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| Focusing on matters outside the text |
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| focusing on matters inside the text |
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| expression that contains opposites |
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| refers to suggestively multiple and unsettled meanings |
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| connected ideas that pull away from each other without reaching resolution |
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| an expression or event that means something different connotatively from what it means denotatively |
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| focuses on form of literary works; literary struction and language |
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| so taken for granted, as if it were simply natural |
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| basing interpretation on an author's intent (or possible intent) |
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| logical error or mistaken belief about how we determine literary meaning; meaning lies within the text itself, not in our response to it |
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| juxtaposing different concepts against each other |
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| overall system of langueage; rules of grammar |
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| an utterance, an individual instance of language, such as a sentence, news bulletin, poem etc |
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| structuralist study of culture apart from lingustics/literature |
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| language is a system of signs; each sign is made up of a signifier and signifier |
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| the concept that the sound image represents |
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| a system of comparisions and relations that produce meaning |
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| parole, individual instane of a broader deep structure |
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| an overall langue or system of kinship relations |
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| refers not only to words and grammar, but also to all structures of perception |
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| everything is constructed, reality never existed without language |
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| reality independent of and prior to language did exist |
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| to understand the part we have to understand the whole, and to understand the whole, we have to understand the part |
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| way that literature, esp realist or satyrical literature, can take familiar things and refresh our perspective of them |
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| the sequence of events in the order they take place |
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| the sequence of events in the order they are told |
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| embedding, reliability, focalization, direct/indirect/free-indirect discourse |
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| stories within stories, narrative has a framing story and another story with the frame |
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| the degree to which the narrator can be trusted |
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| narratological term for point of view or perspective, traditionally first person |
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| first or third person narration, the angle of mind comes through the character |
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| who might be character or external narrator; the person/character from whose point of view the story is being told |
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| who/what, the object of the focalizers attention |
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| film sequence that alternates between a character and object, implying that the character is looking at the object |
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| narration style related to ID and DD; cannot pinpoint the exact boundary between character's language and narrator's language; 3rd person but blurs the lines |
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| straight forward represents speech or thought directly often in quotation marks, uses first person |
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| less straight forward, third person, uses "that" to signify ID |
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| syntagmatic (horizontal) axis |
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| things follow in a sequence |
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| paradigmatic (vertical) axis |
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| things come in a group and can substitute for each other |
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| describes something by something else that IS NOT connected to it |
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| describes something by something else that IS connected to it or a part of it; ie wheels for car |
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| a two stage reading; identify singular interpretation with no multiplicity that a structuralist might say, then find things that undermine the structure; "break down the binary" or "explode the binary" |
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| showing how the free play of the text's signifiers goes beyond the capacity of the system to confine it to one meaning or one set of meanings |
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| bracketing (under erasure) |
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Definition
| to cross words out; using words but marking the use as provisional; using a term but not meaning to endorse it |
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| internal contradictions (internal differences) |
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| show how meanings cannot settle into a stable structure |
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| term for the gap between signifier and signified that can never be closed; continuous play of signifiers always defering the signified instad of bringing them closer |
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| disagree on idea that there is a stable literary meaning (which traditionalists believe in) |
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| not just under awareness ubt utterly without awareness |
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| instincts; our needs and desires |
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| ways for proteting our "delicate" psyche; repressing threatening emotions |
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| redirect threatening emotions to other activities |
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| clinical method of psychanalysis |
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| analysand to talk to the analyst; "talking cure" |
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| to say anything and everything that comes to mind, no matter how random |
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| analysands can transwer onto the analyst emotions that apply to someone else, typically another authority figure (ie a parent) |
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| "many forms" and "turning upside down for overturning"; infants born without any particular sexual or gender identity; infants begin with sexual drives that toss and turn randomly in any and all directions, then the process of growing up narrows human identity and desire |
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| boy jealous of father (rival), desires mother but see she has no penis, fears father might castrate him for desiring the mother |
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| repressed desires can pop back up in the form of neurotic symptoms, disguised representations of unconscious desire |
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| psyche rejects threatening unconscious wishes |
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| allows threatening unconscious wishes to enter the dream only after they have changed into something less frightening |
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| the psychic process of representing one desire by another less threatening, more acceptable desire |
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| psychic proess of merging multiple wishes into fewer, less threatening more acceptable wishes |
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| an unconscious repression and refusal to recognize something |
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| 6-18 months; before developing own subjectivity, sees its reflected image and identifies with the reflection |
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| no difference, no absence, fullness and immediacy; no self vs other, no sense of distance or incompleteness |
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| the Father's No, the Law of the Father, the Name of the Father |
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Definition
| the father's opposition to the son's desire for the mother; doesn't depend on actual presence of the father, it is so woven into the culture that is it perceived even if no father |
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| opposite of the imaginary; difference and absence reign, incompleteness and distance (characteristics inherent to language and representation) |
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| the underlying intransigent that resists definition |
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| when we feel a sense of oneness or merging, with parents, family, friends, people we might never see, but who share religion/homeland/race/nationality |
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| patriarchal authority in general, not necessarily the physical male organ |
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| "the scopic drive" the way that looking itself is steeped in the erotic, the symbolic visually pursuing the imaginary, trying to collapse the distance and difference between desire and object of desire |
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| the habit of not taking women seriously, not respecting women |
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| the broader cultural history and practice of centering on men while underestimating women |
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| focused on establishing women's rights (own property/vote) |
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| 1960's, broader cultureal agenda, focused on describing and celebrating and distinctiveness and specialness of women, sisterhood and shared identity among all women |
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| build a feminism that focused on the variety of women; antiessentialist and deconstruction principles |
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| good women=good work; seen now as limiting and old fashioned because tends to imply female character has to be a good role model to be a good work |
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| prescriptive criticism (prescriptive realism) |
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Definition
| presumptuously tells writers how to write, that they must present realistic characters or characters that offer "positive role models" |
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| the standard set of literature that critics and teachers typically studied and taught |
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| a secondary term for feminism; thought as more broad and less narrow/narrowing than feminism |
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| masculinization of spectators |
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Definition
| shot/reverse shot editing leads audiences to look through the eyes of a character, thus constructing a visual focalizer; leads audiences to look through the eyes of an actor and at an actress, identifiying with the ACTOR'S gaze at the actress |
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| technological determinism |
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Definition
| the idea that a giving technology produces a predictable result |
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| active spectators who resist the system as opposed to spectators who passively allow the system to seduce them into naturalizing its assumptions |
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| naturalization of heterosexuality |
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Definition
| the assumption, typically made without thinking, that everyone is heterosexual unless labeled otherwise; that heterosexuality is the norm and anything else is a special case |
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| compulsory heterosexuality |
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Definition
| the impression, explicit or implicit, that people should be heterosexual or else something is wrong with them |
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| the controversial process of publicly exposing people for "living in the closet" |
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Definition
| as in "living in the closet" keeping queer desires private rather than public |
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| intense relations between people of the same sex that might not be sexual, but that, through their intensity, can suggest an erotic charge |
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| traffic in women, exchange of women |
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Definition
| men structure their relations with each other by using women; women cement or figure alliances among men and they figure masculine status |
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| a prejudice against and fear of so-called homosexuals; puts the burden of psychological disorder on those with the phobia instead of homosexuals |
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| the world is made up of natural, physical things, including food and shelter, rather then idealistic or spiritual abstractions, like beauty, truth and the supernatural |
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| the material economic world |
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| the rest of the world produced by the base |
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| economic determinism, economism |
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| the idea that economics is the cause of everything else |
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| the new class of capitalist merchants |
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| the exploited class of workers |
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| not simply money that can be exchanged for goods or labor, but money used to purchase goods or labor for the purpose of making a PROFIT |
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| ongoing class struggle between those who labor and those who own; the way that contradictory arguments and economic forces engage with each other (as in dialogue) to produce something else |
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| working on only one small part of a product; hundreds of thousands of people from around the globe play role in making products |
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| in precapitalist times, workers USED the objects they produced |
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| objects for sale on the market |
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| commodies have exchange value; laboring for exchange value redoubles the alienation of labor... |
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| the capacity to enhance desire (by commodities for commodities) |
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| have no immediately more practical value but they (the objects) may signify status, special if you own it, normal if you don't (appearance wise) |
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| a process in whihc people themselves are commodified, valued not as people, but as numbers, statistics, and cogs in an abstract economic machine |
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| reification (thingification) |
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Definition
| the way that commodification reduces social relations, ideas, and even people to things, thus intensifying alienation |
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| dominating cultural influence; dominant social structure |
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| the act of compelling by force of authority |
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| permission for something to happen or agreement to do something; allowing the interpellation to occur willingly |
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| leaders who arise from within the people and can use civil society to express the people's ideas that the people might not be ready to express for themselves; (opposed to traditional intellectuals who think they are different from and better than other people) |
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| offering a space between state and civil society and offering the best alternative to the threatening fragmentation of modernist art and life |
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| UNCONSCIOUS set of beliefs and assumptions, our imaginary relation to real conditions that might not match what we imagine |
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Definition
| "calling" the system calls or hails us (saying hello!); the process of being passively, unconsciously drawn into dominant social assumptions |
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| ideological state apparatuses ISA's |
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Definition
| (civil society) which include schools, media, churches, families, unions and entertainment culture; can make us imagine we have chosen the actions that real conditions have chosen for us; subtle and similar to consent |
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| repressive state apparatuses RSA's |
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Definition
| (the state) which includes the police, courts, prisons, and miliary; similar to coercion |
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| the technical word for changing or at least trying to change the system |
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| the ability to make things happen |
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| the superstructure's partial independence from its base; suggests at least a little independence from the clutches of the system, from interpellation, but doesn't have to come in the form of individualism |
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| opposite of relative autonomy; a way of thinking that is so interpellated into oppressive ideologies that it leads people to act against their own interest |
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| encourage readers/watchers not to identify with the actresses/actors/characters on stage or the roles they play |
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| class position defined not so much by economic capital as by related qualities of family and formal education; what class you are in determines taste/aesthetic |
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| relagates history to mere background and context witht he literature merely reflecting the history; history as stable and certain, secure facts which allow us to make claimes |
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| read history and literature together with each influencing the other, and without a stable sense of facts; history just as uncertain and complex as literature; always multiple perspectives and multiple perspectives lead to different interpretations |
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| a practice that produces what it purports to describe; a common pattern of culturally internalized expectations rather than the supposedly pure or essential truth that people traditionally mean by the term "knowledge" |
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Definition
| restricting potential impulses to act in what the dominant discourse paints as the wrong way (also goes along with surveillance, regulation, and discipline) |
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| the heritage of weaving together literary studies with the study of popular culture, cultural history, Marxism, and the working class that emerged through the writings of Raymond Williams |
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| the colonizers move in permanently and they or their descendents often grow far more numerous than the people they colonized, whose numbers often reduce by disease and abuses (sometimes reaching genocide) |
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| occupation colonies (explotation colonies, colonies of conquest) |
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Definition
| colonists remain a small portion of the population; typically leave home, do their explitative work in the colony and the return, only to be replaced by other colonizers |
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| settlers forcible or culturally limit outnumbered indigenous peoples to specific areas where they are surrounded by settlers in internal colonies (Indian reservations or reserves) |
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| developed from postcolonialism; updates the raages of colonialism, merely splitting the profits between local oligarchs and the colonial power, now represented not only by colonialist govt, but also by colonialist international corporations; "globalization" becomes another word for colonialism |
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| multiplicity, cross breeding |
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| a literary and political movement put together by a group of French speaking black poets and intellectuals in Paris, inspired partly by the American Harlem Renaissance |
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| produces ideas about the Orient - the East |
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| colonial discourse about the Orient; an older sense to refer to Indian subcontinent and esp to Islamic Middle East; Western discourse about the East (travel accts, journals etc) constructed the East as sensual, lazy, exotic, irrational, cruel, promiscuous etc and these terms generated a discourse that produced and then continued to reproduce the East in such terms |
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| in a world of cultural mixing and differences of power, colonized people often end up mimicking their colonizers, adopting the language, educational system, govt systems, clothing, music, and so on |
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| colonizers' sentimental respect for a colonized culture (idealized and unrealistic too lol) |
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| metissage (mixing or creolization) |
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Definition
| many cultures, languages and people mixed together that never settles into the stable sameness of Negritude or of conventional European models of identity |
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| racial prejudice is always already embedded in the system, so that to ignore race is to allow racism to continue unchallenged |
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| a reader that responds to challenges and mysteries with relish |
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| as we read, we can sort out implicit assumptions that it makes aobut its readers, what they know and believe or do not know or believe |
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| the fictional reader in the narrative; ie the woman singing to the pather/indian devil etc the woman is the narratee |
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| the range of possible expectations in where/when work was written, to the range of possible expectations for a work's readers |
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| studies the history of how readers have responded to a given film or literary work |
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