth, to undergo that process too, he will have to postpone the only true happiness in his life right now. Will he do it...

Notes

Victor's desire to create/sustain life: His quest for divine powers may also possibly be a desire to gain that which he had lost with the death of his mother.

Three poems directly related
Aeschylus's"Prometheus Bound"- 'these slimy things live on and so do I' - the character sees the beauty and is saved but must retell his story. The bird, here, becomes a Christlike figure, so why would he want to kill a bird he loves? It seems unconditional, deep, divine love is a scary thing. You would simply not want to belong to any club that would have you as a member.
"Rhyme of the Ancient Mariner"



"Alastor"- Alastor sent the dream to the poet; the poet, in turn, spurned her because he was afraid of love. Does Victor spurn nature's gifts in the process of creation? He used to get joy out of nature but during the creation he gives up all that joy. Is Victor building the monster to resurrect his mother or to prevent elizabeth from ever dying? Victor, it seems, is afraid of a world without Elizabeth. He cuts off connection with her during the entire process of creation.

Victor's show of jumping all over the chair portrayed a wildness in his eyes, that Clerval picked up on.



"Before I was attacked by the fatal passions..." AKA "Before I indulged in my egotistical dream to create a new species."
One side of this lays blame to something else. Another allows Victor to take fault for those things in his life. Shelley here critiques her character Victor of too often being an innocent bystander.

"I bore a hell within me.." Victor thinks that he suffers most because he is guilty. Elizabeth supposedly suffers less because she is innocent.
Yet, Elizabeth says "I wish I could die with you" - clearly she is suffering too.

Notes

Walton wants to overcome the mundane boundaries of life; wants to be a poet and discoverer. Victor has desires to become a scientist. Yet, both these men are artists consumed by obsession. Within this story, Mary Shelley critiques the romantic artist.

The 1831 version shows Victor's obsession with secrets and adds the concept of fate.
Thus, does she let Victor off the hook? Excusing the romantic artist by assuming fate holds the responsibility would certainly do so.

Laura says that the 1831 version does not just introduce the concept of fate, but the idea of Victor claiming " I was fated." Here, Victor is not let off the hook; he simply tries to exonerate himself by blaming fate. Not that fate was necessarily to blame, but that the main character has brainwashed himself into allowing this fate concept to rob him of all his responsibility. (He is really still to blame from the reader's point of view).

Alchemy is the search for sorcerers stones; the search for immortality. Alchemists are in a sense, magicians. This was in a time before scientific exploration or processes. What Aristotle said was truth. The 'Great Man' theory held up. These Alchemists aspired to be 'great men'.



It was a battle between the old scientists and the new ones.

What the class says about Victor's process:
He allows the process to take over his life. His imagination fogs his perception of reality and what he is really creating, carried on by the idea of what he can accomplish. He attempts to create life while neglecting his own. A modern term for this behavior would be obsessive compulsive. He creates a 'God complex' for himself. It is the expectation he holds of being adored by his creation; of being worshiped. This creative process takes his own life as he, in turn, gives it to another. Could this be compared with pregnancy? Mary Shelley's mother died while giving birth to her. And as an artist, she would know about giving some of herself to the creation- or the creation giving something unto herself? If you feel empty at the end of a creation should you be doing something else? Well, clearly Victor becomes so excited by his first success that he continues on, ignorant of the moral responsibilities of his next undertaking. Immersed in and working for his 'Ego'. The ego cannot be associated with the exercise of art. In art one must work through the ego.

"A mind of modern capacity... consumed with one study"

Is this a criticism of specialization by Mary Shelley? The minuteness of pieces take too long. Victor doesn't want to be slowed down. About speed. Its all about Victor's ego. A concern with self. Shelley critiques also here the very way of being an artist.

Notes

Discussion on Emily Bronte's Wuthering Heights:

How could Emily Bronte create such a vile character as Heathcliff? The class remarks that sometimes when you create, that creation evolves out of your control. The artist, in turn becomes inspired by the very creation they have brought about. In this case, the characters start leading the action instead of the writer controlling the situation.

Mary Shelley's Frankenstein:

Walton wants to be remembered, even if he is not necessarily ready to commit to the processes of becoming great in a certain aspect. He spends a year trying to become a Homer or a Shakespeare.

Lamont is quoted as saying: "Getting published won't give the results you think you will get." Yet, this comes from someone who has, in fact, been published.

Frankenstein published in two editions: 1819 (finished 1816) and 1831

"Unhappy man! Do you share my madness?"

Mary Shelley's husband, Percy Shelley, was alive for the 1819 version; even writing an introduction. Percy was a great poet.

Walton as Frankenstein

The character Walton, does in many ways, resemble the title character Dr. Frankenstein. He seems a man possessed by his own undertaking, unable to turn back, even upon seeing imminent danger. For too long he has been content with calm existence, and now that he has the chance to truly live... he shall take it to no ends. For better or worse.

"My life has been passed in ease and luxury; but I preferred glory to every enticement that wealth placed..."( page 7)

What is it that drives men, often past any logical understanding, to far greater lengths than perhaps they should have ever gone. Surely, some of the most interesting men have become consumed by a life's passion and work.






Perhaps the character Walton will take head of Frankenstein 's story. Maybe he will become a better man by listening to the faults of another.

What the class says

Wuthering Heights is discussed as in relation to Kant: Heathcliff's love as being a transcendental love. In other words, it transcends all time. Another Scholarly Article compares Heathcliff to the monster in Frankenstein (or is it Dr. Frankenstein himself?). He strikes down his daughter, then has a moment of reflection. And yet another comparison of Heathcliff, as drawn from the book, labels him the personification of capitalism

Scholarly Articles
Are they written for the average person? Laura argues that scholar's write these articles, and while they are very well prepared, they become only applicable to those who are at an equal level of education within respected fields. When scholars have to simplify their message they often have great trouble. It appears that wihting society; however, some will seek out scholarly articles and some will seek out simpler definitions. There will never be a consensus.

The class on the films:

One creative procedure involves the same actress that portraying Catherine, portraying her daughter, as well. Film versions lack however, in that, they are not quite as dark as the book hints at. Yet, some of the nonverbal actions are much easier to understand when viewing individuals acting them out, instead of simply reading them on a page.

Laura's Message: Don't marry your soul-mate, he's a bum. Marry the person you want to have children with.

A look at the Film/ A look at the book

In watching the film version of Wuthering Heights, I randomly chose the 1939 version, which was free, and in good quality on Hulu.com. However, I did not know that this film adaption chose to leave out the entire second half of the book, therefore, the only major scene from the last part of the book that I can talk about would be the scene of the elder Catherine's death.
Now, the movie differs slightly in this scene from the book, the most dramatic difference being that she is not giving birth to a daughter here, yet other liberties were taken that I thought were interesting. I particularly like the act of Heathcliff (played here by Mr. Laurence Olivier) picking up Catherine (Merle Oberon) and carrying here to the window to look out over their beloved Moors.
It was as if that was the only place those two could truly be themsleves, to live with no expectations of others' standards. (Catherine, it seems, got married for fear of shame. If only she could have only gotten past some shame culture notion, she could have experienced something more; some true freedom with the one she knew she was most comfortable around).
The moors, themselves, also hint at representing a kind of past innocence. Certainly, an innocence that has here eroded over time, what with her marriage to the character Edgar, and Heathcliff's tragic misinterpretation of Cahterine's speech to Nellly. Yet it remains an innocence that these two characters look back on so fondly. A remembrance that they are haunted by now, looking out over their one conquered "castle", horrified of dying one without the other and of being separated in death for so long a period as it takes the other eventually join.
This scene was a nice addition in the film, and yet, as much as I like it, I can't say I liked the portrayal of Catherine at all. She is, of course, a very indecisive character, but in the film adaption she comes off as being a complete ghost. Never seeming to show any life; just a blank face staring out into the dust of her surroundings.
At least in the book, Catherine shows some forcefulness. Take the scene in which Heathcliff becomes aware of Edgar's soon return from service and is continually trying to get up from holding his beloved. Yet she refuses, in the book, to let him leave, "' You must not go!' she says, holding him firmly.... He would have risen, and unfixed her fingers in the act- she clung fast, grasping; there was a mad resolution in her face" (page 143). A different Catherine entirely.

The class notes that it would, in fact, degrade Cathy to marry Heathcliff. Yet would she truly feel worse or would this woman just be overwhelmed under all the expected social norms surrounding her.

It is possible that Heathcliff and Cathy's are a bit too much alike. Would you really want someone who is identical to your every feelings and thoughts. Two individuals should probably be compatible- possibly have the same faith, interests, and ideas- yet even identical twins are not exactly alike

"Heathcliff is like myself, always within me"

Would that not be suffocating?

And within this story the idea is set that quite certainly no one is truly angelic. Heathcliff, though we feel for him, is in no way an angel of nature. This flaw within the established protagonist separates good art from bad art. That the characters feel real to us; that they have as many faults as we have, allow us, as the reader, to identify with them.

Thrushcross Grange comes to represent a much more presentable aspect of society (pretentious), while Wuthering Heights, on the other hand, paints a picture of Aristocratic vice. The moors, themselves, show nature in all its simplistic beauty, "out into the wild things"; something that could never be tamed by English society.

Heathcliff

The character Heathcliff, from Emile Bronte's "Wuthering Heights" is a complicated case. At once cast into a world that was not his, he became the bearer of bad fortune by becoming a favorite of the master. It is, of course, natural that the biological children would become jealous of this, as Hindley did, but sad, nevertheless, because it was not something the young Heathcliff asked to be brought upon himself. After his protector dies, the end of the young man's reign seems apparent until the young girl takes a liking to him. It is within their friendship that Heathcliff finds peace. He is different, both darker in complexion and hair colour from the established wealth of his suroundings, yet with Cathy he has no need to pretend to be something that he is not. Simply able to be themselves, each of the children enjoy the other's company. This purest of realtionships is eventually destroyed; however, by the continuing hatred haboured by Hinley towards Heathcliff, and the desire of his wife to reform Cathy of her childish ways. With all his own house against him, the Lintons repulsed, the maid ubable to say anything, and even his old playmate suprisingly indifferent towards him now; he is left with nothing.
This emptiness leaves him with a last resort to conform to their expected standards, and yet when even this attempt is thwarted, Heathcliff fills his existence with the seemingly only emotion he has left: revenge.

Maxillary Convulsions

Notes 2/4

Emily Bronte is the sister of Charlotte Bronte, the author of Jane Eyre. Both growing to be very talented, they each used pen names that could easily be interpreted as male. Emily eventually called a "female shakespere" for her time in Britain.

Within the first few chapters of "Wuthering Heights", we are introduced to Lockwood, a misanthrope (hater of people). Once falling in love with a young woman, he fails to voice his affection, thus forcing the admired lady to finally doubt what she too feels is love. Because of his withdrawal, she leaves and he is left alone.

What is it that forces some to desire, and yet at the hint of obtaining that which is wanted, they lose all interest. Perhaps, by taking this route one can avoid love, or perhaps it is simply a game, causing a rush inside the person.

Our character, Lockwood, loves being around those who cannot stand him. He visits Heathcliff, who seems to have a strong desire to love only himself first; a boyish attribute, though he himself, is a grown man.

A key definition to know while reading chapter three would be maxillary convulsions. It is defined as a grinding of the teeth to avoid frustration or perhaps crying. Lockwood pushes Heathcliff into Maxillary convulsions.

Notes

Trauma

spawns from our early involvement with movies and even books

The emotional investment we put within a character eventually manifests itself within our overall reaction to the work. Our very outlook on situations; life; individuals can be changed through the words of a skilled author. Though they are just words on a page, you can feel as thought these are 'true' events, with real people and honest emotions... You feel as if this all could be happening to you.

Bungle

Yes Mr. Bungle did commit a type of rape. Aside from the lines between real and fantasy, virtual and physical, to act in a way that threatens society is overtly wrong. Not merely the act of causing harm to another human- or in this case computer character- but simply the thought, within itself  is something that one needs to have checked out. 

Actions spawn from the thoughts. And to harbor these threatening ideas will eventually lead to damaging repercussions, either harming yourself or someone around you. The character may not have been real, and the entire situation may have never physically happened, but someone's imagination had to dictate those commands.

The greatest computer in the world can only do that which it is told to do. 

Notes

1866-1928: 2 colleges for women.
1880-1928: Women could own their own property.
1919: given the vote.

No time at all for these freedoms.

Why are there no women Shakespeare's? Well, according to Virginia Woolfe, women have not been given the same education. They have been creating in a different medium for years. 17th century theatre: women did not act. There were only boys on stage until the restoration in 1660.
Judith Shakespere runs away, gets rejected from the stage, becomes pregnant via stage manager; all of this culminating in her eventually killing herself.
Women during this time who wrote usually burned or destroyed their work.
The notion is brought up in class that women should write objectively; no one should write in a heat of anger.
Men are saying women are inferior within their work simply because men are feeling very insecure with the women's movement; it all makes for lousy fiction.
Turn back to Shakespeare because he was androgynous.

Notes

Mary Wollstonecraft grew up in an alcoholic/abusive family. Eventually taking over care for the family, she was a product of self-education. With the support of individuals such as Fanny and Joseph, she decided to write.

"Reflections on the Revolution in France", she wrote one of the first responses, 1789. 

It was called "Vindications on the Rights of Men", and to simply read it, one would have thought it was written by a man. 

Man, of course, here is portrayed as virtuous and rational. The question arises as to whether they, in fact, represent a number of classes, or all human beings. 

Wollstonecraft defends the public as opposed to rule by monarchy. Two years later she publishes, "Vindication of the Rights of Woman". 1792 

Just one category 'woman': being a class of persons who have been treated the same. 

She is particularly hard on women here, but she is talking about sexism as systematic or structural. Wollstonecraft mentions that society as an instrument through education trains women not to be virtuous, not moral, not to be rational; encourages sexism. 

Pg. 27 - try to exert power in ways that are allowed through the system. By being confined by the system, women are forced to scheme and plot. The idea is that to be subservient to a system induces immorality. 

A standing army is incompatible with freedoms, it is because soldiers follow orders they are moral. The Army requires manners before morals. 

Women, like soldiers, are disciplined the same way, are told what to do. Are educated in the same way. 

[If you educated a soldier (man) to the same degree as a woman is educated they will both think the same.]

Rosseau was a sensualist in that he thought a woman should never declare herself independent, but should be governed by fear. In this way discouraging her cunning nature. You liberate women and they will have less power. If they have authority then they will be governed by laws and thus less mischievous. 

Rosseau appealed to rights for men, and wrote on women as a subordinate to them. 

Chapter 3: "Women aggravate the situation." 

Attacks man for instilling sensuous ideas within women's thoughts and women for running with more power than she would otherwise have. 

We need a revolution in female manners. Make them labour to reform themselves, and in turn reform the world.

Not that women have not been given enough, but that they have been given too much. 

What she means by virtue is very rationalistic here. 

Cinderella Story

When I think of Cinderella, I think of the movie Sabrina, directed by Billy Wilder. It's an old movie but I do remember seeing it and watching Audrey Hepburn going from chauffeur's daughter (rags) to romancing the rich man's son (riches). In the beginning of the story, Hepburn's character finds herself falling for the younger of the rich man's sons, and upon realizing that he is certainly not interested in a dirty little mechanic's daughter, she attempts suicide. She is saved by the older brother but is so in despair that she flies off to Paris.

While there, she becomes acquaintances with an older distinguished gentleman, who teachers her steps to sophistication, and returns to her old home years later, a new woman. 

She now gains the attention of not only the son she once loved, but also the older one. A slight variation in the classic Cinderella story, in that, she was not automatically given the opportunity, but instead, went out and found it. Upon changing, she got what she eventually desired. 

Notes

The Bloody Chamber

The Courtship of Mr. Lyon is a truly interesting twist on an otherwise familiar story to those growing up with Disney home videos. (Though, of course, this story predates Disney's empire)

In Disney's version the beast is truly mean. Here, we see a beast that only expresses his anger when the father steals, as well as showing it when he hunts. 

It is almost as if the story parallels human life with this beast's, in the process uncovering some real truths on the idea of what's its like to be human. There are many real instances present here, but fairy-tales are meant to distort those moments, putting them on a more dramatic scale; to better entertain us and teach us. 

Mr. Lyon and the young girl both face manhood and womanhood here, respectively. the fascination that comes along with it all; the disgust even.  This man has to come to terms with his own violent potential.  And though he is monstrous, he  still feels the need to be loved.  

Femininity here is shown as a coming to terms with  that initial disgust, and understanding and coping with a man's potential tendency toward violence.

Notes and Quiz

The concept of being 'set up' for life becomes threatening when the individual learns that he or she will most likely not have the same ambition for success, or personal achievement, that they once did. When one does not have to do labour, chances are, nothing will get done. 

As a young man, I know that with parents just around the corner, many obstacles that are present, I refuse to tackle. Yet when my parents are gone someday, I know I will be forced to take the initiative and finally do those things which are now of no interest to me. Necessity forces initiative. So long as there is a support system, it is much easier to just let "those more capable" take care of things...

Quiz 1

Everything depends on how the individual first interpreted the fairy-tale. If that individual appreciated the message within the tale, and they now read a counter message forced upon the same structure, they may come to resent this new message, or idea and eventually discard it; or even make an attempt to protest it. However, they have still read this new idea, it has added to their thoughts- whether voluntarily or involuntarily- and they have changed as a person. They now know of more than the original ideologies.  

This is; however, all depending on the individual actually having read the retelling, which is what I think a lot of authors tend to take for granted. All these precious ideas do not mean a thing unless someone else picks up the book and actually reads it. 

Or, perhaps they were just writing it for themselves... 

First Assignment

These terms needed to be looked up in the Cinderella handouts.

Pious deals with having or exhibiting a religious reverence.

Lentils I could not picture. They are, of course, round flattened seeds.

The only definition I could get for the name Cinderella is one who unexpectedly achieves recognition or success after a period of obscurity and neglect. They call her this because she lies in ashes.

Rook di goo. Your guess is as good as mine. 

Terms like Dior, charwoman, Bonwitt Teller, and Bobbsey Twins had to be looked up to better understand what the author was referring to. They refer, of course, to Christian Dior clothing and style; a human female employed to do housework; a department store in New York; and a classic couple in children's literature; respectively. 

The term curry favor refers to seeking favor by flattery. 

All definitions looked up at thefreedictionary.com and Wikipedia. 

Only the most reliable sources.