Anil Pinto

III BA English Honours HEN652 Cultural Studies CIA 3

2012-01-26T17:08:00.002+05:30

CIA3 criteria.

10 Marks: Structure of research paper - Abstract (about 150 words), introduction, locating research question in the existing body of knowledge, exploring the research problem using the cultural site given (e.g. Jaipur literary festival is a context), conclusion, works cited (MLA style), in-text citation. + Sharing of paper with all (2 marks)

10 marks: logical development of the research problem, rigor of the exploration of research question. logical flow of conclusions based on the exploration and analysis.

Other guidelines

Last date for sharing the complete paper with the course instructor and coursemates: 10 Feb 2012 (IST 24 Hrs)

Length of the paper: 5-7 pages, including works cited section.

The paper needs to be shared with all the coursemates.

The should be either in google doc format. Please avoid uploading the word document.

Please use times new Roman, 12 font with double line space, including between paragraphs. Indent the first line of new paragraphs.

Please write your name and register number at the left hand top corner of the first page.

File name: HEN652+_+Title of the paper+_+ your name.

Please do comment on other's papers once they are shared.

(PS: Please be nice and kind to me in the next class, as always :-))

Call for Papers: National Seminar on Fiction and Film - An Interdisciplinary Approach

2012-01-19T07:09:00.002+05:30

Dates: 14, 15 and 16 March 2012

Organized by Department of English, Government College for Women, Thiruvananthapuram

In association with the Kerala State Chalachitra Academy

Fiction has inspired films right from the birth of the latter. This has grown into a kind of symbiotic relationship. Cinema, being a pan art, has almost all ingredients of drama such as characters, plot and spectacle. But it is quintessentially a narrative medium. The process of trans-creation from a book into a film, from its printed page into screen, is rather complex. The film maker utilizes a different language - the language of film - to create the story anew. Just as in any translation much variation may occur in this trans-creation as well. What is lost and what is gained could be the result of the peculiarity of the new language adopted. But it could also be a compulsive play of the hegemonic tastes of cinema. It would be interesting to analyse the dynamics behind the manifestation of such hegemony on screen.

The proposed seminar will give an interdisciplinary approach to the difficult aspects of the process evolved in turning a literary text into a film and its importance as a pedagogical tool.

Call for papers

Papers on the theme of the conference are invited.

For more details, please contact the conveners Ms Krishna Prabha (9495625859) or Ms Neeta Sasidharan (9446177160) at engdeptgcw AT gmail.com

How to start a Journal in India? Legal/Government Procedures

2012-01-16T13:14:00.000+05:30

Publication: How to start a Journal in India? Legal/Government Procedures:

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National Seminar on Indian Women Writers in English

2012-01-09T13:55:00.004+05:30

The Department of English, St Aloysius College (Autonomous), Mangalore, Karnataka, is organizing a One Day National Seminar on Indian Women Writers in English on February 18, 2012.

The lead speakers are: Dr Meena Kandasamy, Poet and Writer
Dr Meena Pillai, Institute of English, Kerala University

Last date for submission of abstracts-1st February, 2012.
Date of Intimation- 7, Feb, 2012
Registration fees: Rs 200/-
Accommodation could be arranged on sharing basis @ Rs 200 per day on advance payment.

EasyBib: Free Bibliography Maker - MLA, APA, Chicago citation styles

2012-01-08T15:59:00.000+05:30

EasyBib: Free Bibliography Maker - MLA, APA, Chicago citation styles: "Enter website address or keywords to cite."

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Call for Papers: UGC-Sponsored National Seminar on Indian Poetry in English

2012-01-08T12:24:00.003+05:30

The Faculty of English and Foreign Languages is organizing a UGC-Sponsored National Seminar on "Indian Poetry in English" on 1st and 2nd February (Thursday and Friday) 2012 at Gandhigram Rural University, Gandhigram, Tamilnadu. More than 250 teachers, researchers and students from all over the country are expected to participate in the Seminar and present papers.

Peer-reviewed and selected papers will be published in Gandhigram Literary Review.

To submit your proposals and register, please log on to
www.ruraluniv.ac.in

For more details, please send a mail to: gripoetryseminar@gmail.com

Prof A Joseph Dorairaj
Dean, Faculty of English and Foreign Languages
Gandhigram Rural University
Gandhigram 624302, TN
Email: josephdorairaj AT gmail.com

Critical Commons

2012-01-04T16:16:00.000+05:30

Critical Commons:

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National Seminar On Vision and Performance: Commonwealth Plays in English

2012-01-02T09:55:00.000+05:30

U G C Sponsored Two Day national Seminar On

VISION AND PERFORMANCE:

COMMONWEALTH PLAYS IN English

1^st & 2^nd March, 2012

Nowadays plays have a good response among the readers. Though plays are said to be the precursor of all genres in literature, interest in reading dramas has recently dwindled due to the arrival of novels. But in recent times he arrival of modern dramas by various dramatists like angry young men group and absurd dramatists kike Samuel Beckett and others have kindled the interest of the readers to read plays. Coming to Commonwealth Literature [Creative literatures from Nations which were under colony rule once] new dramatists have raised and produced many valuable tomes in which diverse themes like alienation, identity crisis, homosexuality and gender issues are discussed. Most of the modern dramas are produced with the help of themes taken from real life situations instead of fictional elements. Moreover many plays have implied themes and ideas which pave way for the readers to imagine more. This seminar will be a very good forum for the upcoming researchers and scholars to gain acquaintance with these recent and debatable topics. Researchers can present their papers on the themes like

1. Post colonialism
2. Postmodernism
3. Absurd Elements
4. Gender Issues
5. Historicism
6. Political Satires
7. Science Plays
8. Social Plays
9. Alienation& Identity Crisis

Organiser

VIRUDHUNAGAR HINDU NADARS’
SENTHIKUMARA NADAR COLLEGE
VIRUDHUNAGAR-626 001
TAMILNADU

Contact:

Dr. G. Baskaran
The Organizing Secretary
Research Centre in English
VHN Senthikumara Nadar College
Virudhunagar- 626001
E mail: rgbaskaran AT gmail.com

Contact Mobile Numbers:
Mr. K. Muthurajan: 9843592888
Mr. B. Rajkumar: 9486737674

National Seminar on De-stereotyping Indian Body and Desire: Reconsidering the Representations

2011-12-14T09:27:00.000+05:30

Call for papers for the U.G.C. Sponsored National Seminar

Organized by

The Department of English

Southfield College

Darjeeling

In collaboration with

The Department of English

St. Joseph’s College

Darjeeling

Date: March 12-13, 2012

De-stereotyping Indian Body and Desire: Reconsidering the

Representations

For the most part, postcolonial studies, quite understandably, have privileged the political. Historical and economic processes, forms of identification (race and, to lesser extent, gender) and categories of difference have been refracted through this particular lens. The affective, however, has received scant critical attention. Body, sex and desire are usually allegorized, often standing in as sites of political conflict. Nonetheless, there is an alternative tradition, such as represented in queer and feminist studies as well as in recent work on 'affective communities' and performativity. Notably, feminists, queer theorists, and creative writers such as Mahesh Dattani, or directors like Rituparno Ghosh engage with forms of the affective that incorporate,
exceed, threaten or destabilize the political.

This interdisciplinary conference is an endeavor to bring together into productive confrontation issues of body, love, sex, desire and the postcolonial Indian representations. By drawing together a range of participants and some of the experts in the field, it aims to promote collaborative work between academics, activists, and the non-profit community.

The papers (2000—3000 words) can be based on, but not limited to, the following topics:

Gender, Desire & Sex: Interrogating Mystifications, Stereotypes and Archetypes De-stereotyping efforts in Indian Cinema, Drama, T.V. shows, advertisements, fashion • Desire & the Body: The politics of social bodies; Androgyny in Indian culture and representation

Sex, Politics, Nation and Modernity in (Post)Colonial India
• Erotic Places / Spaces / Literary Representations/ Disruptions of Form, Body and
Landscape
• Ex-Centric Identities: interrogating the categorizations like normal/abnormal, natural/
unnatural desire and body
• Sexual policy, sexual politics/ movements in India
• Counter(acting) and de(constructing) racist and sexist stereotypes
• De-stereotyping sexualities and gender identities through cyber culture
• The Erotic as Power: representations in media (electronic, print) / craft and architecture/
visual and performing arts
• Representations of women’s and men’s bodies in contemporary Indian culture; de-
stereotyping childhood, old age and disability
• Queering India/ Discovery of Indian Queer heritage

Author Guidelines:
PROPOSALS OF 200 – 300 WORDS SHOULD BE SENT WITH
• AUTHOR’S NAME AND DESIGNATION
• INSTITUTIONAL ADDRESS
• A BRIEF BIO-NOTE
• MAIL ID, AND CONTACT NO.
To
kaustavchakraborty2011 AT gmail.com

DEADLINE FOR ABSTRACTS: 15th January, 2012
ACCEPTED PAPERS WILL BE NOTIFIED TO AUTHORS BY: 20th January, 2012
REGISTRATION FOR ACCEPTED PAPERS ALONG WITH THE FULL PAPER MUST REACH
THE CONVENER BY: 27th February, 2012
Registration fee: Rs. 1500 (With accommodation); Rs. 1000 (Without accommodation),
Demand Draft should be drawn in favour of “Southfield College, Darjeeling”.
For postal communication (while sending a copy of the selected paper [full paper] and
the registration form along with demand draft) and also for any queries please contact the
Dr Kaustav Chakraborty

Convener—UGC Sponsored Seminar
Assistant Professor in English
Southfield College
Formerly Loreto College

Post & District : Darjeeling
Pin: 734101
West Bengal
Mobile: 9733184654

A selection of papers will be published after the conference with ISBN
number.

I PSEng Holistic Education PPTs

2011-12-12T14:03:00.000+05:30

Please click on the topics below to download the ppts
1. Self-organisation
2. Health

BA English Hon. Cultrual Studies CIA 1

2011-12-08T11:34:00.001+05:30

https://docs.google.com/spreadsheet/pub?key=0AnY10euTPM5SdDV6ZE5xV05LZEhkQVM0dldZZnAtNnc&output=html

Recommendation Letter Details

2011-12-05T16:25:00.001+05:30

Those who require recommendation letter from me could you please email me the following details.
Those who need letter on University letter head need to get prior permission from the department- Abhaya in the case of CEP and Naresh in the case JPEng

Once the departments concerned have given their consent you could email me the following details.

The papers I taught you/ how do I know you (was your class teacher, worked with me on projects)
Semesterwise attendance percentage
Academic performance (first class, second class. distinctions, end sem repeat papers )
Your markswise rank in the class (Among top 10, top 5, top 20 ...)
The activities you took part on campus and off campus during your studies here (internships, fests, newsletters, cctv, seminars, social work)
Your career plans
Your assessment of your personality, abilities (interpersonal relationship, study habits,
Any specific details I should keep in mind while writing the letter
How will the programme you are applying for will help you in your future.

You could write these in points.

National Seminar on “Reading Indias”

2011-12-03T18:51:00.001+05:30

Department of English of Christ University

Is organizing a National Seminar on “Reading Indias” on

20 - 21 of February 2012

Christ University, Hosur Road, Bangalore.

The Programme will be a platform to understand the working of the social and cultural imaginations of india from multiple perspectives to redefine their productive roles in the construction of the ‘Nation’. It not only encompasses the field of literature but also that of historical philosophy, cultural studies and mass media, and allows the participants to enter into the ‘hybridised’ world with a fresh, analytical and comprehensive approach to read the ‘Indias’ in as many genres. Ben Okri preferred to call it ‘literature of the newly ascendant spirit’ and it is this spirit that is the focus of this seminar. The conference hopes to capture points of convergence and divergence, exploring these matrices.

Through discussions and paper presentations this conference aspires to read the myriad images and visions of India. Papers are invited in the areas of film, drama, music and literature that address these notions. Issues could be about or of India, texts (in the Barthesian sense) by Indians and/or others.

Polyphonic voices of and about “Indias”, the role and function of social and cultural imagination and imaginings, the scope and history of the Indian subcontinent necessitates a discursive reading. A greater awareness of indigenous communities, first nations and their cultural productions has burgeoned in recent decades. This seminar will negotiate the relations between the past and the present, the canonical and the non-canonical and the national and the trans-national. We endeavour to understand the working of these social and cultural imaginations from multiple perspectives to redefine their productive roles in the construction of the ‘Nation’. It not only encompasses the field of literature but also that of historical philosophy, cultural studies and mass media, and allows the participants to enter into the ‘hybridised’ world with a fresh, analytical and comprehensive approach to read the ‘Indias’ in as many genres. Ben Okri preferred to call it ‘literature of the newly ascendant spirit’ and it is this spirit that is the focus of this seminar. This seminar hopes to capture points of convergence and divergence, exploring these matrices.

Your Participation: Through discussions and paper presentations this seminar aspires to ?read the myriad images and visions of India.

Papers are invited in the areas of film, drama, music and literature that address these notions. Issues could be about or of India, texts (in the Barthesian sense) by Indians and ?others.
Students and faculty alike may present, however there will be no awards for faculty.
Apart from papers, we also invite you to showcase any presentation or project that you have worked on relevant to our theme. We will accommodate it, as per time schedules ?and suitability.
Please mail your abstracts (300 words) by 15th December 2011 to readingindias AT eng.christuniversity.in. In the subject line please mention “Seminar 2012”.

» CONFERENCE – Translation as Creative Process Performance and Embodied Research Colloquium

2011-12-02T06:07:00.000+05:30

» CONFERENCE – Translation as Creative Process Performance and Embodied Research Colloquium

/Library of Babel/ "Discussion Board"

2011-11-30T17:18:00.000+05:30

/Library of Babel/ "Discussion Board"

HOW THE ENGLISH LANGUAGE WAS DEVELOPED

2011-11-25T20:50:00.001+05:30

A short video on how English was developed.!

National conference on Media and Human Rights: The Global Scenario

2011-11-04T07:17:00.000+05:30

Department of Journalism, Tumkur University: National conference on Media and Human Rights: The Global Scenario

Journal of Free Software & Free Knowledge

2011-10-30T18:28:00.000+05:30

Journal of Free Software & Free Knowledge

Indian Literature, Folk Epics

2011-10-30T17:06:00.000+05:30

Indian Literature, Folk Epics

Media Education/Seminar at Pondicherry University | C.R. Jayaprakash blogs on Media & Environment

2011-10-26T21:14:00.000+05:30

Media Education/Seminar at Pondicherry University | C.R. Jayaprakash blogs on Media & Environment

Teaching Quality is poor in higher education institutions: Prof. Balagurusamy | India Education Review

2011-10-25T14:14:00.000+05:30

Teaching Quality is poor in higher education institutions: Prof. Balagurusamy | India Education Review:

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Conference on Dalit Experience and the Question of Marginality

2011-10-25T13:34:00.002+05:30

Department of English, University of Delhi

Annual Conference 2012

The Dalit Experience and the Question of

Marginality

16-18 February 2012

Call for Papers

Recent times have seen a rapid growth of interest in marginality in literary and cultural studies. Marginal cultures and identities are by definition the ‘other’ of hegemonic cultural formations; their place and plight are always determined by and peripheral to the dominant culture. Typically, Dalits are framed as socially

frail, politically powerless and economically backward. However, in India, while the nature of traditional caste society does make Dalits a marginalized people, the discourse of marginality needs to be taken in conjunction with the fact that Dalits (along with Bahujans) constitute a majority work force. Further, the decisive alterations to the public sphere made by an assertion of Dalit political consciousness must be recognized.

Against this background the Department of English, Delhi University is organizing a conference on “The Dalit Experience and the Question of Marginality” from February 16 – 18, 2012. The conference aims to probe the relation between the public sphere consolidation of Dalit identity and the continued devaluation of Dalit labour. At what point, can these different coordinates of the Dalit experiences be mobilized to constitute a counterhegemonic citizenship? What are the various theorizations of caste reality as it pertains to questions of symbolic and not-so-symbolic acts of violence? What are the limits and possibilities of framing the Dalit question as an identity question? How do we critically examine the institutional practice of Dalit studies especially within the cultural rubric of experience and affect? A core part of our conference intends to open up the question of modernity as imagined by Dr. Baba Saheb Ambedkar, given that 2012 will see the celebration of his 120th birth anniversary. In so far as the idea of the annihilation of caste remains central to Ambedkar, the embrace of modernity cannot simply be seen in terms of reconciliation. It was envisioned very much as a transformative project.

Papers can be from any discipline. They should address but not be limited to the

following topics:

• Theorizing Dalitness: rigorous location in caste versus more open-ended category of the downtrodden.

• Myths of origin: invented or historical proofs of indigeneity which trace Dalit ancestry to the broken men, nagas, rakshashas, adi-dravida, namashudras, Buddhists etc. and the expression of this genealogy in

contemporary politics.

• Questions of faith: differentiations within a broad Hindu habitus, relationship with Hindutva and conversion to Buddhism or other faiths.

• Dalit Citizenship: the articulation of Dalit citizenship in relation to the issue of affirmative action as well as human rights.

• Using the Media: representation of Dalits in the upper caste media and Dalit intervention in the different branches of mass media—print, electronic, publishing, theatre and films.

• Globalisation and Dalit entrepreneurship: the role of the emergent Dalit diaspora; the indigenous Dalit bourgeoisie and the political class’s complicity with neoliberal policies on the one hand and Dalit (and tribal)

displacement and resistance on the other.

• Dalit and gender question: specificities of Dalit patriarchy.

• Dalit aesthetics and the Dalit intellectual: the question of Dalit aesthetics and the forms of Dalit expression.

Please send your abstract (300 words) and a brief bionote (150

words) to the following email or postal address by 9 December 2011:

Dr. Raj Kumar

Department of English

Delhi University, Delhi – 110007

Email: bedamatiraj AT yahoo.co.in

Conference Committee:

Dr. Raj Kumar (Director), Dr. Hany Babu,

Dr. Tapan Basu, Dr. Nandini Chandra

UC Press E-Books Collection, 1982-2004

2011-10-16T19:27:00.000+05:30

UC Press E-Books Collection, 1982-2004:

'via Blog this'

National Seminar New Media Technologies and Emerging Challenges in Communications.

2011-10-13T22:00:00.005+05:30

The Catholic Bishops’ Conference of India (CBCI) Commission for Social Communications, New Delhi, in collaboration with the U.S. Consulate General in Kolkata, is organizing a national seminar for students of media departments and faculties of colleges and universities in India. The theme of the seminar is New Media Technologies and Emerging Challenges in Communications. The two-day seminar will be held on December 1-2 at the American Center, Kolkata. We invite each university and college to send a maximum of four students and one faculty member of the Department of Journalism/Mass Communication/Media Studies to participate in the seminar. While the participants have to bear the travel costs, the seminar costs- including food and accommodation during the seminar days will be taken care of by the organizers.

The Commission founded in 2009 a national network called Media Faculties Network (MFN). The network conducted a two-day national seminar in 2010 at Christ University, Bangalore. The objectives of the network include fostering greater professional exchange, staff development and student exchange programs, internship, creation and exchange of media books and resources, promotion of media research, conducting national seminars on current issues in media, engaging faculty and students in outreach media education programs as part of their academic and co-curricular activities.

The theme chosen for the 2011 National Seminar is - New Media Technologies and Emerging Challenges in Communications. The seminar aims at providing student delegates of media and their teacher representatives a platform to interact with each other and foster greater participatory learning and collaboration in academic field. Sub themes include:

• New Media Enhancing Participatory Democracy in India

• Mobile Phones Bridging Information Divide

• Internet as a tool for Empowerment

• Do we communicate better or worse in the age of New Media? A critique of media

• New Media as a tool of Empowerment for the Masses

• New Media and the Global Village, Global Citizenships

• Is new media a threat to traditional media: how to synergize?

• New Media and Gender Issues

• Convergence in Communication Technology and its Impact

Colleges and Universities are invited to send the names of a maximum of 4 students who would benefit by the seminar and are able to contribute to the deliberations. They may be accompanied by one faculty member. Student delegates would be offered useful information on opportunities of higher studies in media in the U.S., and an info-pack comprising useful materials on the theme of the seminar.

Colleges and institutes wishing to send student delegates may kindly register by completing the following form and send it to the address, mentioned in the attached registration form latest by October 31st.

With warm regards,

Sincerely,

George Plathottam sdb Scott E. Hartmann

Executive Secretary Public Affairs Officer and
CBCI Commission for Social Communications Director, American Center

BA V Semester Postcolonial Literatures Model Question Paper

2011-10-12T07:15:00.001+05:30

Answer Any Five of the Following. (5x8=40)

1. Orientalism

2. Kipling as an Orientalist

3. Macaulay's views on Arabic and Sanskritlangauges being taught in India

4. Fanon's views on the 'Nativeintellectual'

5. HarlemRenaissance

6. Wide Sargasso Sea as altering reading of JaneEyre

7. The significance of the Praise Singer

Answer Any Four of the Following. (4x15=60)

9. Delineate the shift from commonwealthliterature to postcolonial literature? Emphasise on the historicalcircumstances that necessitated such a shift.

10. What are the criticisms of Orientalism?If the criticisms are valid what is the relevance of Orientalism for you today?Explain.

11. Explain the images, sounds and colorsused by Senghor in 'New York'

12. Attempt a postcolonial gothic readingof Wide Sargasso Sea.

13 Wole Soyinka utilises the conventions ofthe ‘western’ tragedy in the play Deathand the King’s Horseman. He succeeds in refuting the ideology and theaesthetic on which the ‘western’ conventions are based. Apply this statement todiscuss the structure of the play.

14. Which arethe 'many separate worlds' that Naipual talks about in his essay 'Reading and Writing'?

The Hindu : Sci-Tech / Internet : NetSpeak - Online educational content: a revisit

2011-10-11T10:13:00.000+05:30

The Hindu : Sci-Tech / Internet : NetSpeak - Online educational content: a revisit

Intro to AI - Introduction to Artificial Intelligence - Oct-Dec 2011

2011-10-11T07:48:00.000+05:30

Intro to AI - Introduction to Artificial Intelligence - Oct-Dec 2011

www.cpracsis.org/wp/wp-content/uploads/2010/01/cf.pdf

2011-10-09T20:21:00.000+05:30

www.cpracsis.org/wp/wp-content/uploads/2010/01/cf.pdf

Philosophy and Literature class notes - 1st Oct. 2011

2011-10-09T10:11:00.002+05:30

Class notes for October1, 2011 (Saturday)

Chapter 6, The Aestheticsof Semiotics: Greimas, Eco, Barthes,was read and discussed in class. There was a discussion on the semioticconcepts of Greimas and Eco. The chapterhelped us to understand the ‘aesthetic heterogeneityof semiotics’ and how Greimas develops a semiotic theory of the contentplane. Greimas’s structural semioticswas discussed with the example of Oedipus Rex. The monosemic and polysemic natureof texts were demonstrated through the structural relations in Oedipus Rex. Concepts of semantic isotopies, classemes, and sememes were discussed. The nuancesof academic writing were also discussed in class. The stress was on maintaininga uniformity of style while writing.

citation

Pinto, Anil. Literature and Philosophy. Christ University. 1 Oct. 2011. Lecture.

Zima, Peter. The Philosophy of Modern Literary Theory. New Jersey: The Athlone Press, 1999. Print.

Bijoy Philip V.G(1134101)

Model questions for Philosophy and Literature course.

2011-10-09T10:09:00.001+05:30

Chapter 1:Nomi

1) Explain the concepts 'expression plane' and 'content plane' with reference to the philosophies of Kant and Hegel.

2) What are the philosophical foundations of Kant and Hegel in literary theory?
3) Trace the development of philosophical thought in literary theory from Romanticism and Young Hegelianism to Nietzche.

Chapter 2- Fathima
1. How did the early literary foundations by Kant and Hegel paved the
way for New Criticism and Russian Formalism? Explain.
2.How does Russian Formalism dwell in between the philosophy of Kant
and Avant-Garde? Elaborate.
3.How Kant's'expression' is different from Croce's 'expression'?
Explain with suitable examples.

(Chapter 3- Ipshita

1. Discussthe arguments of Czech structuralism in the light of Mukarovsky and Jacobson.

2. Compareand contrast the arguments of Czech structuralism and Avant Garde movement.
3. Howthe arguments of Czech structuralism are different from the arguments of NewCriticism? Explain in the light of Kantian idea of aesthetic and Hege’s idea ofconcepts.

Sharon Abraham : chapter 5

1) How does philosophy distinguish Marxism from critical theory?

2) Analyze the Hegelian philosophy that overlooked the 'magic aspect of language'?

3) Analyze Marxist aesthetics with reference to postmodernism ?

Gracy simon : Ch 6

1) How does Eco occupie intermediate position between Greimas and Barthes?

2) Explain the Greimas' literary and non literary text ?

3) Distinguish between Barthe's readable text from the writable text?

Dhanya G Nair : chapter 7

1) How do "iterability" and "dissemination" work in Derrida's analysis?

2) How does Hartman, through his explicit critique of Hegelian classicism opposes a Romantic and Nietzschean idea of the text?

3) "Nietzsche's theory of language eliminates the metaphysical conceptual dimension which Plato, Aristotle, Descartes, Hegels and Kant's philosophy thrive on." Discuss

Chapter - 8- Suschismitha

1. compare and contrast Lyotard's notion of the sublime and Kant's notion of the beautuful.

2. Discuss how LYotard uses Kant's notion of the sublime to develop an aesthetic of contradiction.

3. Discuss Lyotard's aesthetic of the sublime.

Chapter -9 Vipin George

1. Explain the critical theory of literature that Zema proposes.

2. How does Zema try to reconcile the dichotomy between Kant's and Hegel's literary theories? explain.

3. Hos does Zema propose a permanent dialogue between particular and hetrogeneous theoretical positions theough his notions of literary theory?

Literature and Philosophy class notes- 4th oct.2011

2011-10-06T08:23:00.002+05:30

Literature and philosophy notes – 4^th Oct2011.

Todaythe last chapter, “Towards a Critical Theory of Literature” from ThePhilosophy of Modern Literary Theory by Peter Zima, was discussed in theclass. This chapter concludes with the ideology of Literature and Philosophyand he conveys the concept of literariness; that every idea has a philosophicalbackground. In the poststructuralist view, it’s asking questions to its ownvery foundation therefore it’s a theoretical improvement of questioning theliterary text. Through this chapter Zima suggests how to build up a new theoryand shows the dialectic between openness and closure, polysemy and monosemy;and the relationship between expression plane and content plane. Researchtherefore is primarily meant to build theory. It synthesises the literarytheory which aims at certain degree of universality that can be obtained bypermanent dialogue between heterogeneous and particular positions..

The objectives of a research is to build uptheory, by this, one may reject the existing theory, find gap in the existingtheory and propose a new theory. A good research, essentially be a constructionof literary text, with its multiple possibilities that distinguishes and analysesto verify in what extent it is relevant.Each literary theory comes out with its own ideology, constructed to convey itstruthful representation. In this process the reader has a multiple engagement,he engages himself with the theoretical text very closely. So, for a scholarany text is a material to analyse, justify, categories and find something new

Althoughthe book The Philosophy of ModernLiterary Theory began its chapters with Kantian concept; that one literarytext cannot anchor itself to other concept. But as per Jameson and Jacobson’s’view that one can keep one’s own ideology and stand on its own field, at the same time it’s possible to appreciate the ideology of the others, so it’s movingaway from Kantian ideology. This sheds new light on the conceptuality ofliterary structures that exists in literary texts with in particulartheoretical perspectives.

Thenwe moved on to the topic of how to make the class room teaching and learning,interesting and alive. In the class room,discussions may be one of the solutions, where interactions, sharing ones ideas,and asking questions. Thus every participant actively participates in the discussion and learns something new from thework that is being read and the teacher would be totally engaged and alert inthe class.

Preparedby Gracy Simon
Citation

Pinto, Anil. Literature and Philosophy. Christ University. 4 Oct. 2011. Lecture.

Zima, Peter. The Philosophy of Modern Literary Theory. New Jersey: The Athlone Press, 1999. Print.

Model Question Paper

2011-10-04T21:20:00.003+05:30

Sir, Could you please upload a Model Question paper for Post Colonial Literature (similar to what you uploaded during last sem).

Thanking you,
Shruti Kedia

Ideas in Architecture Theory

2011-10-04T13:32:00.001+05:30

Arbour: Research Initiatives in Architecture

will run the second cycle of its six-month seminar/teaching programme

Ideas in Architecture Theory

This programme aims at providing a set of ideas and methodological tools to approach a critical understanding of architecture. The field of architecture will be discussed not only within certain historical conditions, but also as perceived and discussed through the scope of its own practice, visual theory, cultural studies and philosophical locations. Architecture as it is constructed lives a material life, but by nature of its own existence is a field of experience, geography, identity, beauty, time, memory and certain other such concepts. At the same time architecture also struggles between object-hood and its anti-object nature. This introductory seminar will lay out the ground from which many questions could be generated, which could be tackled at various levels and with different intensities later on in the practice of an architectural professional, historian, thinker, critic, teacher or journalist, or for those who may be interested in the field of architecture through their own fields of interest and expertise.

The seminar is designed within 2 basic brackets – ‘Architecture History’ and ‘Approaches to Architecture’. ‘Architecture History’ does not deal with a chronology of architectural types, styles or samples, but basically discusses ideas related to architectural practice and thinking that have been closely related to particular historical conditions and/or events. On the other hand, ‘Approaches to Architecture’, as the name suggests, wishes to map a selection of methodologies that have been employed to understand, critique, analyze, and evaluate architecture. From looking at ideas in Visual Studies and the role of criticism, to questions of Colonialism and Modernism, to reading texts by the likes of Kracauer and Lefebvre, and dealing with topics like Body & Space, Memory & Dwelling, Representation & Voice to also hearing architects discuss architectural projects, the course will structure a range of issues and ideas in a cohesive format. The aim is to finally contextualize the debates and concerns in architectural practice in contemporary India, while being conscious of how international and global exchanges have always been a part of any field, and understanding that ideas in the world of theory often assume an all-pervading image.

‘Writing’ will be an important component of the seminar programme.

The seminar programme is conducted through modules (4 sessions) around particular conceptual frameworks.

Schedules: The programme runs every Monday and Wednesday from 6:30 to 8:30 pm, starting 16 January, through 20 June, 2012 (about 23 weeks)

Resource Scholars: Scholars and practitioners from the world of Architecture, Art History, Theory and Criticism, Visual Studies, Cultural Studies, etc. will be teaching at the course; those involved with the seminar include Sen Kapadia, Venkatesh Rao, Mustansir Dalvi, Shimul Jhaveri-Kadri, Ranjit Hoskote, Nancy Adajania, George Jose, Shilpa Ranade, Rajiv Thakker, Abhay Sardesai, Sudhir Patwardhan, Shilpa & Pinkish Shah, Rahul Gore, Sonal Sancheti, Ainsley Lewis, Nuru Karim, Ashok Sukumaran, Suprio Bhatacharjee, Kaiwan Mehta and also some others.

Admission Eligibility: All graduates from Architecture or Art History can apply with their CV.

Graduates in subjects other than the two mentioned above can apply with their CV and a short interest-indication paper or a writing sample.

Students of 4th and 5th year Bachelor of Architecture course can apply with a CV and a writing sample.

An informal meeting with the director will take place before you enroll.

Number of student-participants: Maximum 15 nos.

Fees: INR 16,000/- (inclusive of basic reading material)

ICLLL 2011

2011-10-02T12:35:00.000+05:30

ICLLL 2011

Thinkmap Visual Thesaurus - An online thesaurus and dictionary of over 145,000 words that you explore using an interactive map.

2011-10-02T11:25:00.000+05:30

Thinkmap Visual Thesaurus - An online thesaurus and dictionary of over 145,000 words that you explore using an interactive map.

Philosophy and Literature notes- 30th sept 2011.

2011-10-01T22:41:00.001+05:30

It was for the first time that any of usattended an M.Phil defense and to say the least, we thoroughly enjoyed ourselves.I think it would be an injustice not to mention that Sreyashi Dhar’s paper on“Representation of Female Body in Select Films of Alfred Hitchcock and Basic Instinct 1 & 2” won accoladesfrom the external examiner who even mentioned that it was perhaps one of thebest defenses that he had attended thus far.

Sreyasi explored the diegetic gaze inthe movies of Hitchcock and in BasicInstinct 1 & 2. While in Hitchcock the woman is “voiceless” and always“victimized” and “objectified,” in BasicInstinct, parts one and two, Sharon Stone shatters all these patriarchalnorms using her “body as a weapon” and an agent of empowerment. The graphicinputs and the visual aids enhanced the audiences’ understanding of the keyelements of Sreyashi’s discussion—woman’s body in sexual terms, body element,male gaze and voyeurism, sadism and fetishism. The theories and frameworks thatSreyashi uses, and simultaneously refutes, while her argument progresses,include Michel Foucault’s “theory of repression,” the psychoanalytic frameworkused by Laura Mulvey, Lacan’s concept of the “mirror stage” and Freud’spsychoanalytic theory.

Laura Mulvey in her essay writes, thewoman “stands in patriarchal culture as signifier for the male other, bound bya symbolic order in which man can live out his phantasies and obsessionsthrough linguistic commands by imposing them in the silent image of woman stilltied to her place as bearer of meaning, not marker of meaning” (834). In thesection: Pleasure in Looking/Fascination with the Human Form, Mulvey explainsthat one of the pleasures that cinema offers is “scophophilia,” where bothlooking and being looked at become sources of pleasure, but later in thesection on “Woman as Image, Man as Bearer of the Look,” Mulvey seems to bepassing a judgment that Sreyashi contradicts through the portrayal of SharonStone in Basic Instinct. Mulvey says:“In a world ordered by sexual imbalance, pleasure in looking has been spiltbetween active/male and passive/female. The determining male gaze projects itsphantasy on to female figure which is styled accordingly” (837). Sreyashicounter-argues that Mulvey completely overlooks the idea of a “female gaze,” anexample of which is Sharon Stone’s seductive gaze in the movies in question. However,the external examiner raised a pertinent question, saying Stone was merelyaping the male gaze, and arriving at a concept of “female gaze” was hurried,but at the same time he acknowledged that the counterargument to Mulvey wasindeed a prospective contributory step in the realm of post-feminism, especiallythe concept of the manipulation of the male gaze for the empowerment of theobjectified female on screen.

Sharon Stone’s explicit sexuality ascontrasted to Hitchcock’s representation of the body as sexual, completely, in Sreyashi’swords, “shatters all norms of the repressive hypothesis” and the notion of “guilt”that Michel Foucault talks about. What is the repressive theory? “Statedbroadly, the repressive hypothesis holds that through European history we havemoved from a period of relative openness about our bodies and our speech to anever increasing repression and hypocrisy” (Dreyfus and Rabinow 128). In theblog, Foucauldian Reflections, AliRizvi mentions that “the point of repressive hypothesis is to reject a simplisticconception of power as domination and repression and consequently simplisticconception of freedom as ‘exit’ and ‘way out.’” One of the insights that hegives, and which becomes all the more relevant in the context of Sreyashi’sargument is: “But these notions are dangerous in the context of the workings ofmodern power, which does not work by ‘starving’ desire but prospers oncreating, inducing and multiplying and through ramification of desire”(Foucauldian Reflections).

TheDefender’s Insights:

ü Mulveyfails to talk about the female gaze

ü Mulveydoes not take into consideration the process empowerment of the one who isobjectified, through manipulation of the male gaze

ü Thereis a complete breakdown of Michel Foucault’s repressive theory in the contextof Basic Instinct 1 and 2

ü SharonStone’s representation is post-feminist

ü SharonStone does not define or exemplify any gender stereotypes and archetypes

TheExpert’s Insights:

While it is definitely a refined andprogressive understanding of the male gaze, the inter and extra diegetic gazeshave been overlooked. Comment.

[Defense: Limitations of the scope ofthe research]

We cannot yet theorize about a “femalegaze” but the insights on “gaze” are a definite contribution towardspost-feminist theories. Comment.

[Defense: Female informant reversing themale gaze]

Does the research contribute to new waysof looking at gender?

[Defense: She is neither the masculinestereotype nor the feminine stereotype. Also, in the film she claims to be alesbian*]

*SharonStone is also a self declared bisexual, and whether casting her in the role ofCatherine Tramell is deliberate or otherwise, is speculative, but thisdefinitely strengthens the argument with regard to the contribution of theresearch towards redefining ways of looking at gender

Class-room Discussion:

The class-room discussion ensued withindividual reactions and observations pertaining to Sreyashi’s defense. Thecontributions that the class made were:

ü Wecannot dismiss any cinema as being commercialor use it in the derogatory sense. There is an excellent analysis of thedifference between art and commercial cinema in Art and Commercial cinema – The different shades by SreeshaBelakvaadi, and I quote:

“Today, the idea of anart movie is that – it is slow moving; but that is not genuinely true. This isa gross misconception about art movies. The pace of a movie whether it isslow-moving or fast-moving is fundamentally a subjective matter. When we sayslow, the question is : what is slow? Is it the story or the acting or thescript or the music or the camera movement; and if slow, it is slow relative towhat? And only such questions can throw some light here.

There is certainly adifference between art and commercial movies; but is it not how the generalaudience tries to infer the meaning. It has more than mere branding andlabeling movies. The idea to perceive a movie as art or commercial lies in the“observation” of the beholder” (OurKarnataka).

Commercial to go by theOnline Dictionary of Etymology is an adjective that came into being in the“1680s, ‘pertaining to trade,’ from commerce + -al”(Online EtymologyDictionary). So anything that is shown to a larger audience and reaches thetheatre would then become commercial.

ü Inthe context of discussing cinema we discussed Stuart Hall. Hall in his essay on‘Encoding/Decoding’ proposed a model of mass communication which highlightedthe importance of active interpretation within relevant codes. The followingimage explains the concepts of coding and encoding as understood by Hall (Semioticsfor Beginners).

Tounderstand Hall’s concept let us take an example: If X tells Y that the latterhas to make a movie for the Nazi’s that show the Jews as traitors, Y (asdirector) would give it to Z (a script writer). So at the script writing levelsome form of coding will occur and when the script is filmed, the director willenforce his own set of codes, the actor his own, and finally the audience willread it through a different coding system all together. Thus Hall’s argumentjustifies that the audience also has an agency.

ü Fromthe idea of the audience as having agency, we moved to cinepolitics anddiscussed Madhav Prasad who makes an interesting observation regarding SouthIndian and North Indian stars; the former never presenting themselves as starsoff-screen but the latter live their image even off-screen.

ü Thisdifference necessitated a mention of S.V. Srinivas’ concept of massmobilization, especially through politics, where he shows that the South Indianstars significantly abstain from such political mass mobilization strategies.

We finally returned to Zima and beganreading the 6^th chapter. The two questions raised were:

§ Why are we constantlyreturning to the question of meaning in literary texts, i.e. trying to reduceit to concepts?

§ Why does Zima use“remotely” in brackets when he says: “Eco’s idea for example, that theaesthetic object imposes limits on conceptual knowledge is (remotely) Kantian?”

We also discussed how Terry Eagleton inhis essay does not delve into or trace the Prague structuralism, therebyeliminating the concepts of literariness andGreimas’ concept of identifying meaning in texts.

Citation

Belakavaadi, Sreesha. Art and CommercialCinema—The Different Shades. OurKarnataka.Com,Inc. 1998. Web. 30 Sept. 2011.

Chandler, Daniel. Semiotics forBeginners. Aberystwyth University. 19Sept. 2001. Web. 30 Sept. 2011.

Dreyfus, Hubert l., and Paul Rabinow. Beyond Structuralism and Hermeneutics.The University of Chicago: Britain, 1983: 128. PDF.

Harper, Douglas. Online Etymology Dictionary. 2001-2010. Web. 30 Sept. 2011.

Mulvey, Laura. “Visual Pleasure andNarrative Cinema.” Film Theory andCriticism: Introductory Readings. Eds. Leo Braudy and Marshall Cohen. NewYork: Oxford UP, 1999: 833-44. PDF

Pinto, Anil. Literature and Philosophy. Christ University. 30 Sept.2011. Lecture.

Rizvi, Ali. “The Repressive Hypothesis.”Foucauldian Reflections. Blogspot.com, 16 Dec. 2004. Web. 30 Sept. 2011.

Zima, Peter. The Philosophy of Modern Literary Theory. New Jersey: The Athlone Press, 1999. Print.

Prepared by: Suchismita Das

Philosophy and literature notes- 29th sept 2011.

2011-10-01T22:38:00.003+05:30

The class discussed the third chapter of Peter Zima’s Literature and Philosophy. The chaptermainly discusses about Czech Structuralism and their structuralist thinkersJakobson, Mukorovscky and that of Vodicka.

Czech structuralism ismostly known as Prague structuralism. Prague criticism mainly emerged in Europeand that the New criticism from that of United States of America. Saussure theSwiss Linguist not only talks about sign but also talks about language havingtwo levels that of langue and parole. Langue is nothing but what we hear inparole. It’s said that the manifestation of langue are endless that is idea ispossible but not language. Langue is a basic structure and that Praguestructuralists were not interested in content but structure. For them the wholework of art, novel per say depends upon the structure and not the content.Saussure died on 22 February 1913.

The Russian formalistshowed hardly any interest in the idea that the literary text is a sign whichpermits communication between author and reader. The Prague structuralists onthe contrary were particularly interested in that notion. They conceived ofliterature as a communication process as a continuation process, as a dialoguebetween author and public. Mukarovsky’s way of thinking is that of asemiotician. The textual sign maintains its independence with respect to thecommunication process. The text is neither a direct expression of the authorspsyche nor can it be identified with its reflections in the readers psyche.Moreover in spite of its central and independent position in the communicationprocess, the text loses its absolute character of a formal construction fixedfor ever.

In Linguistics andPoetics, a well-known article by Jakobson, he distinguishes six functions oflanguage:

Ø The emotive function which is linked to thesender or author of a message.

Ø Theconnotative function that is the connotation which is related to the receiveror listener.

Ø Themetalingual function that discusses about the language is geared towards thecode in question.

Ø Thephatic function which is oriented towards the contact medium.

Ø Thereferential function which designates the context of communication

Ø Thepoetic function which becomes an end in itself.

According to Mukarovskyand Jakobson, a verbal message, produced, transmitted and perceived in theprocess of communication, and embedded in its socio-cultural context, alwayscarries a dominating function and that the other functions may be present as accessory. The dynamic aspect of function,pointing to the historicity, or socio historical embededness of verbalmessages, implies that one and the same text may acquire different, especiallythe dominant functions at different times and in different cultures.

The conception of semanticgesture expressed at once both the dynamic semantic unity and innerdifferentiation and the human significance of the concrete work of art.

Philosophical angst isdifferent from that of normal day to day life “angst” (acute but nonspecificsense of anxiety or remorse) that we discuss because philosophically this meansthe dread caused by man’s awareness that his future is not determined but mustbe freely chosen.

The class alsodiscussed and was enlightened about:

· Knowledge system always links to thepolitical power. In 44 BCE that is Before Common Era, Romans became powerfuland continued to be powerful for several years. It was during this period thatthey made roads to make trade easier. After this the scholarships from Romegoes to Prussia and Prussia becomes the knowledge keeper but with the emergenceRenaissance this status of Prussia was moved to Europe.

· Turkey, the then Istanbul(Constantinople) was known as the first Islamic centre which was later moved toItaly, this continued till the First World War. Islamic renaissance ends in the9^th century and that the in first university was established in Parisin the 12^th century followed by the second one in Belgium which wasknown as the University of Nouvelle and finally it was in the 13^thcentury that University of Oxford and University of Cambridge was established.

· First World War was mainly fought by thekings; this was mainly the culmination point. It was in the year 1912 that thepeople from different countries started getting passports which made trade andtravel easier, due to this the ideas and knowledge started moving from countryto country.

Prepared by

Dhanya G Nair

Works Cited:

Pinto, Anil. “Class on Anglo-American NewCriticism and Russian Formalism.” Christ

University. Bangalore.26 Oct. 2011. Lecture.

Zima, Peter V. The Philosophy of Modern Literary Theory. New Jersey: The Athlone

Press, 1999. Print.

Literature and philosophy notes - 28th sept. 2011

2011-09-30T22:16:00.000+05:30

Seminar on "Knowledge Dissemination Through Journal Publications"

The Seminar on "knowledge Dissemination Through Journal Publication" held on 28^th September 2011 mainly dealt with issues related toresearch and journal publication in various academic domains. Following are thesome of the important insights shared by the paper presenters.

What are the maincriteria to consider the internationality of a journal?

Ø Publication language

Ø Inclusion ininternational data base

Ø Multilingualdistribution of the editorial board members

Ø Multinationaldistribution of articles

Ø Online access:Oneof the ways to increase the visibility factor of a journal is to includeforeign experts. In recent time there is a sharp increase in the visibility ofresearch from the third world countries.

What are the some ofthe key issues in writing a research paper and publishing it?

Ø To know the problemthat is researched on

Ø The role played by theuniversity or the institution

Ø Issues faced by theresearchers in publishing their work

Ø Too much work load inthe college

Ø Domesticresponsibility (Female researchers)

Ø Fees for thepublication

Interdisciplinaryresearch and challenges of publications

Ø Finding an advisor

Ø Mastery over both thedisciplines

Ø Reconciling conflicts

Ø Finding anintellectual community

Ø Purpose ofinterdisciplinary approach – complex nature of the society

Class room discussion

There were seriousconcerns raised regarding the quality of the papers presented.

Irrespective of thequality of the paper and the presentation skills exhibited by the scholars itis important to look at whether there is any insight given by each paper. It is the insight presented that willdetermine the quality of the paper. In terms of the insight each paper had oneor other insight to contribute to the audience. For example the paper onResearch and Publication on Hotel management gave the valuable insight thatthere are no post graduate courses offered in this domain in India. It isreally a valuable and interesting insight. In such a situation researching insuch field is really a challenge. Infact there is no academic research happening in this field.

Prepared by Vipin George

Citations

"Knowledge Dissemnation Through JournalPublications." Christ University. 28 Sept. 2011. Conference

Pinto, Anil. Literature and Philosophy. Christ University. 28 Sept.2011. Lecture.

Zima, Peter. The Philosophy of Modern Literary Theory. New Jersey: The Athlone Press, 1999. Print.

Literature and philosophy notes- 26th Monday -2011

2011-09-27T10:43:00.001+05:30

Literature and Philosophy

The class discussed the second chapter ofPeter Zima’s The Philosophy of ModernLiterary Theory. The particular chapter deals with the Kantian componentsin Anglo-American New Criticism and Russian Formalism.

The historicalconditions which caused the birth of New Criticism and Formalism are tracedout. ‘Text-only’ methodology of NewCriticism proposed by I.A. Richards was seen as an impact of the historicalconditions of the then contemporary society. Poetic analysis was the onlypossible way for I.A Richards to establish the methodology of New Criticism inthe overcrowded classrooms. In fact this insight explains the argument that thesocio-political conditions of the society are ingrained in philosophy.

Although the twoliterary theories belong to different countries, both primarily placed‘expression plane’ as more important than ‘content plane.’ It is the Kantianphilosophy which asserts the autonomy of art through ‘expression plane’ andhence it cannot be reduced to socio-historical content.

The sectiontitled “Abortive dialogue between Marxists and Formalists” is discussed indetail. Marxists were interested in the ‘ideological contexts of literarytexts.’ On the other hand, Formalists primarily looked at the question of howliterary texts are made and completely neglected the social set up andpolitical aims it articulates. Paul Medvedev relates the formalist ‘how’ with theMarxist ‘why’ and ‘what’ (as qtd. in ThePhilosophy of Modern Literary Theory). But the Formalists were preventedfrom a further dialogue with Marxists for political reasons in 1920s and 1930sand the ‘aborted dialogue’ turned to a dialogue in the 1970s.

An introductionto the third chapter is given in the class. Like the Formalists, Structuralistswere also Kantian and followers of avant garde. They looked primarily at the‘expression plane’ and defied conceptual definition. Here the class got intothe discussion of ‘monosemy’ and ‘polysemy.’ Polysemy of the expression plane(signifier) and monosemy of the conceptual plane (signified) are thusintroduced into the class. Different ways to evoke the same concept explain themonosemy of the ‘conceptual plane.’

The Hegelianelements in Mukarovsky are discussed in the class. The historical conception ofart and the sociological idea that art can have an impact on a society’s systemof values and norms are incompatible with Kantian stance. This also raises achallenge to Kantian stance of ‘disinterested pleasure.’ In the class ‘Semanticgesture’ of Mukarovsky is explained with European music which works purelythrough sound.

The six functionsof language which were identified by Roman Jakobson are discussed in detail.Any literary text can thus be read on an ‘emotive’, ‘conative’ or any other functionsof language. This reveals the fact that literary text contains other functionswhich cannot be reduced to the poetic component. This is yet again incompatiblewith the Kantian stance.

The class leftwith the insight that much of the issues around translation studies owe itsorigin from Kantian philosophical stance.

Works Cited:

Pinto, Anil. “Class on Anglo-American NewCriticism and Russian Formalism.” Christ

University. Bangalore.26 Oct. 2011. Lecture.

Zima, Peter V. The Philosophy of Modern Literary Theory. New Jersey: The Athlone

Press, 1999. Print.

Prepared by sharon Abraham

UbuWeb: Papers

2011-09-25T20:28:00.000+05:30

UbuWeb: Papers

Literature and Philosophy class notes: 24th sept. 2011

2011-09-25T19:41:00.002+05:30

Terry Eagleton’s ‘What is Literature?’provides us with various definitions of literature which have been made.Eagleton considers the different ways in which literature has been defined previouslyand describes them in detail, after which he demonstrates where and how thesedefinition are lacking. The essay ends with Eagleton providing his owndefinition of literature, which after reflecting on what has been stated before,appears all encompassing.

After a critical reading of the essay inclass, it is concluded that the essay is a critique of the historicaldefinitions of literature by Eagleton who refutes all previous definitionsbefore introducing his own.

The second essay dealt with was by PeterBurger’s ‘On the Problem of the Autonomy of Art in Bourgeois Society’. Burgerdefines the autonomy of art and explains how art and the artist is affected bysocial changes- from the early 16^th century to the 18^thcentury where art is redefined by Kant and Schiller. Burger describes theautonomy of art as a category of bourgeois society which is detached from thecontext of practical life. The status of art in bourgeois society is attackedby the Avant-Garde who did not like that art as an institution was disassociatedwith the praxis of life and believed that it must be integrated into the praxisof life.

The discussion of the essay centered on-the Avant-Garde trying to abolish the autonomy of art; that they wanted thepleasure of everyday life to be integrated; and that art was not about theobject but about the social function.

In the course fo discussion, three key aspectsof research were described: the concepts, the framework and how one must writeresearch.

Prepared by Naomi Eapen.

Ankita Khanna: Call for Research Papers

2011-09-25T10:58:00.000+05:30

Ankita Khanna: Call for Research Papers: Biographies and Autobiographies occupy an important place in Literature for various reasons. Authors used this genre to communicate their w...

Philosophy and Literature class notes- 23rd friday 2011.

2011-09-25T10:57:00.000+05:30

Ø Thediscussion of the class centred around the essay “The Philosophical andAesthetic Foundations of Literary Theories” by Peter V. Zima which revolvearound the conceptualisation of the art and literature which Zima tries toexplain through the content and expression plane.

Ø Accordingto Saussure the signifier is the phonetic sound which for Louis Hjelmslev isthe expression plane, and the signified which Saussure explains as the realm ofideas and concepts or the phonetic image, is the content plain for Hjelmslev.

Ø Kantin discussing aesthetic and concepts argues that it is the concept which peoplegive to the world. But aesthetic is opposite. It suggests that the object iswhat is giving pleasure to the people. In other words by aesthetic he meansthat the world is effecting an individual. Keeping this in mind, Zima throughhis essay is saying that Saussure’s understanding of the relationship betweensignifier and the signified is comparable to Kant’s dualist theory of knowledgeand in particular to his dualist view of the relationship between conceptualand aesthetic cognition. Therefore Kant’s idea of concept and aesthetic isbased on Saussure’s understanding of the signifier and the signified which isexpression and content plane for Hjelmslev.

Ø Mostdiscussion on art centres around Kant and Hegel. Kant argues that the aestheticcannot be conceptualised. He emphasises that aesthetic object should beautonomous. The autonomy of art are strongly opposed to the idea of reducingliterature to heteronomous factors such as the author’s biography, the socialcontext or the reactions of the readers or the historical context, etc. Tounderstand Kant, Zima gives example of Saussure- that how he (Saussure)considers the relationship between the signifier and the signified arbitrary.The essayist leaves out an important theorist in this realm, Roland Barthes. Iffor Saussure the relation between signifier and signified is arbitrary, thesame signifier and the signified for Barthes meets in the realm of the mythwhich he explicitly explains in the essay “Myth Today.”

Ø Inopposition to Kant’s division of the aesthetic and conceptual, Hegel says thatevery work of art is conceptual. Hegel uses the word ‘Zeitgeist’ which meansthe spirit of time. This is also the idea of history. It is very interesting tonote that history is born with Hegel. He says that every time has a spirit i.e.the spirit of its own time. It is this spirit of the time which makes historyand it is the same spirit of time which is expressed in the literary text. Itis because it expresses the spirit of time, art for that matter can beconceptualised. For Hegel any work of art cannot be located beyond theconceptual domain because it expresses a historical consciousness.

Pinto, Anil. Literature and Philosophy. Christ University. 23 Sept. 2011. Lecture.

Zima, Peter. The Philosophy of Modern Literary Theory. New Jersey: The Athlone Press, 1999. Print.

Preparedby: Ipshita Sarkar

Journals on English Literature and Linguistics outside India

2011-09-25T10:39:00.001+05:30

This particular post lists journals in literature and Linguistics outside India. This separate category is necessitated by the recent practice by UGC and higher education institutions in India to give more weight for publications in Journals outside India. Readers of the this blog are requested to suggest titles of journals in these domains for this post. You may put the names and details of the journals in the comment section below this post. Please provide the ISSN number, website, if any, and mention if you are aware, if it is a peer reviewed/refereed journal or not.

1. TJELLS: peer-reviewed, open access, international, quarterly journal,published in March, June, September and December.
Website: http://www.tjells.com

2. Journal of NELTA: peer-reviewed
Website: http://neltajournal.pbworks.com/w/page/7793388/Call%20for%20Papers%2C%20Journal%20of%20NELTA%202011

3.

TJELLS: Call for Papers

2011-09-25T10:28:00.001+05:30

TJELLS is a peer-reviewed, international, quarterly journal,published in March, June, September and December.

Each issue features a collection of scholarly interpretive criticism on literary works in English, ELT, and Translation Studies. Creative poems, short Stories, essays, excerpts from thesis, and book reviews also can be published here. TJELLS provides free on-line open access to all those involved in research or teaching. It intends to provide a platform for publication of articles from academics, teachers, and scholars.

Submissions are accepted throughout the year. All articles will be peer-reviewed by international scholars and will be published only on acceptance.
For more details, please visit http://www.tjells.com

B.Beneson Thilagar Christadoss
Assistant Professor of English, St.John's College, Palayankottai, Tamil Nadu
Email: me At tjells.com

Journal of NELTA: Call for Papers

2011-09-25T10:27:00.000+05:30

Nepal English Language Teachers' Association (NELTA) announces call for papers for its peer-review journal, the Journal of NELTA. We encourage contributors to make their work relevant to classroom teaching as well as to serve the larger purpose of creating or promoting ELT discourses at local, national, and regional contexts. Contributions that deal with ELT theories and methods will serve the professional community only to the extent that they are situated in the authors' own practices and/or in the contemporary educational and social contexts.

The objective of this volume is to gather the voices of teachers, scholars, and educationists who are best able to define and advance the conversation and practice of ELT.

Deadline for Submission: October 1, 2011
Manuscripts submission: neltajournal AT gmail.com

Please visit http://neltajournal.pbworks.com/w/page/7793388/Call%20for%20Papers%2C%20Journal%20of%20NELTA%202011 for submission details.

National seminar on English Language Education in India: Theory and Practice

2011-09-25T10:24:00.002+05:30

The University of Hyderabad, in association with the ELT@I Hyderabad Chapter, is organizing a 3-day national seminar on 'English Language Education in India: Theory and Practice' on 23-25 January 2012.

English is the primary language of education in India today. The demands made on language teachers are steadily increasing, so is the awareness among teachers for the need to improve their own knowledge base, teaching and professional skills. In this context, it is essential to understand the several dimensions of English language education thus gaining a holistic picture and simultaneously becoming aware of the wide range of issues that impact language education. The purpose of this seminar is to look at the political, theoretical and practical aspects of English in India, and the various dimensions of English language education today.

Important Dates:

Last date for submitting abstracts: 10 October 2011
Notification of acceptance or revision: 25 November 2011
Last date for receipt of final abstracts: 10 December 2011
Notification of final acceptance: 20 December 2011
Last date for complete papers: 15 January 2012
Last date for payment of registration fee: 15 January 2012

For more details, please contact: eleuoh@ AT gmail.com

II International Conference on Embracing Glocal English

2011-09-25T10:23:00.005+05:30

ELT@I Rajasthan Jaipur Chapter announces its II International Conference on 'Embracing Glocal English' to be held in Jaipur on 4-5 November 2011. Proposals for papers and workshops are invited from scholars/professionals.

The 'glocal' is but a point at which multiple local, national and global forces converge. The use of English has also undergone change due to this convergence. In other words, English is going 'glocal'. It is going Global while maintaining the local roots. As such ' glocal English' can be seen as a language that has international status but which also expresses local identities.

The conference seeks to explore the applicability of many Englishes as a workable global solution, at the same time retaining the local/national spirit. The conference proposes to take into consideration the socio-cultural, economic and technological aspects of acquisition of English as a second language.

For more details, please visit: sites.google.com/site/eltairajasthanjaipur

Asha Sundaram
Email: sundaramasha AT yahoo.com

nmalayalam

2011-09-24T20:38:00.000+05:30

nmalayalam

Philosophy and literature Class note- 22nd Sept. 2011.

2011-09-23T16:34:00.002+05:30

Theclass started with the revision of the previous session which was
about the birth of subject. According toKant the birth of subject is ‘knowing’, the world is limited and the subject isborn in order to transcend it, in this process one goes through suffering.
Inthe previous sessions, few questions were not discussed in the class such as, what isexpected of a researcher? What is Art? What is the purpose of art? When did theconcept become Art? How did bourgeois society and Capitalism come about? How isart connected to bourgeois society and Capitalism? Therefore these were dealt inthe class in a detailed manner. We were also give few tips to keep in mind while writing a good research; tohave clarity, to have thorough knowledge of the area one deals with, to payclose attention to the writing style, to give a brief summary of every chapter and include what is going to be explained in the next chapter and it should have a complete structure etc.
Art in the beginning was for pleasure, likemusic and poetry so, when we go back tothe history it is found that art wasdeveloped by humans from the stone age but later with elaborate and complex works of art, it became intensely religious and symbolic. In the 4th centuryArt was seen with a different view of great writers like Plato, Aristotle, Horace and Longinus whotaught about the purpose of Art which was then mainly for pleasure. Until 17 th centuryArt was craft. But with the change of time there came shift in Arttoo. From the 18th Century with thearrival of steam engine and industrialisation, people thought Art was somethingspecial, it is meant for artists only. Also Capitalist concept of a just societybrought about a change in the world of Art which had a different perspectivefrom pleasure to “Art for Art sake”. In the modern and post modern world Art is seen as narrative of endless possibilities. Marxconcept of Labour and Marx concept of Capital greatly influenced the eighteenth century. So it is seen thatart can have an impact on a society’s system of values.
Theclass discussion continued with the 18th century Industrialisation and itsimpact. Due to the Industrialisation there came a shift in the ritualisticfunction in the society. Industry means hard work. The Marx concepts of Labourand Capital were of great significance in this period. Who is bourgeois?Bourgeois are those who believe in the ideology of capitalism. Capitalist mayor may not be bourgeois. The Idea of Art for Arts sake can beconnected with bourgeois, Which had no social purpose. But Art remains always for the public.

prepared by Gracy Simoon

Schedule « Bangalore as a Creative City

2011-09-22T21:26:00.000+05:30

Schedule « Bangalore as a Creative City

Philosophy and literature Class note- 21st sept. 2011.

2011-09-22T20:35:00.001+05:30

The three important works by Kant are- Critique of pure reason, Critiqueof practical reason and Critique of judgment. He read Newton thoroughly andarrived at the conclusion that it is through reason that one understands theworld. Kant’s argument is how do we understand world when we all are made up ofsame substance i.e. matter. But according to Kant we can understand and know itand that is through the ability to think. This is a particular way tounderstand the world. Human mind has the faculty of pure reason. He says that wecan know the world but it is purely momentarily.

This is because we are matter with consciousness and one can haveglimpse into life and world and thus momentarily understanding. This could be apossible reason for the fascination of death. Regarding this, a veryinteresting analogy was discussed in class, the whole thing was compared to afish that can take a glimpse of water outside it but that can’t last longerbecause beyond that the fish can’t survive.

Kant goes on to say that human mind doesn’t have just pure reason butalso practical reason and it also has a faculty of judgment and this facultygives aesthetic vision. Though paradoxically aesthetic pleasure itself is nonjudgmental. It is a faculty of judgment that never judges.

About the birth of subject, Kant says there is a world to be known, canwe transcend the limit of knowing. Now again Kant says that this ‘knowing’ ofworld is limited so in order to transcend the limit, subject is born. In orderto transcend, one has to suffer.

Prepared by Fathima M
Citation

Pinto, Anil. Literatureand Philosophy. Christ University. 21 Sept.2011. Lecture.

Zima, Peter. The Philosophy of Modern Literary Theory. New Jersey: The Athlone Press, 1999. Print.

Language and Philosophy Class notes Sept 20

2011-09-21T11:53:00.000+05:30

Introduction to Philosophy and Literature

Key Questions discussed:

1) What constitutes philosophy

2) How philosophy is a product of time and otherconditions

Alfred North Whitehead talked about ideas going back andforth and philosophy not having a linear progression.

Thales (pre Socratic)is considered as the father of philosophy and emphasized that water constituteslife.

Philosophy studies life, cosmos, and human nature. (I’mstill not sure how to define it). There was also a debate regarding Westernphilosophy and if there is an equivalent called “Indian philosophy”. Theconclusion reached was that there are Indian systems of though like theVedantic and the Buddhist systems of thought. However, this doesn’t mean thatthe Indian counterpart is inferior to western philosophy.

The German philosopher ImmanuelKant’s (1724–1804) major works include

a) Critiqueof Pure Reason

b) Critique of Practical Reason

c) Critiqueof Judgment

The class also discussed the contributing factors ofRenaissance, the fall of Constantinople, the silk route and how this paved wayto the flow of ideas between the West and the Arabs.

Citation
Pinto, Anil. Literature and Philosophy. Christ University. 20th Sept.2011. Lecture.

Zima, Peter. The Philosophy of Modern Literary Theory. New Jersey: The Athlone Press, 1999. Print.

Prepared By Vijoy

Khan Academy

2011-09-20T07:43:00.000+05:30

Khan Academy

Dennis Brutus "I thought I Heard the Thunder Call my Name"

2011-09-18T21:11:00.000+05:30

Dennis Brutus "I thought I Heard the Thunder Call my Name"

Journal of Arts and Ideas -- The Digital South Asia Library

2011-09-15T19:01:00.000+05:30

Journal of Arts and Ideas -- The Digital South Asia Library:

'via Blog this'

Introduction of Artistic Intelligence | the other AI

2011-09-15T19:00:00.000+05:30

Introduction of Artistic Intelligence | the other AI:

'via Blog this'

Introduction of Artistic Intelligence | the other AI

2011-09-15T18:59:00.000+05:30

Introduction of Artistic Intelligence | the other AI:

'via Blog this'

Theatre Games

2011-09-13T07:12:00.000+05:30

Theatre Games

Asia Society

2011-09-01T15:36:00.000+05:30

Asia Society

UnderstandingSociety

2011-09-01T15:34:00.000+05:30

UnderstandingSociety

A (Budding) Sociologist’s Commonplace Book

2011-08-26T15:20:00.000+05:30

A (Budding) Sociologist’s Commonplace Book:

'via Blog this'

The Changing Role of Blogs in Science Information Dissemination

2011-08-19T20:20:00.000+05:30

The Changing Role of Blogs in Science Information Dissemination

MPhil Research Methodology - APA Style

2011-08-08T15:12:00.006+05:30

Expectations of MPhil Social Science Cluster Group

2011-08-07T13:20:00.002+05:30

Following are the expectations of the MPhil Social Science Cluster Group from the academic writing module suggested in the session on 6 August 2011.

Related to Writing

Write in organised way

Issue of literary jargon

Punctuation

Structure of academic writing

Nature of academic writing/differencebw 'popular' and academic writing

Language of credibility

Conventions of research writing

What not to do in academic writing

Vocabulary of research

Citation in thesis

How to sound scholarly

How to edit

How to quote

Foot note

Presenting ideas systematically

Concise writing

Thesis – structure, presentation

Writing and article for peer reviewjournal

Learn the essentials of academicwriting

On academic writing

Different kinds of academic writing

On Researching

How to read a research article/critical reading

Reviewing literature

How to take notes

Other suggestions

Give Practice

How to present papers

Do justice to the basic topics

Not related

Decoding visual representation

Use data

Problem statement

Except the last section the rest of the suggestions will be considered during the sessions on academic writing.

MPhil Social Science Cluster- MLA Style Sheet

2011-08-07T00:01:00.006+05:30

MPhil Social Science Cluster - Academic Writing Assignment

2011-08-06T20:29:00.006+05:30

Dear Social Science Cluster M.Phil. students,

As part of your CIA may I request you to submit the following assignment?

Submit a research proposal of not more than 5 pages, in the following format.

Tentative Title
Introduction to the Research Topic (About a 100 words)
Objectives
Methodology
Literature Review (About 300 words- Briefly mention the key studies done so far in the area of your research topic, leading to you research question)
Chapter Overview (Each chapter description should be a separate paragraph of about 25-50 words giving the blue print of the paragraph)
Select Bibliography (Key studies in your area which you will refer. It should have single and multiple author books, single and multiple author journal articles, online articles, unpublished dissertations, and JSTOR or Ebscor articles. There should be 15-20 bibliographic entries. For bibliographic entry, either use APA or Bluebook, depending on your area.)

Once the proposal is ready, please open a google document file and paste the proposal and share the document with me (anil.pinto AT christuniversity.in) and with all your social science cluster classmates. Please ensure that you enable the 'view' option while sharing the document.

Please write your full name and MPhil registration number at the top left-hand corner for first page.

Last date for sharing of the assignment is Wednesday, 15 August 2011, 12 midnight. The date will not be extended under any circumstances.

If you have any clarification to seek you may post it in the comment section below this post.

------------------------------------------------------------------------

Objectives of the Assignment

To help you formulate a prototype of your proposal
To make testing a learning process
To help you learn the possibilities of utilising online digital technologies in research
To create a platform for peer feedback
To evaluate your learning
To promote self-learning and peer learning

Evaluation Criteria

Visual structure of the proposal, incorporation of classroom inputs, following of assignment guidelines, strength of the proposal, language

20-25 - A good proposal meeting all the requirements of evaluation criteria

15-25 - General adherence to the evaluation criteria with some drawbacks

10-15 - All seven parts of the proposal written but with mistakes or incomplete parts

00-10 - Some parts of the proposal not included, more than 10 grammatical error, more than 10 spelling errors, extremely weak proposal. ( In this case the assignment will be rejected with a chance to resubmit in three days from the time of announcement of marks. However, the repeat assignment will not be awarded more than 55% of marks)

Max Marks: 25

Early-bird incentive

Those who submit the assignment by Friday 12 August 2011, 12 midnight, additional 2 marks will be awarded, subject to maximum marks limit.

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MPhil Mgt Cluster - Academic Writing Assignment

2011-08-05T22:15:00.016+05:30

Dear Management Cluster M.Phil. students,
As part of your CIA may I request you to submit the following assignment?

Submit a research proposal of not more than 5 pages, in the following format.

Tentative Title
Introduction to the Research Topic (About a 100 words)
Objectives
Methodology
Literature Review (About 300 words- Briefly mention the key studies done so far in the area of your research topic, leading to you research question)
Chapter Overview (Each chapter description should be a separate paragraph of about 25-50 words giving the blue print of the paragraph)
Select Bibliography (Key studies in your area which you will refer. It should have single and multiple author books, single and multiple author journal articles, online articles, unpublished dissertations, and JSTOR or Ebscor articles. There should be 15-20 bibliographic entries. For bibliographic entry, either use APA or Bluebook, depending on your area.)

Once the proposal is ready, please open a google document file and paste the proposal and share the document with me (anil.pinto AT christuniversity.in) and with all your Management Cluster classmates. Please ensure that you enable the view option while sharing the document.

Please write your full name and MPhil registration no at the top left-hand corner of the first page

Last date for sharing of the assignment is Wednesday, 10 August 2011, 12 midnight. The date will not be extended under any circumstances.

If you have any clarification to seek you may post it in the comment section below this post.

------------------------------------------------------------------------

Objectives of the Assignment

To help you formulate a prototype of your proposal
To make testing a learning process
To help you learn the possibilities of utilising online digital technologies in research
To create a platform for peer feedback
To evaluate your learning
To promote self-learning and peer learning

Evaluation Criteria
Visual structure of the proposal, incorporation of classroom inputs, following of assignment guidelines, strength of the proposal, language

20-25 - A good proposal meeting all the requirements of evaluation criteria
15-25 - General adherence to the evaluation criteria with some drawbacks
10-15 - All seven parts of the proposal written but with mistakes or incomplete parts
00-10 - Some parts of the proposal not included, more than 10 grammatical error, more than 10 spelling errors, extremely weak proposal. ( In this case the assignment will be rejected with a chance to resubmit in three days from the time of announcement of marks. However, the repeat assignment will not be awarded more than 55% of marks)

Max Marks: 25

Early bird incentive
Those who submit the assignment by Monday 8 August 2011, 12 noon, additional 2 marks will be awarded, subject to maximum marks limit.

MPhil Mgt Cluster Group - PPT of the Last Class on Academic Writing

2011-08-05T21:52:00.003+05:30

National Conference on "Trending" Hospitality by t...

2011-08-03T20:39:00.000+05:30

National Conference on "Trending" Hospitality by t...: "'Trending” Hospitality is an effort to deliberate and discuss contemporary issues affecting modern hospitality business. The aim i..."

MPhil: Research Methodology- Mgt Cluster - MLA Style

2011-08-02T21:50:00.003+05:30

Theories of Art after Minimalism and Pop: Michael Fried

2011-08-02T21:38:00.002+05:30

Anu James
1124106

Thesis statement: When I was asked to participate in the discussion, it was suggested that I begin with a few words about my essay “Art and Objecthood”, which I wrote almost exactly twenty years ago.

Paragraph 1:

Topic Statement: “Art and Objecthood” has been the focus of a great deal of discussion,

most of it hostile, which in view of the dominant trends of the art world during the past two decades makes perfect sense, but more than a little of it uncomprehending.

Supporting statement: Michael Fried want to make a few remarks about the original motivation of “Art and Objecthood”.

Keyword: Art and Objecthood.

Paragraph 2:

Topic statement: When I wrote it in early 1967, it was the culmination of a series of essays on recent developments in what has come to be called color-field painting, plus the sculpture of Anthony Caro- a body of work that seemed to me then, and continues to do so today, the most important and distinguished painting and sculpture of our time.

Supporting ideas: Observations- minimalist pieces- the art of the painters and sculptures- the radically abstract and antitheatrical art.

Keyword: Literalist art- theatrical.

Paragraph 3:

Topic sentence: These were part of the series of opposition that the essay attempts to set in place- between “presentness” and “presence”, instantaneous and duration, abstraction and objecthood.

Supporting sentence: The extent to which hostile responses- “Art and Objecthood”- tend not to be deconstructive in approach- but rather to attack the “positive” terms in the interests of “negative” terms.

Keyword: Deconstruction.

Paragraph 4:

Topic sentence: Another reason for writing “Art and objecthood” as well as “Shape as Form”, the essay on Frank Stella that proceeded it, might be characterized as at once historical and theoretical.

Supporting Sentence: “Modernist Painting” in particular by its notion- that modernism in the arts involved- a process of reduction according to which dispensable conventions were progressively discarded until in the end one arrived at a kind of timeless and irreducible core.

Keyword: Modernist Painting.

Paragraph 5:

Topic sentence: “Art and Objecthood”’s claim is that what it calls theatre is now the enemy of art; and what I want to insist is that while that may be wrong, the word “now” can’t be overlooked.

Supporting sentence: Earlier art- considered overtly theatrical- but rather proposing that contemporary work that didn’t understand itself.

Keyword: Theatrical.

Paragraph 6:

Topic sentence: The whole question is further complicated by the fact the issue of theatricality defined as a pejorative term implying the wrong sort of consciousness of an audience originally arouse around the middle of the 18th century in France.

Supporting statement: The antitheatrical arguments of “Art and Objecthood” belong to a larger historical field than that of abstraction versus minimalist art in 1967.

Keyword: Antitheatrical arguments.

The Painting of Modern Life: Timothy J. Clark

2011-08-02T21:30:00.001+05:30

Ritwika Pandey
1124121

1. Paragraph 1:
Topic sentence: The art of Manet and his followers had a distinct 'moral aspect' visible above all in the way it dovetailed an account of visual truth with one of social freedom.
Key Ideas: The artists depended for its force on something more than painterly hedonism or simple appetite for sunshine and colour.

2. Paragraph 2:
Topic Sentence: In its unconventionalized, unregulated vision, in its discovery of a constantly changing phenomenal outdoor world of which the shapes depended on the momentary position of the casual or mobile spectator, there was an implicit criticism of symbolic social and domestic formalities, or at least a norm opposed to these.
Key Ideas: We have many pictures in Early Impressionism of informal and spontaneous sociability, of breakfast, picnics, promenades, boating trips, holidays and vacation travel – projection of bourgeois recreation in 1860s and 1870s – also reflect the new aesthetic devices and the conception of art as a medium of individual enjoyment.

3. Paragraph 3:
Topic Sentence: The Contexts of bourgeois sociability shifted from community, family and church to commercialized or privately improvised forms – the streets, the cafes and resorts – the resulting consciousness of individual freedom involved more and more an estrangement from older ties; and those imaginative members of the middle class who accepted the norms of freedom, but lacked the economic means to attain them, were spiritually torn by a sense of helpless isolation in an anonymous indifferent mass.
Key Ideas: Individual enjoyment becomes rare in Impressionist art – private spectacle of nature is only left – social groups break into isolated spectators.

4. Paragraph 4:
Topic Sentence: The actual bourgeois’s being brought to enjoy the Impressionist painting, and to revel in its consonance with his day-to-day experience, is no doubt marvellous; but it does not seem to me much more than a metaphor, and is surely not warranted by what we know of this painting’s first purchasers and enthusiasts.
Key Ideas: Schapiro believes that once upon a time the bourgeoisie, or at least its enlightened members, really did delight in an ‘informal and spontaneous sociability’ – later estrangement and isolation came – ‘commercialized or privately improvised forms’ – informal and spontaneous sociability depicted in Manet’s Dejeuner sur L’herbe.

5. Paragraph 5:
Thesis Statement: The form of new art is inseparable from its content.

6. Paragraph 6:
Topic Sentence: Any social order consists primarily of classifications.
Key Ideas: Society is a set of means for solidarity, distance, belonging and exclusion – things needed pre-eminently for the production of material life – fix an order in which men and women can make their own living – have confidence in what they do – trivialize the concept of ‘social formation’ – the ‘economic life’ – the ‘economy’, the economic realm, sphere, level, instance, or what-have-you – is in itself a realm of representations.

7. Paragraph 7:
Topic Sentence: Social practice is that complexity which always outruns the constraints of a given discourse; it is the overlap and interference of representations.
Key Ideas: Social practice – the notion of social activity outlined so far can be sustained only if the world of representations does not fall into systems or ‘signifying practices’. – society is the battle field of representations – representations are continually subject to the rest of a reality – test of social practice – a test that consolidates or disintegrates our categories and eventually makes and unmakes a concept.

8. Paragraph 8:
Topic Sentence: In capitalist society, economic representations are the matrix around which all other organized.
Key Ideas: The class of an individual – his or her effective possession of or separation from the means of production - is the determinant of social life – in the nineteenth century often the presence of class as the organizing structure is gross and palpable – it is possible to expand the concept of class and include facts other than the economic facts – here we are clearly dealing with a class and a set of ‘class characteristics’ still in the making.

9. Paragraph 9:
Topic Sentence: It is clear that reality designated at the time – in the 1870s, say – as petit bourgeois included men and women whose trades had previously allowed them a modicum of security in the city’s economic life, but who had been robbed of that small safety by the growth of large scale industry and commerce.
Key Ideas: Class will in any case necessarily be a complex matter – there is never only one ‘means of production’ in society for individuals to posses or be denied – a shift of attention from putting stress on the material means occurred – new set of proposals was possible without the effect of bad faith – Mallarme said that painting shall be steeped again in its cause.

10. Paragraph 10:
Topic Sentence: Doubts about vision became doubts about almost everything involved in the act of painting; and in time the uncertainty became a value in its own right; we could almost say it became an aesthetic.
Key Ideas: In the Symbolist magazines of the late 1880s – in which the preference of painting for the not known, the not arranged, and the not interpreted was taken largely as an article of faith – painting has a subject – art seeks out the edges of things, of understanding – its favorable modes are thus irony, negation, deadpan, the pretence of ignorance or innocence – highest wisdom is knowing that things and pictures do not add up.

11. Paragraph 11:
Topic Sentence: The terms of modernism are not to be conceived as separate from the particular projects – the specific attempts at meaning – in which they are restated.
Key ideas: Notorious history of modernism’s concern for ‘flatness’ – two dimensions of the picture surface every time the painters after Courbet recover them – that literal presence of surface went on to become an form of art.

12. Paragraph 12:
Topic Sentence: Flatness was constructed as a barrier put up against the viewer’s normal wish to enter a picture and a dream, to have it be a space apart from life in which the mind would be free to make its own connections.
Key Ideas: Painting would replace or displace the real world – flatness was considered a part of modernity.

13. Paragraph 13:
Topic Sentence: Flatness was therefore in play – as an irreducible, technical fact of painting – with all of these totalizations, all of these attempts to make it a metaphor.
Key Ideas: The painters we most admire insisted also on its being awkward, empirical quiddity; but ‘also’ is the key word here- their particularity was what made flatness a matter to be painted.

14. Paragraph 14:
Topic Sentence: Circumstances of modernism were not modern and only became so by being given the forms called ‘spectacle’.
Key Ideas: Are we to take Impressionism’s repertoire of subjects and devices as merely complicit in the spectacle – lending it consistency or even charm – or as somehow disclosing it as farce or tragedy.

15. Paragraph 15:
Topic Sentence: Rediscover the force of these terms – light, looking, strict adherence to the facts of vision – since they have nowadays become anodyne.
Key Ideas: Are we supposed to give up believing in the ‘painting of light’? – simple determination of these artists to look and depict without letting the mind interfere too much? - wondering since where the traditional notion of impressionism gone.

16. Paragraph 16:
Topic Sentence: A matter of looking at Impressionist pictures again and being struck by their strangeness.
Key Ideas: It gives the impression of something seen and translated by the feeling rather than with every form defined.

17. Paragraph 17:
Topic Sentence: These criticisms are ungenerous, but they point to things in the paintings which truly are odd and ought to be recognized as such.
Key Ideas: The painters job is representing in a way which barely makes sense – the individual marks are scratched and spread into one another as if they had been worked overlaid almost cancelled out - even the painter would find it obscure.

18. Paragraph 18:
Topic Sentence: A space had to be kept between painting and representing: the two procedures must never quite mesh.
Key Words: The word ‘painting’ in a crude material way, would stand for the notion of what the paint could stand for effectively – the established equivalents in paint are always false – they are short cuts for the hand and eye and brain which tell us nothing that we do not already know; and what we know already is not worth rehearsing in paint.

19. Paragraph 19:
Topic Sentence: Painting was now supposed to be about seeing and the painter determined to stick to the look of a scene at all cost.
Key Ideas: Realist intentions are at work here – it involved a set of fragile and unprecedented equations between the painted and the visible.

20. Paragraph 20:
Topic Sentence: Painting is not uniquely an archaeological art and that it accommodates itself without effort to “modernity’.
Key Ideas: This writer’s confidence somewhat misses the point of the pictures he is describing – we must allow art to effect its own naturalization to costume – It is yet to be seen what the attractive new category meant and what kind of accommodation can art make with it.

MLA Citation Style

2011-08-02T21:22:00.006+05:30

MPhil: Research Methodology- Management Cluster - MLA and APA citation

2011-08-02T21:17:00.002+05:30

APA Stylesheet

2011-08-02T16:15:00.001+05:30

Click here for it

The Muse-An International Journal of Poetry (ISSN 2249–2178) call for submissions

2011-08-01T18:43:00.003+05:30

'The Muse-An International Journal of Poetry' (ISSN 2249–2178) is calling for submission of original and unpublished (both print and online) poems, research papers on poetry and book reviews of latest poetry books for December 2011 issue. Last date of Submission is November 10, 2011. Website : www.themuse.webs.com, Email:
themuseindia AT gmail.com .

Submission Guidelines:
1. Work submitted for publication must be original, previously unpublished (both print and online, not even published on blogs,literary or discussion forums or social networking sites), and not under consideration for publication elsewhere.

2. Send 1 to 5 poems and a brief biodata. A cover letter would be nice but is not mandatory.

3. The research papers should be not less than 3000 words. References should be prepared strictly following MLA Stylesheet (7th edition).

4. E-mail your poems, essays and research papers to themuseindia AT gmail.com . Response time varies from 2 to 12 weeks.

5. With poem/ research paper the poet/author is requested to submit a statement of originality of work.

for more details visit : www.themuse.webs.com

Pradeep Chaswal
Chief Editor
The Muse-An International Journal of Poetry (ISSN 2249–2178)
www.themuse.webs.com

MPhil Research Methodology Class - Management Cluster

2011-08-01T13:47:00.001+05:30

Today's Class

There is no information regarding shifting of class. Hence, please assemble in the same class.

M.Phil:Structural Research Methodology and Research Writing. Session I

2011-07-31T19:40:00.003+05:30

Following note prepared by Lissy Mathew based on the first session of Unit 4: Structural Research Methodology and Research Writing of Ph.D. Management cluster group taught by Anil Pinto

------------------------------
Expectations from the sessions
Why research
How to do the literature review – how to identify what is the right literature
How to do the abstract – for research and for article / paper
Table of content, proposal writing
Bibliography – citation and references
Style of writing – MLA- APA , Harward style
Historical shifts in research, publication style
Choice of methods
Methodology, research plan
Hypothesis

Certain things will have to be discussed with the guides concerned.

Why Research ?

Main reasons :
1. Career development
2. to solve the concerns of humanities, in order to evolve in the society,
3. to be serve the desire of the state to be technologically ahead

Research question determines what kind of methodology is required

Historical shifts in research

Most of contemporary research practices do not have a history of more than 50 years. Most of the practices were developed after WW II.

Communication model was also developed in 1948. Many modern ideas were
developed after WW II. E.g Psycho metric tests .

States realized the need to reduce the time required to do research. As a result methodologies and norms evloved.Citations styles are part of such tendencies.

The strenght of the research depends on literature review and methodology.

Knowledge should be democratic.

What is scientific research /
Karl Popper – suggested that to call scientific, it should predict, and it should be falsifiable.

Epistemology: branch of philosophy dealing with knowledge
What is knowledge ?
What contributes knowledge ?
Philosophy – Kant – that which makes you reflect on one element
Deductive methodology
For Descartes -Proof of existence is thinking

21st century research is of methods,
- developed the writing styles
- there was no proposal, in the olden days

Structured Research Methodology

Developed at Christ University.
Argument was there is sturucture, apparent structure, not necessary. Latent structure is mandatory. In research, it is not only the apparent structure, but latent structure is must. Unravelling of the latent strucure strenthens research.

E.g. of Mungaru Male Kannada movie – Mysore boy and coorgy girl

When does a structure becomes epislomological?
Should have the steps and need to be acceptable and should be logical
Test the validity, methodology should be sound important/
Find out causal structure

Ontology
Nature of existence
Aristotle – categories exist in nature: men, women, water earth
Kant – Categories don’t exist in nature. Humans give it to nature.

Thesis
Statement – proposition to be maintained or proved
One report is supposed to have one thesis.

Reference to the way Karl Marx – unravels the latent structures in the process of understanding Capital

Summary – To constantly look for structure, apparent , latent. See structure that exists, and find latent structures.

Assignment :
Details of five books:

Author , full title, year of publication, place of publication , publisher. one book should be an edited book.

Journals – 2 articles and same information from the articles , plus – vol, no, year, month
Two articles from online. Same information should be taken

International Seminar Holocaust Literature: Memories and Losses

2011-07-31T13:30:00.004+05:30

A Two –Day International Seminar on

Holocaust Literature: Memories and Losses

September 23-24, 2011

The Department of Studies in English, University of Mysore, Mysore is organizing a two-day colloboration with P E S College of Arts, Science and Commerce , Mandya. Thanks to writers and second generation Holocaust survivors such as Professor Scarlett Epstein, Savyon Liebrecht, Dr. Diti Ronen and Tzippy who volunteered to participate in the Seminar. Dr. U R Ananthamurthy has agreed to deliver the keynote address. Nemichandra, a Holocaust writer in Kannada, is also taking part in the Seminar. The Seminar will be held at P E S College campus, Mandya which is 45 kms. from Mysore on the way to Bangalore. Our other participants are Dr. Neluka Silva, Colombo University, SriLanka; Professor Gurumurthy Neelakantan, I I T Khanpur; Professor Rajendra Chenny, Kuvempu University; Professor K T sunitha, Professor C Naganna, Uni. Of Mysore; Dr. Seema Malik, Mohanlal Sukhadia University, Udaipur; Dr Chitra Panicker, Bangalore University; Dr Kalpana Rao, Pondicherry Central University.

Holocaust is whatever it is. An attempt is made to come to terms with it by Holocaust writers. A legacy as it is, it has been kept up very high by the three successive generations of writers. Beginning with the Letters and Diaries it has encompassed all forms of Literature. A bird’s eye view of the ever-growing list of the Holocaust writers includes the three Nobel Laureates – Elie Wiesel, Nelly Sachs, Ketesz and others like Anne Frank, Leslie Epstein, Primo Levi, Nava Semal, Ida Fink, Savyon Liebrecht, Diti Ronen, Daniel Mendel Sohn, Thane Rosebaum, Joseph Skibell, Jonathan Safron Foer and many more.

Seminar Objectives

To explore the history and the beginning of Holocaust Literature
To debate and discuss the contemporary trends and themes in Holocaust Literature

Seminar Theme:

The Seminar explores the complex relationship between the Holocaust and its ever deepening

impact on its victims and humanity; the depiction of trauma and the contemporary response; Holocaust

and identity, race and religion.

They invite seminar paper proposals in not more than 300 words and seminar papers to be readable

in 15-20 minutes (10- 15 pages in A4 size).

The last date for receipt of proposals is August 31, 2011.

The last date for receipt of complete papers is September 15, 2011.

Registration fee: Rs. 200.

E mail papers and proposals, queries and clarifications to: mahadev_kunderi AT yahoo.co.uk /

Mobile: 94481 94470.

Indian Philosophical Quarterly

2011-07-31T13:08:00.000+05:30

Indian Philosophical Quarterly

MA English-Western Aesthetics CIA2 - Mapping Essays

2011-07-29T21:32:00.003+05:30

Following are the write ups by I Semester MA English Students done as part of their Continuous Internal Assessment 2. The write ups map the seminal essays on Western Aesthetics.

5. Amol Kadam (1124101) : The Other Story; Rasheed Araeen

6. Krishna Kanchith (1124103) : Feminism Inside: Toward a Black Body Politic; Bell Hooks

7. Sajith Cyriac (1124104) : The Tangled Skein: On Re-reading Heresies; Moira Roth

8. Siju Paul (1124105) : A Global Counter–Culture; Susan Buck–Morss

9. Anu James (1124106) : Theories of Art After Minimalism and Pop; Michael Fried

10. Chandna Nirwan (1124107) : Preliminaries to a Possible Treatment of 'Olympia' in 1865; Timothy J. Clark

11. Diana Joseph (1124108) : Post-Partum Document by Mary Kelly; Laura Mulvey

12. Jordanna Rachel Drego (1124109) :

13. Gurekta Sethi (1124110) : Mobilizing Pasts: Ground Zero, Representation and 'Outrageous Art'; Francis Franscina

14. Margrett Abraham (1124112) : Theories of art after minimalism and pop: Periodizing critics; Benjamin H. D. Buchloh

15. Neethu Ann Jose (1124113) : Making Space:image events in an extreme state; Johanna Drucker

16. Neha Dhawan (1124114) : 'On Non Objective Painting' & 'Popularity and Realism'; Bertolt Brecht

17. Nitya Santosh (1124115) : Subversive signs; Hal Foster

18. Poonam Vaidya (1124116) : Modernity and Femininity: Griselda Pollock

19. Puja (1124117) : Orientalism; Edward Said

20. Radhika Shenoy (1124119) : Painting: The Task of Mourning; Yve-Alain Bois

21. Reshma (1124120) : Using Psychoanalytic Theory; Parveen Adams, Rosalind Delmar and Sue Lipshitz

22. Ritwika (1124121) : The Painting of Modern Life; Timothy J. Clark

23. Riya Thomas (1124122) : Mystifying Theory; Margot Waddel and Michelene Wander

24. Sadhana Shanbhag (11241123) : Modernism, Post Modernism and the Problem of the Visual in Afro American Culture; Michele Wallace

25. Sangeeta Nath (11241124) : In The Name of Picasso: Rosalind Krauss

26. Shreya Mahto (11241125) : Literalism and Abstraction: Frank Stella's Retrospective at the Modern; Philip Leider

27. Shrutika Ghorpade (1124126) : Barbara M. Reise Greenberg and the Group: A Retrospective View

28. Sowparnika (1124127) : The Museum of Modern Art as Late Capitalist Ritual: An Iconographic Analysis; Carol Duncan and Alan Wallach

29. Tanya Tomar (1124128) : Politics and the Intelligentsia; Noam Chomsky

30. Tara Thomas (1124129) : Taking Stock (Unfinished); Hans Haacke

31. Teena George (1124130) : Abstract Expressionism, Weapon of the Cold War; Eva Cockroft

32. Trishna Rai (1124131) : Frida Kahlo and Tina Mondotti; Laura Mulvey and Peter Wollen

33. Yukta (1124132) : Writing (And Righting) Wrongs: Feminist Art Publications; Carrie Rickey

34. Joseph Mathew (1124133) : Modernism Postmodernism
and the problem of the visual in Afro-American culture; Michele Wallace

35. Ginny (1124134) : The State, the Spectacle and September 11; Iain Boal,T.J Clark,Joseph Matthews,Michael Watts

36. Jayalakshme (1124135) : Pictures of Innocence; David Newnham and Chris Townsend

37. Angelin Sanchez (1124136) : The F-111: An interview with James Rosenquist; Gene R. Swenson

38. Anshuman Manur (1124137) : Culture Wars; Richard Bolton

39. Krishnendu Basu (1124138) : A Collage of Indignation; Max Kozloff

2011-07-28T23:43:00.000+05:30

Mahto 1

Shreya Mahto

1124125

Mr.Anil Pinto

MEL: 132: Western Aesthetics

13 July 2011

Philip Leider

Literalism and Abstraction:

Frank Stella's Retrospective

At the Modern

Thesis statement:

Also, a picture isn't abstract just because the artist doesn't know when it's finished. Pollock's message wasn't 'Go Wild'; it was (1) keep the field even and without dominant image or incident; (2) be careful about colour; (3) keep the space as free from the space needed to depict three-dimensional forms as possible; (4) eliminate gesture, let the method chosen seem to generate the picture.

Paragraph (1)

Topic Sentence: Both abstraction and literalism look to Pollock for sanction; it is as if his work was the last achievement of whose status every serious artist is convinced.

Key words: Pollock, Stella, Cubist grid.

Paragraph (2)

Topic sentence: The literalist view of Pollock emerged somewhat more hazily, less explicitly, more in argument and conversation than in published criticism.

Key words: paint, canvas, handprints, cigarette butts.

Paragraph (3)

Topic sentence: In short, the greatness of the abstraction is in large measure a function of the literalness of Pollock's approach.

Key words: objectness of painting,

Paragraph (4)

Topic sentence: Abstraction was discovering that objectness was the thing to beat, and that the breakthrough to look for was a breakthrough to an inspired two – dimensionalism, and that the way to do it was through colour, and, as much as possible, through colour alone.

Key words: abstraction

Paragraph (5)

Topic sentence: One college student, Stella, saw in John a way to an advanced all overness.

Key words: possibilities of a centred image.

Paragraph (6)

Topic sentence: Stella was crucially interested in keeping his pictures flat because he was crucially interested in making abstract pictures that could survive as post Pollock art.

Key words: Stella's anti literalist ideas, abstract pictures.

Paragraph (7)

Topic sentence: Thus if you are going to make an abstract painting, then you cannot make it in the kind of space used for non-abstract painting.

Key words: abstract painting, non abstract painting.

Paragraph (8)

Topic sentence: The main criticism of the pictures seems to have been that they had nothing to say

Key words: none

Paragraph (9)

Topic sentence: The incipient move into three dimensions implied in Stella's paintings is made manifestly clear in Andre's work of the early 1960s,most explicitly in a work like the 1959-60 untitled construction.

Key words: literal objectness of Stella's paintings, three dimensions, presumption of literalism, literalist.

Paragraph (10)

Topic sentence: The differences between Andre and Judd emerged slowly and steadily all through the 1960s; Andre was to consistently limit himself to solutions that were respectful of, and consonant with, the problems of sculpture, while Judd's indifference to sculpture and its problems would become more obvious every day.

Key words: Minimal Art

Paragraph (11)

Topic sentence: The minimal art craze set everyone back for years; the job of criticism now would seem to be patiently undo the damage and carefully begin the work of revealing the development of a literalist art in America which extends quite unbrokenly from about 1959 to the present and which, in one way or another, involves in its network at least part of the work of artists as diverse as Andre, Judd, Flavin, Serra, Heizer, Morris.

Key words: anti form process or anti illusion.

Paragraph (12)

Topic sentence: The abstractionist critics- mainly Clement Greenberg, then Michael Fried ,William Rubin and others in greater or lesser degree- had, by the mid -1960s,done monumental work.

Key words: Literalism, abstractionist criticism

Paragraph (13)

Topic sentence: Abstractionist criticism tended to ignore the literalists except when it had to deal with Stella.

Key words: Abstractionist criticism

Paragraph (14)

Topic sentence: As the 1960s drew to a close, the relationship between literalism and abstraction in American art changed considerably.

Key words: Abstract expressionists of the mid -1940s

Paragraph (15)

Topic sentence: Certainly by 1969 and 1970, Stella had thoroughly loosened the overall design structure and seems to have systematically turned more and more of the authority of the paintings over to colour.

Key words: design structure, Stella's art.

cia assignment

2011-07-28T22:56:00.001+05:30

Name: Jordanna Drego

Reg. No.:1124109

MEL132 Western Aesthetics

Anil Pinto

13^{th July 2011}

^{The Intrasigent Artist or How the Impressionists Got their Name
by Stephen F. Eiseman
　
Thesis statement:
The new art , between 1874 and 1877, was both Impressionist and Intransigent, that is, affirmative and individualistic, or radical and democratiic
　
Paragraph 1
Topic sentence:
Most histories of Impressionism provide an account of how the movement got its name.
Supporting statements:
In an art exhibition in Paris held by a photographer Nadar, thirty artists participated, including Claude Monet, submitted a painting entitled Impression, soleil levant.
Within a week the terms 'impression', 'effect of an impression' and 'quality of impressions' were being employed in the press.
Louis Leroy was apparently the firts to speak of the school of 'impressionists' in his famous satirical dialogue.
This was followed by Jules Castangary who described 'Impressionism'
the name stuck and the third exhibition was named the 'Exhibition of Impressionists'
the members of this exhibition were remembered as Impressionists.
Key words:
origin of impressionism.
Paragraph 2
Topic sentence:
Two aspects of this story of origins concern me.
Supporting sentences:
first, was the basic accuracy of the account
second, what was at stake in naming the new art?
The answers to these questions the author believes will contribute to the history of art and to the ongoing debate on Modernism
Paragraph 3
Topic sentence:
the word impressionism entered the vocabulary of art criticism at about the same time that the French positivists were undertaking their studies of perception.
Supporting sentences:
-
Charles Baudelaire, in 1863 described the Impression produced by things on the spirit of M.G.[uys]
- by 1870 it had become clear that any art based on impressions, that is upon unmediated sensory experience, must resemble the coloured patchwork that it was believed constituted unreflective vision, what Ruskinhad earlier called 'the innocence of the eye'
Theodore Duret said of Manet 'He brings back the vision he casts on things as truly his own........... a particular note of the palette'.
Paragragh 4
Topic sentence:
Duret thus detected two aspects in Manet's Impression(ism): first, its utter individuality, and second, its stucture of discrete colour 'notes' juxtaposed against, but not blended with their adjacent tone.
Supporting sentence:
the dual nature of Impressionism also underlay Castagary's celebrated usage of 1874.
Castangary meant to signify the individualism of the artists, an idividualism that corresponded to their technique of laying down a mosaic of colours and forms, which was determined by the impression of the exterior world upon their sense organs.
　
　
Paragraph 5
Topic sentence:
Impressionism in 1874 thus connoted a vaguely defined technique of painting and an attitude of individualism shared by an assortment of young and middle-aged artists officially led by Manet.
Supporting sentences:

served as a description of unbridled individualism
assured politically moderate criticsthat the new art had broken with increasingly discredited salon conventions, and remained unsullied by any troubling radical affiliations
Individualism was deemed as an essential instrument for the emancipation of citizens from debilitating ties to former political, economic and religious dogma.
Individualism would be necessary in the massive work of reconstructing France after the disasters of the Franco- Prussian War and commune.
The combination of painterly daring and political discretion suggested by the word impressionism helps account for the suprisingly positive reception given to the new art by many critics.
Key word
: Individualism
Paragraph 6
Topic sentence:
Impressionist was not the only name given to the artists exhibited at Nadar's studio in 1874
The word Intransigent also appeared, and continued to gain popularity until the Impressionists self-naming in 1874.
a critic for Le Fiagio, described the 'brutality of the Intransigents'.
Jules Claretie commented that 'the skill of these Intransigents is nil'
Key word:
Intransigent
Paragraph 7
Topic sentence:
the French word intransigeant, like the English word intransigent, is derived from the spanish neologism los intransigentes, the designation for the anarchist wing of the Spanish Federalist Party of 1872
Suppoting sentence:
the intransigents were opposed to the compromises offered by the Fedealist
they believed instead that the Spanish constitutional monarchy could bet be toppled by mass armed resistance and a general strike.
When the constitution' fragile coalition finally collapsed in Feb 1873, the intransigents pressed for Cantonial independence against the newly empowered Benevolent Republicans.
The dispute resulted into civil war.
Paragraph 8
Topic sentence:T
he perception that was widespread that the newly hatched Spanish Republic might degenerate into a radical Commune.
the links between the two were direct, as it had been the Commune who helped the Federalist challenge in Spain.
Many Communards had foung refudge in Spain, thus precipitating the belief mentioned above.
An attempted Intransigent coup in July 1873, ignited civil war, but without support of the International, the major Spanish cities or France, the rebels were routed.
The last Intransigent stronghold; Cartagena, had submitted to the increasingly conservative Rebublic in January 1874.
Paragraph 9
Topic sentence:
with the destruction of Intransigentism in Spain, the worg intranigent entered the political and cultural vocabulary of France.
Supporting sentence:
in March 1875, Phillipe Burty, described the landscapes of Impressionist paintings ' who are here called the Impressionists, elsewhere the Intransigents'
Albert Wolff wrote in his review about the Impressionists that 'they barricade themselves behind their own inadequacy'.
Armand Silvestre spoke of Manet and 'the little school of Intransigents among whom he is considerd the leader'.
Gustav Caillebotte composed a late will where in a sum of his money would go to organize an exhibition of works by impressionist or intransigent painters.
Responding to a favourable review in the radical Le Rappel, an anonymous critic wrote,' let us profit that this circumstance ............ could be more natural'
the assertion that the impressionists had joined hands with the Intransigentsin politics was given further support by Louis Enault in Le Constitutionnel, which he called 'Exposition des Intransigents'where he recalls the origins of the word transigent.
A critic for La Gazette , Marius Chaumelin, was more precise about the politics of Intransigent Art and the approapriateness of its name. He claimed the principles of the new art- reform of the laws of colour and design, were derived from the principles of political Intransigents i.e. The radicals who had gained some thirty seats in the March 1876 elections of the Chamber of Deputies.
　
Paragraph 10
Topic Sentence:
Not all evaluations of the new art as Intransigent came from the political right.
Supporting sentence:
The critic Stephane Mallarme described with the greatest clarity as well as the greatest subtlety the link between radical, or Intransigent, art and politics.
He percieved the new art as an expression of working class vission and ideology
Mallarme argued that , as Romantic fantasy and imagination characterized the first half of the century. The impressionist art marked a significant new stage in social evolution.
The Impressionist artist became the eyes of the 'energetic modern worker'
Mallarme believed that Impressionism was a movement with a radical co-operative programme and the currency of the name Intransigent signalled to him the widespread perception of that fact.
Key words: Romantic Fantacy, radical co-operative programme.
　
Paragraph 11
Topic sentence:
Mallarme offered a set of homologies between Impressionist art and working class or radical vission.
Supporting Sentence:
he began by noting that intransigent art or politics stripped away outmoded principles, seeking a blank slate upon which to write a new cultural and political agenda.
The key term in Mallarme' dialectic was 'The theory of the open air' by which academic formulas were jettisoned in favour of a greater truth.
Open air painting thus provided an objective justification for the discarding of academic traditions of individualist caprice.
He felt that Impressionists stripped away results in pictorial clarity and flatness that mimics the look of the simplepopular art forms favoured by the rising class of workers.
Manet's sea princess illuminates this vaunted simplicity, revealing how the artist's technique of cropping reiterates pictorial flatness.
　
Paragraph 12
Topic sentence:
faced with such conflicting interpretations of such formidable writers as Castangary and Mallarme, the reader by now be wondering whether the new art , between 1874 and 1877, was in fact Impressionist or Intransigent, that is, affirmative and individualistic, or radical and democratic.
Supporting Statement:
the essence of the new art was its determined position between the polarities Impressionist/Intransigent.
The new art must be understood as a signal instance of Modernist dialectics.
Works that primarily explore their own physical origins or constituents are intransigent rebukes to a society that seeks to tailor all culture to its own interests.
The apolitical self-regard of Modernist art creates an enironment favourable to the eventual industrial appropriation of the works.
Yet there have been times when this latter process of appropriation has been sufficiently slowed that a semblance of autonomy has been achieved.
The new art was definable only by uncertanities in critical language between 1874 and 1877.
Paragraph 13
Topic sentence:
the opposition between the Impressionist and Intransigent art is unresolved in he criticism of Claretie, Chesneau, Burty, Wolff, Silverste, Blemont, Enault, Chaumelin and Mallarme.
Supporting Sentence:

even critics who worked the hardest to claim Impressionism for the moderate Republic was strangely compelled to call attention to its Intransigent alter-ego.
Emile Blavet tried to rescue Impressionism from the left, claiming that the new art represented 'the fruitful renovation of the French School, of a principle of art whose results may be considerable'
If the new art , as we have seen , embodied a 'theory of open air', so too did the criticism, often seeming to 'tremble, melt and evaporate' into ideologiacal unease.
The critics on the left providing no more confident than those on the right.
The uncertain art criticism was thus wholly appropriate to the ambiguities of the new art.
Renoir's rejection of a name encouraged critical uncertainity over the new art, thereby prolonging the period during which it remained between ideological antinomies.
Such a stance was considered by Renoir as part of the tradition of 'the Masters'
　
Paragraph 14
Topic sentence:
The success of the new art in evading either academicism or political tendentiousness is thus attributed to the refusal of a proper name and the articulation of a new style.
Supporting sentences:
Romanticism had vested artists with the power symbolically to breach the Enlightenment frissure between subject and object, word or thing.
Manet chose to expose these scissions through an art that called attention to its status as fiction.
Manet did not adopt the Jacobian tradition instead as T.J.Clark has shown in his study on Manet was an avoidance of the explicit signs of politics or class achieved through the blankness of human expression and and odd unreliability of gesture, posture, and physical place.
Paragraph 15
Topic sentence:
Manet's art, it may generally be said, elided the oppositions that comprised contemporary ideology: work/leisure, city/country, artifice/authenticity, public/private- in short a whole rhetoric of binaries that seemed to assure the political and class stability.
Supporting statements:
Manet questioned this stability and did so with a modernist style that compelled conviction.
His paintings revealed an undeniable finish, solidity, composure and simple rationality that signalled a real knowledge.
Impressionist followers of Manet similarly succeded in elidind ideological oppositions while still offering something that could approach knowledge.
The evidence of the new painters success in eliding comforting social oppositions provide the aporias that dominate criticism of the new art, that is, the free space between Impressionist and Intransigent.}

Preliminaries to a possible treatment of 'Olympia' in 1865: TimothyJ. Clark

2011-07-28T22:52:00.003+05:30

Chandana Nirwan

1124107

Thesis statement: Olympia's handling of sexuality, and its relation to the tradition of the nude

Paragraph 1

But for reasons we can only guess at, he kept the picture entitled Olympia in his studio for almost two years, perhaps repainted it, and submitted it to the jury in 1865.

Painting- accepted for showing-excited public scrutiny .

Paragraph 2

If Manet's hesitation had to do with anxieties over what the papers would say, then what happened when the Salon opened was to prove his worst fears well-founded.

Critical reaction to Olympia - negative.

I believe this mass of disappointing art criticism can provide an opportunity to say more about the relation of a text to its spectators.

Verses written along with the painting- were another reason for the critics' contemptuous remarks.

Paragraph 3

I intend instead is to sketch the necessary components of such a study( a study of Olympia and its spectators), to raise some theoretical questions which relate to Screen's recent concerns and to give in conclusion, a rather fuller account of the ways in which this exercise might provide 'a materialist reading [specifying] articulations with the [picture] on determinate grounds'.

Paragraph 4

I would like to know which set of discourses Olympia encountered in 1865 and why the encounter was so unhappy.

Two discourses- a) relations and disjunctions of the terms Woman/Nude/Prostitute were obsessively rehearsed. B) complex but deeply receptive discourse of aesthetic judgement in the Second Empire.

Aesthetic judgements- missing from the writings of Olympia – present in spasmodic and unlikely form

Paragraph 5

Olympia is a picture of a prostitute: various signs declare that unequivocally.

Olympia's sexuality –laid out for inspection – appeared in a vocabulary of uncleanness, dirt, death, physical corruption and actual bodily harm.

The oddity: None of the discourses had difficulty in including and accepting the prostitute as one of the possible categories of art.

Paragraph 6

It was some transgression of le discours prostitutionnel that was at stake; or rather, since the characterization of the courtisane could not be disentangled from the specification of Woman in general in the 1860s, it was some disturbance in the normal relations between prostitution and femininity.

Paragraph 7

Certainly it ( Olympia)deserves its place there, but the very word indicates the artificiality of the limits we have to inscribe – for description's sake – around our various 'discourses'.

Nude, sexuality revealed, not-revealed, displayed and masked.

Paragraph 8

The critics asked certain questions on Olympia and did not get an answer.

Questions like: what sex is she, or has she? Has she a sex at all? Can it be included within the discourse on Woman/the nude/the prostitute? Can it be modern example of the nude?

Paragraph 9

It is a matter of tracking down, in the writings on Olympia, the appearance of the normal forms of discourse and the points/topics/tropes at which (or around which) they are simply absent, or present in a grossly disturbed state.

Hand of Olympia- shamelessly flexed, improper, form of a toad, dirty, in a state of contraction.

Olympia's whole body- disobedient, unfeminine.

Critics' unease over Olympia's handling of hair and hairlessness. (Bertall's caricature- a triumph- as cat and flowers place in place of the hand).

Paragraph 10

I think it is possible to say that at its first showing Olympia was not given a meaning that was stabilized long enough to provide the framework for any further investigation- for some kind of knowledge, for criticism.

For spectators Olympia failed to establish a relationship with previous forms of representation.

Paragraph 11

That Olympia is arranged in such a way as to invite comparison with the Titan has become a commonplace of criticism in the twentieth century, and a simple charting of the stages of Manet's invention, in preparatory sketches for the work, is sufficient to show how deliberate was the reference back to the prototype.

1865- Olympia twice talked in reference to the greater tradition of European painting ( with Titan and Ravenel).

Paragraph 12

'This Olympia', wrote Amedee Cantaloube in Le Grand Journal, 'sort of female gorilla, grotesque in indiarubber surrounded by black, apes on a bed, in a complete nudity, the horizontal attitude of the Venus of Titan, the right arm rests on the body in the same way, except for the hand which is flexed in a sort of shameless contraction.'

indiarubber; grotesque.

Paragraph 13

For the most part, for almost everyone, the reference back to tradition in Olympia was invisible.

Feminity

Paragraph 14

I have already said that Ravenel's text is the only one in 1865 that could possibly be described as articulate, and somehow appropriate to the matter in hand.

Ravenel's entry on Olympia.

Paragraph 15

Ravenel's interpretation:

Olympia- the scapegoat of the Salon- Each passer-by takes a stone and throws it in her face.

Paragraph 16

Ravenel – it is the achievement which first impresses us, I suppose –breaks the codes of Olympia.

Reference to Baudelaire and Goya.

Paragraph 17

For a reader like Ravenel it(The discovery of Baudelaire) destablises meaning still further since Baudelaire's meanings are so multiple and refractory, so unfixed, so unmanageable, in 1865.
Meaning

Paragraph 18

For the recognition or attribution of class – once again, we are entitled to draw breath at Ravenel's petite faubourienne.

Petite faubourienne : opens to three phrases- a) a working girl from the faubourgs, b) woman from the farthest edges, c) a character out of Eugene Sue's melodramatic novel of the city's lower depths.

Paragraph 19

The identification of class is not a brake on meaning: it is the trigger, once again, of a sequence of connotations which do not add up, which fail to circle back on themselves, declaring their meaning evident and uniform.
free play of the 'signifier'

Paragraph 20

I suppose it will be obvious that my reading of Olympia will be produced as a function of the analysis of its first readings.

'within historical materialism'

Paragraph 21

My reading of Olympia would address the question: what is it in the image which produces or helps produce, the critical silence and uncertainty I have just described?

Olympia's handling of sexuality and its relation to the tradition of the nude.

Paragraph 22

The picture turns, inevitably, on the signs of sexual identity.
odd coexistence of decorum and disgrace.

Paragraph 23

I shall deal with three aspects of the matter here. a) The question of access and address. B) the in-correctness in the drawing of the body; c) the handling of hair and hairlessness.

One of the primary operations of the nude is, to borrow MacCabe's phrase again, 'a placing of the spectator in a position of imaginary knowledge'.

Paragraph 24

In the 1830s, realism had invented a set of refutations of just these placings.
The Bathers.

Paragraph 25

But The Bathers broke the rules of the nude in other ways, which were hardly more subtle, but perhaps more effective.

Paragraph 26

What Olympia contrives is stalemate, a kind of baulked invitation, in which the spectator is given no established place for viewing and identification, nor offered the tokens of exclusion and resistance.

The woman's gaze- asymmetry of the lids – smudged and broken corner of the mouth….

Paragraph 27

(b) what the critics indicated by talk of 'incorrectness' in the drawing of Olympia's body, and a wilder circuit of figures of dislocation and physical deformity, is, I would suggest, the way the body is constructed in two inconsistent graphic modes, which once again are allowed to exist in too perfect and unresolved an equilibrium.

Certain aspects: Olympia's body – emphatically linear; Olympia is too definite, lack of articulation.

Paragraph 28

c) The manipulation of the signs of hair and hairlessness is a delicate matter for a painter of the nude.
Hair let down : decent, sign of Woman's sexuality

Hairlessness: a hallowed convention of the nude, ladies in paintings do not have hair in indecorous places.

Olympia does not entirely break these rules.

Paragraph 29

Olympia's face is framed, mostly, by the brown of a Japanese screen, and the neutrality of that background is one of the things which makes the address and concision of the woman's face all the sharper.

There are two faces, one produced by a ruthless clarity of edge and a pungent certainty of eyes and mouth, and the other less clearly demarcated, opening out into the surrounding spaces.

Paragraph 30

[…] hair , pubic or otherwise, is a detail in Olympia, and should not be promoted unduly.
signs

Paragraph 31

Is there a difference- a difference with immediate, tactical implications- between an allowed, arbitrary and harmless play of the signifier and a kind of play which contributes to a disruption of the smooth functioning of the dominant ideology?

Specific positioning of the body.

Paragraph 32

It is admirable in 1865 for a picture not to situate Woman in the space- the dominated and derealized space – of male fantasy.

In Olympia, there are signs of the depiction of social identity.

Paragraph 33

Let me make what I am saying perfectly clear. Olympia refuses to signify – to be read according to the established codings for the nude, and take her place in the Imaginary.
Imaginary; relations of dominator/dominated, fantasizer/fantasized.

Paragraph 34

The picture would have to construct itself a position- it would be necessarily a complex and elliptical position, but it would have to be readable somehow- within the actual conflict of images and ideologies surrounding the practice of prostitution in 1865.

The shift between petite faubourienne and courtisane

The endless exchange of social and sexual meanings.

Paragraph 35

In the end Olympia lends its peculiar confirmation to the latter structure, the dance of ideology.

Prostitute: an abject, dominant, equivocal and unfixed term.

An act of unsettling the old codes and conventions.

Paragraph 36

I am pointing to the fact that there are always other meanings in any given social space - counter-meanings, alternative orders of meaning, produced by the culture itself, in the clash of classes, ideologies and forms of control.

meanings.

Paragraph 37

A clue to Manet's tactics in 1865, and their limitations, might come if we widened our focus for a moment and looked not just at Olympia but its companion painting in the Salon, The Mocking of Christ.

Purpose of such paintings: to show us the artifice of this familiar repertoire of modern life, and call in question the forms in which the city contrives its own appearance.

art; tradition.

WESTERN ASTHETICS Barbara M. Reise Greenberg and the Group: A Retrospective View

2011-07-28T22:42:00.001+05:30

Shrutika Ghorpade

1124126

Thesis statement: Greenberg's involvement with Marxism gave him a historical sense which committed him to the avant-garde, converted him to 'abstract' art as a revolution against the established American taste for nationalistic narrative paintings and gave him an evolutionary concept of history allowing him to see the 1940's immigration of European artist as historically establishing new York as the artistic centre of the future.

Paragraph1

Topic sentence: "mr. clement Greenberg has been a controversial figures most of his life, a guru to some and a Satan to others.

Supporting sentence: his art criticism- especially on American painting and sculpture after the second world war- has been so intelligent, perspective, biased and influential that everyone concerned with contemporary art seems to take some sort of stand in relation to it.

Idea: introduction to Greenberg-his work- and the reactions to it.

Paragraph 2

Topic sentence: "his previous experiences as editor of partisan review, involvement with Marxist thought, and acquaintance with students of Hohmann prepared him to be a champion of avant-garde painting in journalism which would reach a broad public.

Idea: qualifications and associatiation with important people. Influence of Marxism.

Key word: avant-garde

Paragraph 3

Topic sentence: " …corroborative reference for his championing of young American artists against the dominance of the 'school of paris' in the eyes of artists and taste of the world.

Supporting sentence: it brought together grahams friends and presented Jackson Pollock's work to the public for the first time, with de Kooning's and Krasner's in juxtaposition with paintings of acknowledged French masters like Braque and Picasso

Key word: juxtaposition- to place beside another for comparison.

Paragraph 4

Topic sentence: their work dominated his writing at that time and he seemed only peripherally aware of concurrent activity of other young artists like Rothko, still, merman, baziotes, gottlieb who were more closely involved with the French surrealists than with graham Hofmann circle.

Idea: Pollock and the rest- Greenberg exposed their work to the larger public and made them famous

Key word: championed

Paragraph 5

Topic sentence: when the work of the artist known as the first generation abstract expressionism began to receive international acclaim in the 1950s, the quality and courage of greenberg's insight was recognized as well.

Supporting sentence: his role easily shifted from the alienated critic writing art columns for intellectual magazines to an impresario in the New York art world judged by his commitment to a specific kind of art and respected for his ultimate success.

Idea: growing success of Greenberg

Key phrase: prophet in the New York art world

Paragraph 6

Topic sentence: by mid 1950s greenberg's critical style was clearly different from that of Harold Rosenberg, his chief rival as an interpreter of abstract expressionism.

Idea: Rosenberg-rival of Greenberg-style metaphoric-writing of shared experience- not so much for the public.

Paragraph 7

Topic sentence: the fact that his rival's 1952 label of 'action painting' caught on quickly and misleadingly infuriated Greenberg and the two men began quarreling.

Supporting sentence: greenberg's didactic prose, references to the history of modern art and analysis of the formal properties of exhibited art made his ideas more accessible to critics and the countless art-history and painting students who discovered abstract expressionism in the late 1950s.

Key word: accessible ideas

Paragraph 8

Topic sentence: during the 1960s, the tone of greenberg's criticism changed.

Supporting sentence: in the 1960s it has become more didactic, concerned with philosophy and history, removed from concrete aesthetics encounters, and seemingly sure of its own objectivity.

Supporting sentence: in the 1960s, these penchants rigidified into dogmas: allowing only art which confirmed to greenberg's philosophy of art history to be considered as 'authentic', 'serious'; high' art in his discussions.

Ides: his style changed from passionate to didactic- more philosophical and historically oriented.

Paragraph 9

Topic sentence: this increasingly defensive and academic stance of Greenberg against the subjective nature of aesthetic judgment was begun under the influence of two historical phenomena around 1962: mthe threat to his taste and critical assumption in the success of pop art in the new York art world; and the aesthetic respect for his approach and experience from the American art historical academy establishment.

Paragraph 10

Topic sentence: green berg's failure to predict and inability to discuss or even see this type of art seriously threatened his established position as prophet of future trends.

Supporting sentence: but Greenberg was naturally alienated by its use of representation conceptual with, and source of "low" commercial popular imagery.

Paragraph 11

The irony of hearing a pronouncement on "safe" taste by a man once renowned for the courage of his conviction that Pollock was a master is somewhat lessened by the realization that this taste was "safe" to Greenberg because it was objective as part of the inevitable evolution of history of art.

Paragraph 12

Topic sentence: Bernard Berenson's historiographical vision plans greenberg's art historical form firmly in the 19^th century.

Supporting sentence: since the content of his art history is 20^th century art, some interesting disparities between form and content occur.

Keyword: historiographical vision

Paragraph 13

Topic sentence: the scope of modern art is reduced in greenberg's later writings to a narrow line between impressionism, cubism, late cubism, abstract expressionism and post painterly abstraction.

Supporting sentence: reading only Greenberg one would never know the existence of symbolism, futurism, pop art and mixed media happenings.

Keyword: distorted history.

Paragraph 14:

Topic sentence: this greenbergian distortion of art and history ensures that subjectivity of his evaluations of art no matter how objective he believes his arguments to be.

Supporting sentence: it is no more an objective compliment to be included in his history of modern masters than exclusion is an objective damnation to the realm of Kitch.

Keyword: objectivity

Paragraph 15

Topic sentence: the sad thing is that this fact has not been apparent to greenberg's followers, some of whose writings show blind adherence to his philosophy as if it were a true criterion for qualitative evaluation.

Supporting sentence: the qualitative excellence of being in the forefront of greenberg's progressive modernism is so pervasive an assumption among them that they plot artists' positions like sportscasters describing a horse race.

Paragraph 16

Topic sentence: …respectfully reports Greenberg as saying 'that Lichtenstein has proved that abstraction painting is fashionable again', and forecasts (hopefully) 'the eng of pop art as we know it'.

Supporting sentence: Lichtenstein's change of pictorial references from popular comic and advertising imagery of the 1940s to popular architectural design of the 1930s is interpreted by tillim as a fashionable nostalgia inferior to bonnie and clied

Key word: pop art

Paragraph 17

Topic sentence: Kraus and tillim toll the death knell on artistic styles on the objective basis that the art changed from their own labelled concept of it.

Supporting sentence: their concern with the death of art by art shows an antagonism naturally arising from the conflict between their concept and the lively irreverence of art to it.

Key word: death of art

Paragraph 18

Topic sentence: 'art and object hood' of fried presenting objects in a basically theatrical dialogue with the viewer; his analysis of the work of these 'minimalists' is taken from Greenberg with changed labels.

Key phrase: rigid understanding of art

Paragraph 19

Topic sentence: Greenberg's pronouncements constantly embody insights which, if thought about critically, can provide a structure against which to build one's own artistic vision.

Supporting sentence: the obvious danger of swallowing greenberg's philosophy without criticism of it has done much to render irrelevant the determination of these Greenberg followers to write significantly, originally, and influentially.

Paragraph 20

Topic sentence: Barbara rose and William Rubin have been influenced by greenberg's criticism, both approach art in terms of history, visual form, and style-epochs, but neither limits himself/herself to greenberg's vision of modern art.

Key phrase: critical stand against 'formalists criticism'

Paragraph 21

Topic sentence: critics try to abstract themselves from the hustle of contemporary history to spend more time thinking and feeling about what a particular artistic experience is all about before they begin relating it to anything

Key phrase: we are all critics.

In The Name of Picasso: Rosalind Krauss

2011-07-28T22:25:00.001+05:30

Sangeeta Nath(1124124)
Semester I
Mr. Anil Pinto

In the Name of Picasso: Rosalind Krauss

Thesis Statement: For a painter, life and art allegorise each other,
both caught up equally in the problem of representation.

Paragraph 1:
Topic Sentence: With these two works, we find ourselves looking at two
different universes-and by this he meant different formal as well as
symbolic worlds.
William Rubin-leading Picasso scholar-described two different
universes-formal and symbolic-insisted on this difference-difference
becomes incontrovertible-a real world model-with a different name.

Paragraph 2:
Topic Sentence: The changes in Picasso's art are a direct function of
the turns and twists of the master's private life.
1920's-sordid conditions of Picasso's marriage-his passion for the
somnolent blonde-she was seventeen-was to reign over half dozen years
of his art-Olga and Marie Therese provide-not antithetical moods and
subjects-of the same artist-but function as determinants in a change
in style-Autobiographical Picasso-Rubin was the first to invoke
it-changes in Picasso's art-direct function of the turns and twists of
the master's life-except cubism-his style is inextricable from his
biography.

Paragraph 3:
Topic Sentence: With the Museum of Modern Art's huge Picasso
retrospective (1980) has come a flood of critical and scholarly essays
on Picasso, almost all of them dedicated to 'Art as Autobiography'.
Art as Autobiography-name of a just published book on Picasso-sees his
work as a pictorial response to some stimulus in his personal life-the
same author-accounts to 'prove'-Picasso's decision to go to Paris to
pursue his art-due to his need to exile himself from Spain to escape
his tyrannical mother-provides a delicious but unintended parody of
the Autobiographical Picasso.

Paragraph 4:
Topic Sentence: But prone to parody or not, this argument is upheld by
many respected scholars and is attracting many others.
John Richardson-took up to review Museum of Modern Art
exhibition-agreed with Dora Maar-Picasso's art is a function of
changes in five private forces-his mistress, his house, his poet, his
set of admirers, his dog-Autobiographical Picasso-new to Rubin-his
earlier practice-of ways of understanding art in transpersonal
terms-Rubin's case is instructive-has all account of the personal, the
private, the biographical-a series of proper names of Olga, Marie,
Dora, Francoise, Jacqueline.

Paragraph 5:
Topic Sentence: Unlike allegory, in which a linked and burgeoning
series of names establishes an open-ended set of analogies-there is in
this aesthetics of the proper name a contraction of sense to the
simple task of pointing or labelling, to the act of unequivocal
reference.
Achieving a type of signification beyond which-no further reading or
interpretation-interpretation-must stop somewhere-more absolutely and
appropriately in-positive identification-an individual-a 'key' to an
image-thus the 'meaning' of the image-a singularity-like a name-the
meaning stops within the boundaries of identity.

Paragraph 6:
Topic Sentence: The instance of 'positive identification' that led off
to a last dozen years' march of Picasso studies into the terrain of
biography was the discovery of a major painting of the Blue Period-La
Vie, 1904.
La Vie-contained a portrait of Casagemas-Spanish painter and friend of
Picasso-committed suicide in 1902-till 1967-La Vie interpreted within
the general context of fin-de-siecle allegory-with relevant
comparisons of Gauguin's D'Ou Venons Nous? And munch's Dance of
Life-when a real person is placed as a model for the male figure-the
earlier interpretation could be put aside-picture could be seen as
tableau vivant-dead man torn between two women-one old and one
young-earlier studies showed the male figure as Picasso's self
portraiture-thus the artist's identification with his friend is
evident.

Paragraph 7:
Topic Sentence: The problem with this reading is not that the
identification is wrong, but that its ultimate aesthetic relevance is
yet to be proven or even, given current art-historical fashion,
argued.
Aesthetic relevance-problem is it dissociates the work from all other
aspects-nothing to do with Casagemas and sexually provoked suicide-the
left out fact being-work is located in-highly fluctuating and
ambiguous space-of multiple planes of representation-the setting is an
artist's studio-figures are related to an allegory of painting-Courbet
and Manet say-for a painter-life and art allegorize each other-equally
caught up in the problem of representation.

Paragraph 8:
Topic Sentence: La Vie is after all a narrative painting and this
close examination of its dramatis personae is an understandable
(though in sufficient) response to the work.
Recent study by Linda Nochlin-takes up the question of Picasso's
colour-completely ignored earlier-modernist art-colour would seem set
the furthest possible –this is not true-1912-Nochlin analyses cubist
painting to be grisaille-broken by intrusion of a flat plane striped
in red, white, blue-'Notre avenir…'-inaugurates both the invention of
collage and the opening of cubism to colour.

Paragraph 9:
Topic Sentence: The actual red-white-and-blue tricolore pamphlet that
Picasso depicted in this cubist still life had been issued originally
to promote the development of aviation for military use.
The pamphlet means-French nationalism-its colour bear the name of
Picasso's country.

Paragraph 10:
Topic Sentence: Thus the significance of colour reduces to a name, but
then, in the following example, so does the significance of names.
Robert Rosenblum- 'Picasso and the Typography of Cubism' –proposes to
read the names printed and identify the objects labelled-many
newspapers are named-frequent usage of Le Journal-Rosenblum describes
the name as fractured and the puns released-JOU, JOUR and
URNAL-realism of Picasso's cubist collages-secures-the presence of
actual objects-the new imagery of the modern world.

Paragraph 11:
Topic Sentence: The most recent major addition to the scholarly
inquiry on cubism is Pierre Daix's catalogue raisonne, Picasso:
1907-1916.
Daix-insists on characterizing collage elements as signs-not in a
loose way-but in a way that announces its connection to structural
linguistics.

Paragraph 12:
Topic Sentence: Daix is careful to subdivide the sign into signifier
and signified.
Signifier-affixed collage bit-element of schematic
drawing-signified-referent to the signifier-may not be an
object-rather a free floating property-like a texture-Daix tells
us-cubist collage-exchanges the natural visual world of things-for
artificial and codified language of signs.

Paragraph 13:
Topic Sentence: But there is, nowhere in Daix's exposition, a rigorous
presentation of the concept of sign.
Concept of sign-Daix's manner-easy to convert the issue of collage
sign-to a question of semantics-transparent connection-to a theatre of
a proper name.

Paragraph 14:
Topic Sentence: If we are really going to turn to structural
linguistics for instruction about the operation of the sign we must
bear in mind the two absolute conditions posited by Saussure for the
functioning of the linguistic sign.
Saussure-two conditions-first condition-analysis of signs-relationship
between signifier and signified-signifier a material
constituent-signified an immaterial idea or concept-insists on the
literal meaning of the prefix re-in representation.

Paragraph 15:
Topic Sentence: This grounding of the terms of representation on
absence-the making of absence the very condition of the
representability of the sign-alerts us to the way the notion of the
sign-as-label is a perversion of the operations of the sign.
Representation on absence-representability of the sign-sign as
label-doubles a material presence-by giving it its name-sign-a
function of absence rather than presence-coupling of signifier and
immaterial concept-therefore no referent-no thing at all.

Paragraph 16:
Topic Sentence: This structural condition of absence is essential to
the operations of sign within Picasso's collage.
Picasso's collage-structural condition of absence-is essential-one
example-appearance of two f-shaped violin sound holes-inscribed on the
surface of work-signify the presence of musical instrument-two fs do
not mirror each other-the inscription involves-a vast disparity
between the two letters-one bigger and thicker than the other-simple
but emphatic size difference-Picasso composes the sign-not of
violin-but of foreshortening-this experience of inscription-forms the
status of signs.

Paragraph 17:
Topic Sentence: What Picasso does with these fs to compose a sign of
space as the condition of physical rotation, he does with the
application of newsprint to construct the sign of space as penetrable
or transparent.
Sign of space-penetrable and transparent-perceptual disintegration of
the fine type-a sign of the broken colour-painting represents
atmosphere-thus Picasso inscribes transparency on the collage's
fabric-which is otherwise reified and opaque.

Paragraph 18:
Topic Sentence: The extraordinary contribution of collage is that it
is the first instance within the pictorial arts of anything like a
systematic exploration of the condition sof representability entailed
by the sign.
Formal strategies-developed from collage-first into synthetic-then
late cubism-insistence of figure/ground reversal-continual
transposition between negative and positive form-structure of
signification-no positive sign without negation of material
referent-contribution of collage-systematic exploration of conditions
of representability.

Paragraph 19:
Topic Sentence: The use of word fragments is not the sprinkling of
nicknames on the surfaces of these works, but rather the marking of
the name itself with the condition of incompleteness or absence which
secures for the sign its status as representation.
Notion of absence-preconditions of sign-visible objections-to cubist
collages-use of word fragments-not sprinkling nicknames-rather marking
of the name-status of sign as representation.

Paragraph 20:
Topic Sentence: The declaration of the diacritical nature of the sign
establishes it as a term whose meaning is never an absolute, but
rather a choice from a set of possibilities.
Saussure-second condition-operation of the sign-not on absence as on
difference-'In language there are only differences'-difference
implies-positive terms-but in language-differences without positive
terms-diacritical nature of sign-never an absolute.

Paragraph 21:
Topic Sentence: In analysing the collage elements as a system of
signs, we find not only the operation of absence but also the
systematic play of difference.
Collage-system of signs-operations of absence-and play of
difference-1913-Violin and Fruit-reads as 'transparency' or
'luminosity'-patch of wood grained paper-sign for open form-as opposed
to close form-complex cubist collages-each element
diacritical-instantiating both line and colour-closure and
openness-plane and recession-system of form-not systemised in collage.

Paragraph 22:
Topic Sentence: That form cannot be separated from Picasso's
meditation on the inner workings of the sign.
Form-cannot be separated from the inner workings of the sign-when
operates within the pictorial field-function of formal status-act of
literalisation-opens up the field of collage-to the play of
representation-for supporting ground-the obscured resurfaces in a
miniaturised facsimile.

Paragraph 23:
Topic Sentence: The collage element as a discreet plane is a bounded
figure; but as such it is a figure of a bounded field-a figure of the
very bounded field which it enters the ensemble only to obscure.
Collage elements-perform the occultation of one field-to introject the
figure of a new field-a surface is the image of eradicated
surface-eradication of the original surface-reconstitution of the
figure-collage as a system of signifiers-absence of a master term.

Paragraph 24:
Topic Sentence: The various resources for the visual illusion of
spatial presence becomes the ostentatious subject of the
collage-signs.
Resources of visual illusion of spatial presence-becomes an
ostentatious subject-of collage signs-in writing-they guarantee its
absence-collage-thus is the representation of representation-beyond
the analytic dismemberment-into constituent elements.

Paragraph 25:
Topic Sentence: What collage achieves, then, is a metalanguage of the visual.
Collage-metalanguage of the visual-talks about space without employing
it-can figure the figure through constant superimposition-can speak in
turn of light and shade-through the subterfuge of a written text-as a
system-inaugurates a play of differences-both about and sustained by
an absent origin-fullness of form is grounded-forced impoverishment-a
ground both supplemented and supplanted.

Paragraph 26:
Topic Sentence: it is often said that the genius of collage, its
modernist genius, is that it heightens-not diminishes-the viewer's
experience of the ground.
Genius of collage-heightens viewers experience of the ground-the
ground-forces itself on our perception-but in collage-ground is
literally masked and riven- enters our experience-not as an object of
perception-but as an object of discourse-of representation.

Paragraph 27:
Topic Sentence: It is here we can see the opening of the rift between
collage as a system and modernism proper.
Collage-operates in direct opposition to perceptual plenitude and
unimpeachable self presence-modernism's goal-to objectify the
constituents of a given medium-beginning with the very ground-the
objects of vision-collage problematises the goal-setting up discourse
in place of presence-founded on a buried origin-fuelled by that
absence-the discourse-leads through the maze of polar alternatives of
painting-displayed as a system-this system-never objectified-but only
represented.

Paragraph 28:
Topic Sentence: We are standing now on the threshold of a
postmodernist art, an art of a fully problematised view of
representation, in which to name (represent) an object may not
necessarily be to call it forth, for there may be no (original)
object.
Simulacrum-postmodernist notion of the originless play of the
signifier-structure of post modernism-representational system of
absence-recognised as the contemporaneous alternative to
modernism-Picasso's collage-an extraordinary example of proto history.

Paragraph 29:
Topic Sentence: At the very same moment when Picasso's collage becomes
especially pertinent to the general terms and conditions of
postmodernism, we are witnessing the outbreak of aesthetics of
autobiography, what I have earlier called an art history of the proper
name.
Aesthetics of autobiography-an art of the proper name-finding an exact
referent –is questionable-with regard to art-when applied to Picasso
in particular-is highly objectionable-and to collage-is
grotesque-collage-raises the investigation of the impersonal workings
of pictorial form.

Paragraph 30:
Topic Sentence: The linguistic structure of signs 'speaks' Picasso's
collages and, in the 'signs' burgeoning and transmuting play, sense
may transpire even in the absence of reference.
Daix-in classic collage-stresses on the de personalisation of
Picasso's drawing-use of pre existent and industrialised
elements-language-as per Saussure-is at stake in reference to
readymade and impersonal-a synchronic repertory of terms-into
which-each individual must assimilate himself.

Paragraph 31:
Topic Sentence: The aesthetics of the proper name is erected
specifically on the grave of form.
Aesthetics of proper name-more than a failure-with the structure of
representation-that failure is an extremely serious one.

Paragraph 32:
Topic Sentence: One of the pleasures of form-held at least for a
moment at some distance from reference-is its openness to multitude
imbrications in the work, and thus its hospitableness to polysemy.
Pleasures of form-openness to multitude imbrications-and its
hospitableness to polysemy-determined 'formalists'-glorified in the
ambiguity and multiplicity of reference-made available by the play of
poetic form.

Paragraph 33:
Topic Sentence: For the art historians of the proper name, form has
become so devalued as a term (and suspect as an experience), that it
simply cannot be a resource for meaning.
Rosenblum's simple semantics-does not enrich the forms of cubist
collage-it depletes and impoverishes them-by giving everything a
name-it strips signs of its special modality of meaning-and capacity
to represent-deprecation of the formal-the systematic-is now much more
open-the boredom with form-emblematic of a dismissal-widespread among
historians.