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what is a woman?

Posted by Jeff Allred (he/him/his) on

Reading your exam responses, many of which touch on Nietzsche’s and Saussure’s theme of arbitrariness in language, I kept thinking about this arresting moment in the hearings prior to Justice Jackson’s confirmation last week:

Sen. Blackburn asks Supreme Court nominee to define ‘woman’ | USA TODAY

U.S. Supreme Court nominee Ketanji Brown Jackson was asked by Sen. Marsha Blackburn to define the word “woman.”RELATED: Supreme Court pick Ketanji Brown Jack…

I kind of wish Jackson would have dropped some linguistic theory on Sen. Blackburn, pointing out that the concept aggregates unlike objects and includes/excludes arbitrarily: when is a “girl” a “woman”? Is a “lady” a “woman,” and vice versa? Is a woman a woman before she is born and after she dies? How about a “woman” on screen or in a book? A person in drag? And so on. We’ll talk more about these issues later. But the sheer strategic stupidity, and the wish to muzzle the entire enterprise of any education worth the name, which is grounded in questioning received wisdom, is very much in tune with what we’re about in this class.

 

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Johnson lecture and asynchronous activity

Posted by Jeff Allred (he/him/his) on

As promised, here’s a 15 minute lecture on Johnson:

Johnson480p

Brief lecture unpacking Barbara Johnson’s “Melville’s Fist” for 306 students

After you’ve finished reading and watching, please post on one of the following questions, which will serve as your Blog Post #3:

  1. What kind of reader is Billy? What kind is Claggart? How does Johnson use Saussure’s theory of signifier/signified to clarify this difference?
  2. On 2268-9, Johnson reads the plot of BB against the grain: that is, as if Claggart were right and Billy were guilty of a willful mutiny. What is the point of this? What does it say about BB that either reading is equally defensible?
  3. How does Johnson distinguish, on one hand, a “difference within” and, on the other, a “difference between” in her discussion of Vere’s act of judging? What does Melville’s text tell us about these two different kinds of differences?
  4. What does the example of Vere suggest about our commonsensical notion that judges are “above politics”: that is, that they decide on guilt/innocence independently of the practical effects of this judgement (2275)?
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Blog Post #1 all-stars

Posted by Jeff Allred (he/him/his) on

When time permits, I’ll do this all term. I found these posts especially strong for one reason or another. None is perfect, whatever that means, and they’re not necessarily the “top four,” since it’s harder to rank mini-essays than, say, hot sauces or forty-yard-dashes. But they’re all good and worth reading as helpful examples of how to balance summary and speculation:

  • Eliza:  https://engl702spr25.commons.gc.cuny.edu/2022/02/04/truth-deception-and-reality/
  • Pashtrik: https://engl702spr25.commons.gc.cuny.edu/2022/02/02/a-foundation-of-lies/
  • Benjamin: https://engl702spr25.commons.gc.cuny.edu/2022/02/03/stubborn-as-a-bull/
  • Gigi: https://engl702spr25.commons.gc.cuny.edu/2022/02/04/nietzsche-through-the-eyes-of-the-beholder/
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Foucault, Borges, Nietzsche

Posted by Jeff Allred (he/him/his) on
Michel Foucault’s The Order of Things is an enormously influential theory of how the West has constructed its own “ways of knowing” by obscuring the contingencies of certain knowledge and projecting a fantasy of a pure, objective knowledge. Foucault borrows heavily from Nietzsche in his distinctive “genealogical” method of narrating history. We can see some of the influence of Nietzsche’s work here in ways that anticipate much of what we’ll talk about in the future. Foucault’s book begins with a riff on a passage from the Argentinian writer Jorge Luis Borges. Here is the first page more or less in full:
The point, of course, is not the obvious and chauvenistic one: what a zany people those Chinese are!? The point, rather, is more like “what must our Encyclopedias look like to the Other? How are our regimes that make “data” and its analysis seem so transparent and objective equally absurd and humorous and continent when looking in from the outside?
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welcome

Posted by Jeff Allred (he/him/his) on

Greetings to students in my ENGL306/COMPL301 this term. I look forward to meeting you Monday. Note that all the other posts on this site were written by myself and prior students, who have left their work here for your benefit.

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Psychoanalysis in the wild!!

Posted by Jeff Allred (he/him/his) on

Lest you think I’ve gone mad with all this talk of the penis/phallus, castration anxiety, fetishism, infantile development, and failed sight gags with piles of notecards, rest assured that psychoanalytic theory is alive and well and animates some of the most vivid cultural criticism in academic as well as semi- and nonacademic circles. This piece from Avidly, a fantastic blog hosted by the (also superb) LA Review of Books, notes the omnipresence of hypermasculine sexual bragging in the age of Trump and examines what author Brian Connolly calls the confusion of the penis with the phallus within that discourse. He reads this dynamic, not through Trump, but through the DJ Khaled-produced hiphop ensemble hit, “I’m the One,” and leverages this track into a much broader argument about masculine fascination with asserting one’s self as a unity (cf. Lacan on the mirror stage) that is impossible, and with the “melancholy” that creeps in as the quest to be self-present, perfectly potent, alone on the top, fails.

It’s a fantastic, fun riff that will teach you a lot about psychoanalysis, point in a lot of theoretical directions we won’t have time to explore together, and provide food for thought about the deep currents of our current political discourse, which often washes over us in a very forgettable and ungraspable way.

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blog post #5 all-stars

Posted by Jeff Allred (he/him/his) on

As before, I’d like to give a shout-out to a few top-notch posts from this round. I’ve selected for quality and also for coverage: I’m really happy that so many of you wrote about texts we hadn’t yet discussed together! So check out:

  • Freud and The Interpretation of Dreams: Lei’s on Freud and dreams nicely mixes anecdote and summary of argument to give a vivid sense of how “dream thoughts” are transformed.
  • Lacan’s “mirror stage” essay:
  • Meltzer’s piece on “unconscious”:
    • James digs into the tricky relationship between Freud’s thought and Lacan’s revision/return.
  • Freud on the “fetish”:
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Fanon film

Posted by Jeff Allred (he/him/his) on

Two-pronged shout-out here:

  1. There’s a useful documentary on the Kanopy interface on the life and work on Fanon. The production is a bit cheesy in the manner of all “dramatizations,” but the talking head work by postcolonial theorist Homi Bhabha and cultural studies pioneer Stuart Hall is news you can use.
  2. More broadly, Kanopy is an amazing and underutilized resource accessible to Hunter students. It’s a big collection of films of all kinds, especially strong in documentaries and educational materials. For me, and for many English major nerds, I suspect, the crown jewel is a big chunk of the Criterion Collection archive of classic films, spanning early cinema (Chaplin, Keaton) to more recent “new classics” from across the globe. It’s a bit of a hassle to sign up, but once you do, you can access via iOS/Android/laptop/Roku or whatever.
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Post 4 All-Stars

Posted by Jeff Allred (he/him/his) on

I just wanted to give a shout-out to some exemplary posts this time around. I’m really impressed with your hard work and creative thinking and could have picked almost anyone’s work this time. But these stood out for various reasons, so check out:

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organic intellectuals in the wild…

Posted by Jeff Allred (he/him/his) on

I was thinking about our discussion of intellectuals and their role in creating/maintaining/overturning a given hegemony and then came across this piece from the NYT Sunday Magazine, which was focused on music this week.

The piece examines SAULT’s “Hard Life,” a gorgeous song that remixes themes and grooves from the “soul” era in music that grew alongside the Civil Rights Movement in the 60s and 70s. Gramsci examines that “organic” intellectuals, in order to serve a “directive” function, must not only have a message that can function as the “cement” or “glue” to attach disparate social groups together in unity; they must express this message with the right “accent” and imagery that “fits” with the preexisting cultural matrix of those groups, what the neo-Gramscian Raymond Williams famously called a “structure of feeling.”

Here, SAULT is a mostly anonymous collective of mostly Black British artists who have released a tremendous amount of staggeringly great music in conjunction with the rising profile of the Black Live Matter movement. You can certainly say this song (and a lot of their music) issues from the “structure of feeling” of this movement: youthful, melancholy and joyful and hopeful by turns, keenly aware of their place in a broader historical narrative of fighting for justice. And this “structure of feeling” is engaged in an effort to expand the frontier between “us” and “them,” converting souls and expanding the size and power and intensity of the movement.

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