In this section, I explore the inverse side of the novel’s function with an emphasis on the film and the disjunctive effects of reading the novel. This, I argue, constitutes the trajectory of escape in Infinite Jest—the irresolutions, inaccessibilities, and impossibilities form a surplus which leads the reader to both co-produce the text and confront the functionality of thought. With regards to the Entertainment, the reader confronts an impossibility of producing a sufficient image of the film as a whole or even a single adequate image pertaining to its contents (the images fail against the ideal). This process exposes a failure that inverts the thesis in the ‘Image and Desire’ section: first, the image fails to contain the real-mother, unhinging this particular fantasy; second, fixation within the drive fails, revealing that the drive circuit is not …show more content…
For instance, Joelle wonders if “the allegedly fatally entertaining scopophilic thing Jim alleges he made out of her unveiled face here at the start of Y.T.S.D.B a cage or really a door?” (230). Her complex relationship with the film—starring in it, having never seen it, yet possessing the most intimate knowledge of it, at least in comparison with other characters in the book— is compounded with her role as Mme. Psychosis, her appearance as death in Gately’s dream, her relationship with the real mother-death’s (Avril) son, her veil covering both improbable beauty and grotesquity, the conjunction between the drug and cleanliness, and her father’s incestual desire for her. Yet, as one attempts to piece these fragments together, searching for points of connection with the multitude of other problematics in the text, one finds her engaging in the initial stages of AA’s program, meant to do precisely the opposite: de-intellectualize the problem and actively immerse oneself in the
The novel is nurtured with a very soft but sophisticated diction. The essay itself portrays the author’s style of sarcasm and explains his points in a very clear manner. In addition, the author has used vocabulary that is very easy to understand and manages to relate the readers with his simplistic words. The author is able to convey a strong and provoc...
It is my intention to compare the book, Dangerous Liaisons by Choderlos de Laclos, to its modern movie version, Cruel Intentions starring Sarah Michelle Gellar. I intend to examine how the original French text was modified in reference to plot, character, morals/values, and themes. I also plan to discuss how these transformations change the meaning of the story and reflect different cultural/historical contexts. There are some major differences between these two works, if only because of when they were written.
This novel and film commentary analysis or interpretation will be first summarised and then critiqued. The summary will be divided into twenty- four episodes. While summarising it is well to remember that the film was made out of the book.
...mother realize the identity of her daughter's rapist before the Marquise, establishing irony and advancing engagement between reader and text. It is also clear to the reader that by the conclusion of The Yellow Wallpaper, the narrator has become maniacal.
...f one defies the natural law and strives to recover the loss, he or she is already on the road to a tragic end. More ironically, the efforts draw the character farther from what they wanted; the rape made Blanche even less credulous, the funeral made Willy even less respected, the request made Gatsby less favorable by Daisy. All three modernist pieces presented false beliefs about life and showed the consequences of obeying those believe. The consequences revealed a bloody truth – the loss of the hope cannot be recovered. What is lost is already the past; only the future can be earned by the hard work done in the present.
Criticizing the cruelty of society, Baudelaire begins his book, Flowers of Evil, with a warning. To foreshadow the disturbing contents that his book focuses on, Baudelaire describes the unpleasant traits of men. Lured by the words of the Devil, people victimize others. Grotesque images of torture and swarming maggots exemplifies the horrors of our actions. Yes, our actions. Baudelaire puts shame to every human, including the reader, through the word “ours.” Humiliated, the reader dare not to allow himself to be guilty with the worst sin – boredom. Separated by dashes, the last sentence commands the reader to choose whether to fall to the worst or save himself a little bit of dignity. Accused and challenged, the reader is pressured to ponder
Many of our today as “normal” considered values are everything but self-evident. One of the most striking aspects in the novel is time; and our relationship towards it. “ We yearned for the future. How did we learn it that talent for insatiability. ” In this particu...
Guerin, Wilford L. A Handbook of Critical Approaches to Literature. New York: Oxford University Press, Inc., 1979.
Deep-seated in these practices is added universal investigative and enquiring of acquainted conflicts between philosophy and the art of speaking and/or effective writing. Most often we see the figurative and rhetorical elements of a text as purely complementary and marginal to the basic reasoning of its debate, closer exploration often exposes that metaphor and rhetoric play an important role in the readers understanding of a piece of literary art. Usually the figural and metaphorical foundations strongly back or it can destabilize the reasoning of the texts. Deconstruction however does not indicate that all works are meaningless, but rather that they are spilling over with numerous and sometimes contradictory meanings. Derrida, having his roots in philosophy brings up the question, “what is the meaning of the meaning?”
This book discusses the viewpoints of many expert critics through extracts of their critical essays on the novel “The Bluest Eye”. Harold Bloom states Michael Woods narrative is the best he has seen of the book, “Each member of the family interprets and acts out of his or her ugliness, but none of them understands that the all-knowing master is not God but only history and habit; the projection of their own numbed collusion w...
This piece of criticism has strengthened my arguments as to who the real monster is. It has given me a new way to look at things in the novel. I have since then re-read part of the novel and can now read it much more clearly. It will help me greatly in strengthening my argument for the final paper.
Fogle, Richard Harter. "Realms of Being and Dramatic Irony." The Scarlet Letter. 3rd ed. Eds. Seymour Gross, Sculley Bradley, Richard Croom Beatty, and E. Hudson Long. New York: Norton, 1988. 308-315.
Milan Kundera contends, “A novel that does not discover a hitherto unknown segment of existence is immoral” (3). In this it is seen that the primary utility of the novel lies in its ability to explore an array of possible existences. For these possible existences to tell us something of our actual existence, they need to be populated by living beings that are both as whole, and as flawed, as those in the real world. To achieve this the author must become the object he writes of. J.M. Coetzee states, “there is no limit to the extent to which we can think ourselves into the being of another. There are no bounds to the sympathetic imagination” (35). Through this sympathetic faculty, a writer is able to give flesh, authenticity and a genuine perspective to the imagined. It is only in this manner that the goal of creating living beings may be realized. Anything short of this becomes an exercise in image and in Kundera’s words, produces an immoral novel (3).
Ethics of Psychoanalysis - Lacan’s Antigone and the Ethics of Interpretation. My paper examines Lacan’s reading of the Antigone as an allegory of our own textual and ethical obligations as readers and critics. This paper addresses both the ethics and the aesthetics of our encounter with the text. In 1959, Lacan presented Sophocles’ Antigone as a model of pure desire for his seminar on The Ethics of Psychoanalysis.
Throughout Toni Morrison’s controversial debut The Bluest Eye, several characters are entangled with the extremes of human cruelty and desire. A once innocent Pecola arguably receives the most appalling treatment, as not only is she exposed to unrelenting racism and severe domestic abuse, she is also raped and impregnated by her own father, Cholly. By all accounts, Cholly should be detestable and unworthy of any kind of sympathy. However, over the course of the novel, as Cholly’s character and life are slowly brought into the light and out of the self-hatred veil, the reader comes to partially understand why Cholly did what he did and what really drives him. By painting this severely flawed yet completely human picture of Cholly, Morrison draws comparison with how Pecola was treated by both of her undesirable parents. According to literary educator Allen Alexander, even though Cholly was cripplingly flawed and often despicable, he was a more “genuine” person to Pecola than Pauline was (301). Alexander went on to claim that while Cholly raped Pecola physically, Pauline and Soaphead Church both raped her mental wellbeing (301). Alexander is saying that the awful way Pecola was treated in a routine matter had an effect just as great if not greater than Cholly’s terrible assault. The abuse that Pecola lived through was the trigger that shattered her mind. In The Bluest Eye, Toni Morrison uses the characters of Cholly Breedlove and Frieda McTeer to juxtapose sexual violence and mental maltreatment in order to highlight the terrible effects of mental abuse.