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36 Cards in this Set
- Front
- Back
Modernism |
originating in late 19th and early 20th century
used to express new sensibilities of the time |
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Components of the form of modernism |
High formalism with low popular content
reflexive
anti-realist |
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Anti-realism |
Attempt to capture sense of life itself
insistence on illusion
never document; allude |
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Components of modernism in theme |
subjective POV or inward turn
nostalgia
alienation
"make it new" |
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inward turn |
conformity to group consciousness |
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alienation |
action through which or a state in which a person, group, or institution or society becomes alien to the products of its labor, nature to which it lives, to other human beings and to oneself
"always self alienation" |
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Mikhail Bakhtin |
Russian philosopher who wrote "Discourse in the Novel"
described novel as radically inclusive |
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Novelistic discourse |
forms conform themselves to language rather than language conforming itself to forms |
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F. Scott Fitzgerald |
born in 1896
Gatsby reflects his life, and the affair between love and money
His works describe the conflict between American idealism and capitalist success |
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George Santayana |
famous Hispanic philosopher who wrote "Materialism and Idealism in American life"
Said the American dream was a mix of materialism and idealism |
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Components of American dream according to Santayana |
individual uniqueness
self-willed destiny
rags to riches
passionate devotion
quality v. quantity |
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Year Great Gatsby was published |
1925 |
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Their Eyes were watching God |
published in 1937 by Zora Neale Hurston |
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Zora Neale Hurston |
born in 1891 in Alabama
graduated from Boynard, studied under Franz Boas |
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free-indirect discourse |
omniscient narrator takes on thoughts of a character |
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method of representation in TE |
separates inside self and outside self |
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Difference between Nanny and Janie |
Nannie is constrained by past and accepts it, patriarchial perspective, insignificance of pleasure
Janie is romantically imaginative, human perspective, pleasure on its own without doing something to deserve it |
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property and speech in the novel |
speech becomes a place of collective property |
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With increasing space, Janie... |
has decreasing space for herself because her housemate seeks to confine her |
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Frame narrative |
main action is told second hand or indirectly through an enclosing frame story |
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John Steinbeck |
made four trips to Central VAlley, stayed at Arvin Sanitary Camp, spent a week and dedicated novel to Tom, manager of the camp |
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Why the "monster"? |
to highlight the problem as systemic and impersonal |
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What is the rhetorical strategy of GW? |
hyperrealism; attention to detail |
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Why is Jim Casy introduced through a song? |
superimposing a religious message on a secular song |
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What was Marx arguing for? |
the consideration of labor and the value it provides to goods |
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use value |
heterogeneous
what the object can provide to the person; particular to the good |
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value |
only comes about in exchange |
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exchange value |
homogeneous
strips goods of their particularity |
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capitalism |
not selling in order to buy but buying in order to sell
to accumulate more money, not value |
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Fetishism of the commodity |
the belief that things are social beings by being blind to the actual solid beings that produced them
social relations between things; material relations between people |
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What is Steinbeck's alternative to the commodity fetish? |
the family |
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Significance of Battle Hymn of the Republic title and reference in the book |
oppression is so extreme that only a godly power could bring justice |
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What is the significance of Tom's statement "I'll be around in the dark"? |
part of the people
his spirit will show though humanity's action |
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Ralph Ellison |
born in 1913, Tuskegee Institute, moved to NY and taken in by Richard Wright, wrote essays for communist supported journal then broke with the party, published IM in 1952 |
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purpose of the prologue |
references Weltschmertz, flamenco, and Louis Armstrong to show distinction between tragedy and comic, says culture is an integrator |
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Golden Day |
ironic or not? could be taken both ways. |