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Definition
| paradoxical relationship between cause and effect (what appears to be a symptom may in fact be a mark of a predisposition) |
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| a character’s nature is a result of the character’s position or function within a structure |
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| thus it is impossible to find a first cause/instance of a particular behavior or effect |
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| state of possessing multiple meanings (not vague or ambiguous) |
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| state of uncertainty or undecidability |
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| wavering between two distinct possibilities (ideas or feelings etc.) |
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| 2 terms, concepts or things that contradict each other - must be opposite and mutually exclusive |
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| never neutral, always imply hierarchy (ex: male & female, original & copy) |
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| if the opposition is too rigid it leads to the break down of structure (hierarchy/meaning of the words) |
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| diachronic relations are relations of sequence or temporality |
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| histoire and recit are both types of diachronic relations - both the events and their narration take place in time |
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| diachronic relations need to be distinguished from synchronic relations |
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| sequence of events as they take place in the story referred to (world constructed in story) |
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| a type of diachronic relation, different from recit (only one histoire in the novel, can be multiple recits) |
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| open-ended - hard to know what was really the beginning of the story (world story refers to doesn’t really have a beginning) |
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| spectrum of male homosocial relation 1 |
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Definition
| entire spectrum of intense feelings men have for each other - homoeroticism to male bonding to homophobia (excludes women completely) |
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| spectrum of male homosocial relation 2 |
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Definition
| boundary between male bonding and homoerotic desire is anxiously guarded |
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| spectrum of male homosocial relation 3 |
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| relationships can be all over the spectrum (go to both ends) and women are the necessary conduits |
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| basically privileging speech over writing |
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| more generally, privileging originals over copies |
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| the idea that mediation is distortion |
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| paradox: every copy can become, in turn, an original |
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| imitative desire, desire caused by someone else’s desire, not attracted to something intrinsically, only because someone else finds it desirable |
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| in general, gender neutral phenomenon; in culture/media generally presented as 2 guys and 1 female (object of desire) - desire always involves a triangle |
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| real motivating desire is the desire to be like someone else (someone you respect/admire) - identify with their feelings |
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| figure of speech in which you convey meaning of one thing by describing it as something else (something literally not true) |
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| purpose is to describe or emphasize something else |
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| metaphors can anticipate the shape of the narrative (ex: circular, linear, seamless, broken up, etc.) |
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| simultaneity: synchronic relations exist at the same time (things that are simultaneously present) |
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| meaning doesn’t depend on sequence - independent of sequence |
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| ex: symbols and metaphors, overlapping plots, retrospective viewpoints, themes, ideas |
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| needs to be distinguished from diachronic relations |
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| means both communication and representation |
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| by definition, takes place in concrete medium (speech, writing, images, etc.) |
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| figure of speech in which you convey the meaning of one thing by describing it as something near to it (physically in space or habitually connected) |
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| precise sequence of things |
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| metonymic thinking is more powerful/logical than metaphoric thinking |
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| desire to get to the end, to see how the narrative will turn out |
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| built into the structure of the narrative |
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| desire of the reader, but characters can also have this desire (desire to know how things will turn out) |
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| paradox: also the desire to prolong the narrative and postpone the ending |
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| literally, what the father prohibits a character from doing; more generally, prohibition from any authority figure |
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| functions to repress desire |
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| paradoxically, interdiction functions to insight desire |
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| witnessing the moment of your own conception or birth (discovering your origins) |
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| inevitably retrospectively constructed (impossible to actually see) |
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| ex: monster finding Dr. Frankenstein’s letters |
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| sequence of the work itself (literal turning of the page) |
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| a type of diachronic relation, different from histoire |
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| definite beginning (page 1), has a medium (pages, screen, etc.), has formal organizing devices (chapter breaks, flashbacks, etc.) |
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| specifically, the idea that if you keep reducing a distance by half you will never get there - no practical solution |
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| more generally, the idea that you can get close to something but never quite get there - philosophical problem |
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| you can never completely bridge the gap between experience and representation (original event and mediation), thus narratives are inevitably retrospective |
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