Wednesday, July 28, 2010
I MA Western Aesthetics Questions - On the Texts outside the Coursework
Please post your questions in the comment section below. While posting, first, write the name of the essay along with the author'/s' name/s. Below that write two questions on the essay you are engaging. If you have any clarifications to seek, please post them as well.
I MA Western Aesthetics Questions - On the Texts from the Coursework
Please post your questions in the comment section below. While posting first write the name of the essay along with the author'/s' name/s. Below that write two questions on the essay you are engaging. If you have any clarifications to seek, please post them as well.
Tuesday, July 27, 2010
Call for Papers: National Conference on Communication Skills
Dates: 9-10 August 2010
Organized by Department of Humanities, C.R.Engineering College, Tirupati, Andhra Pradesh
Research papers on the following sub-themes are invited:
1. Effective Listening, Speaking, Writing and Reading
2. Functional English
3. Grammar Teaching- New Methodology
4. Language Learning and Teaching by writing Computer Assisting Software
5. Any other area related to communication skills in English
6. Increasing Employability with Communication Skills
7. Technology Enabled Language Learning.
Contact details:
Professor A Ranganath Jee, HoD-H&S
Email: ranganathprof_avvaru at yahoo.co.
Ms Sai Lakshmi Yadav, Coordinator
Email: sailakshmiyadav at rocketmail.com
Chadalawada Ramanamma Engineering College, Renigunta Road, Tirupati - 517506
Phone: 0 9440373426, 09885032504
Courtesy: ELTeCS
Organized by Department of Humanities, C.R.Engineering College, Tirupati, Andhra Pradesh
Research papers on the following sub-themes are invited:
1. Effective Listening, Speaking, Writing and Reading
2. Functional English
3. Grammar Teaching- New Methodology
4. Language Learning and Teaching by writing Computer Assisting Software
5. Any other area related to communication skills in English
6. Increasing Employability with Communication Skills
7. Technology Enabled Language Learning.
Contact details:
Professor A Ranganath Jee, HoD-H&S
Email: ranganathprof_avvaru at yahoo.co.
Ms Sai Lakshmi Yadav, Coordinator
Email: sailakshmiyadav at rocketmail.com
Chadalawada Ramanamma Engineering College, Renigunta Road, Tirupati - 517506
Phone: 0 9440373426, 09885032504
Courtesy: ELTeCS
National Workshop on Writing up for Thesis and Publications
Dates: 4 & 5 September 2010
Organised by the Department of English, PSG College of Technology, Coimbatore
ELIGIBILITY:
Faculty and Research Scholars from all disciplines of Engineering / Arts and Science / Polytechnic Colleges
REGISTRATION FEE:
Rs. 1,000/- for Faculty
Rs.750/- for Research Scholars
The last date for the receipt of filled - in registration form is 25 August 2010.
Since the entries are restricted to 60, registrations will be on first come, first serve basis.
CONTACT DETAILS:
Dr. S. Chandrakanthi / Ms. R. Kalpana,
Coordinators,
Two - day Workshop on Writing up for Thesis and Publications, Department of English, PSG College of Technology, Peelamedu, Coimbatore - 641 004.
For more details, please visit the websitehttp://www.psgtech.edu/NWO.pdf
Courtesy: ELTeCS
Organised by the Department of English, PSG College of Technology, Coimbatore
ELIGIBILITY:
Faculty and Research Scholars from all disciplines of Engineering / Arts and Science / Polytechnic Colleges
REGISTRATION FEE:
Rs. 1,000/- for Faculty
Rs.750/- for Research Scholars
The last date for the receipt of filled - in registration form is 25 August 2010.
Since the entries are restricted to 60, registrations will be on first come, first serve basis.
CONTACT DETAILS:
Dr. S. Chandrakanthi / Ms. R. Kalpana,
Coordinators,
Two - day Workshop on Writing up for Thesis and Publications, Department of English, PSG College of Technology, Peelamedu, Coimbatore - 641 004.
For more details, please visit the websitehttp://www.psgtech.edu/NWO.pdf
Courtesy: ELTeCS
Call for Papers for Journal of NELTA
First published in 1996, NELTA Journal is a premiere publication of Nepal English Language Teachers' Association (NELTA).
The editorial board would like to invite contributions for the 2010 issue of the journal. 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.
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.
Details of Submission Guidelines and Peer Review Guidelines are available at: http://neltajournal.pbworks.
Deadline: September 30, 2010.
If you have any question, please write to neltajournal at gmail.com
Courtesy: ELTeCS
The editorial board would like to invite contributions for the 2010 issue of the journal. 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.
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.
Details of Submission Guidelines and Peer Review Guidelines are available at: http://neltajournal.pbworks.
Deadline: September 30, 2010.
If you have any question, please write to neltajournal at gmail.com
Courtesy: ELTeCS
Sixth International Seminar on ELT in a Changing World: Innovative Approaches to New Challenges
Dates: 29 & 30 January 2011
Organised by Centre of English Language, Aga Khan University Institute for Educational Development
Abstract Submission
Participants are invited to submit abstracts for their presentations latest by 30 August 2010. Letters of acceptance will be e-mailed to selected speakers by the beginning of October 2010.
Types of Submission:
1. Paper presentation
2. Workshop
3. Poster presentations
For more details on the abstract and presentation, please visit:http://www.aku.edu/events/
Contact information:
Ms Faiza Saleem, Ms Shaista Bano Zaidi
Seminar Coordinators
Centre of English Language
Aga Khan University Institute for Educational Development
1-5/B-VII, F.B. Area, Karimabad, P.O. Box 13688, Karachi-75950, Pakistan
Phone: +92 21 3634 7611-4, 3683 6001-4 Ext: 4258/4259
Fax: +92 21 3634 7616
Email: cel.seminar at aku.edu
Website: www.aku.edu/events/cel2011
Courtesy: ELTeCs
Organised by Centre of English Language, Aga Khan University Institute for Educational Development
Abstract Submission
Participants are invited to submit abstracts for their presentations latest by 30 August 2010. Letters of acceptance will be e-mailed to selected speakers by the beginning of October 2010.
Types of Submission:
1. Paper presentation
2. Workshop
3. Poster presentations
For more details on the abstract and presentation, please visit:http://www.aku.edu/events/
Contact information:
Ms Faiza Saleem, Ms Shaista Bano Zaidi
Seminar Coordinators
Centre of English Language
Aga Khan University Institute for Educational Development
1-5/B-VII, F.B. Area, Karimabad, P.O. Box 13688, Karachi-75950, Pakistan
Phone: +92 21 3634 7611-4, 3683 6001-4 Ext: 4258/4259
Fax: +92 21 3634 7616
Email: cel.seminar at aku.edu
Website: www.aku.edu/events/cel2011
Courtesy: ELTeCs
Sunday, July 25, 2010
Thursday, July 22, 2010
My Bed /Tracey Emin
My Bed by Tracey Emin
http://en.wikipedia.org/wiki/Tracey_Emin
http://www.saatchi-gallery.co.uk/artists/artpages/tracey_emin_my_bed.html
My Bed is a work by the British artist Tracey Emin. It was exhibited at the Tate Gallery in 1999 as one of the shortlisted works for the Turner Prize. It consisted of her bed with bedroom objects in an abject state, and gained much media attention. Although it did not win the prize, its notoriety has persisted.
The artwork generated considerable media furore[1], particularly over the fact that the bedsheets were stained with body secretions and the floor had items from the artist's room (such as condoms, a pair of knickers with menstrual period stains, other detritus, and functional, everyday objects, including a pair of slippers). The bed was presented as it had been when Emin had not got up from it for several days due to suicidal depression brought on by relationship difficulties.[2][3]
Two performance artists, Yuan Chai and Jian Jun Xi, jumped on the bed with bare torsos in order to "improve" the work, which they thought had not gone far enough. They called their performance Two Naked Men Jump Into Tracey's Bed. The men also had a pillow fight[4] on the bed for around fifteen minutes, to applause from the crowd, before being removed by security guards.[1] The artists were detained but no further action was taken.[1] Prior to its Tate Gallery showing, the work had appeared elsewhere, including Japan, where there were variant surroundings, including at one stage a "hangman's noose" hanging over the bed. This was not present when it was displayed at the Tate.[5]
My Bed was bought by Charles Saatchi for £150,000 and displayed as part of the first exhibition when the Saatchi Gallery opened its new premises at County Hall, London (which it has now vacated). Saatchi also installed the bed in a dedicated room in his own home.
Craig Brown wrote a satirical piece about My Bed for Private Eye entitled My Turd. Emin's former boyfriend, former Stuckist artist Billy Childish, stated that he also had an old bed of hers in the shed which he would make available for £20,000.
courtesy : Wikipedia
http://en.wikipedia.org/wiki/Tracey_Emin
http://www.saatchi-gallery.co.uk/artists/artpages/tracey_emin_my_bed.html
My Bed is a work by the British artist Tracey Emin. It was exhibited at the Tate Gallery in 1999 as one of the shortlisted works for the Turner Prize. It consisted of her bed with bedroom objects in an abject state, and gained much media attention. Although it did not win the prize, its notoriety has persisted.
The artwork generated considerable media furore[1], particularly over the fact that the bedsheets were stained with body secretions and the floor had items from the artist's room (such as condoms, a pair of knickers with menstrual period stains, other detritus, and functional, everyday objects, including a pair of slippers). The bed was presented as it had been when Emin had not got up from it for several days due to suicidal depression brought on by relationship difficulties.[2][3]
Two performance artists, Yuan Chai and Jian Jun Xi, jumped on the bed with bare torsos in order to "improve" the work, which they thought had not gone far enough. They called their performance Two Naked Men Jump Into Tracey's Bed. The men also had a pillow fight[4] on the bed for around fifteen minutes, to applause from the crowd, before being removed by security guards.[1] The artists were detained but no further action was taken.[1] Prior to its Tate Gallery showing, the work had appeared elsewhere, including Japan, where there were variant surroundings, including at one stage a "hangman's noose" hanging over the bed. This was not present when it was displayed at the Tate.[5]
My Bed was bought by Charles Saatchi for £150,000 and displayed as part of the first exhibition when the Saatchi Gallery opened its new premises at County Hall, London (which it has now vacated). Saatchi also installed the bed in a dedicated room in his own home.
Craig Brown wrote a satirical piece about My Bed for Private Eye entitled My Turd. Emin's former boyfriend, former Stuckist artist Billy Childish, stated that he also had an old bed of hers in the shed which he would make available for £20,000.
courtesy : Wikipedia
Suggested Readings for MA Previous/ Marcel Duchamp
For 'Fountain' by Marcel Duchamp;
http://en.wikipedia.org/wiki/Marcel_Duchamp
http://en.wikipedia.org/wiki/Fountain_(Duchamp)
Marcel Duchamp (1887-1968), the painter and mixed media artist, was associated with Cubism, Dadaism and Surrealism, though he avoided any alliances. Duchamp’s work is characterized by its humor, the variety and unconventionality of its media, and its incessant probing of the boundaries of art. His legacy includes the insight that art can be about ideas instead of worldly things, a revolutionary notion that would resonate with later generations of artists.
Duchamp’s most notorious readymade was a manufactured urinal entitled Fountain. Conceived for a show promoting avant-garde art, Fountain took advantage of the show’s lack of juried panels, which invariably excluded forward-looking artists.
Under a pseudonym, “R. Mutt,” Duchamp submitted Fountain. It was a prank, meant to taunt his avant-garde peers. For some of the show’s organizers this was too much — was the artist equating modern art with a toilet fixture? — and Fountain was “misplaced” for the duration of the exhibition. It disappeared soon thereafter.
As surely as it was a prank, Fountain was also, like the other readymades, a calculated attack on the most basic conventions of art. Duchamp defended the piece in an unsigned article in The Blind Man, a one-shot magazine published by his friend Beatrice Wood. To the charge that Fountain was mere plagiarism, “a plain piece of plumbing,” he replied “Whether Mr. Mutt with his own hands made the fountain or not has no importance. He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view — created a new thought for that object.”
At the time, almost nobody understood what Duchamp was talking about. But fifty years later everyday objects would be commonplace in art.
http://en.wikipedia.org/wiki/Marcel_Duchamp
http://en.wikipedia.org/wiki/Fountain_(Duchamp)
Marcel Duchamp (1887-1968), the painter and mixed media artist, was associated with Cubism, Dadaism and Surrealism, though he avoided any alliances. Duchamp’s work is characterized by its humor, the variety and unconventionality of its media, and its incessant probing of the boundaries of art. His legacy includes the insight that art can be about ideas instead of worldly things, a revolutionary notion that would resonate with later generations of artists.
Duchamp’s most notorious readymade was a manufactured urinal entitled Fountain. Conceived for a show promoting avant-garde art, Fountain took advantage of the show’s lack of juried panels, which invariably excluded forward-looking artists.
Under a pseudonym, “R. Mutt,” Duchamp submitted Fountain. It was a prank, meant to taunt his avant-garde peers. For some of the show’s organizers this was too much — was the artist equating modern art with a toilet fixture? — and Fountain was “misplaced” for the duration of the exhibition. It disappeared soon thereafter.
As surely as it was a prank, Fountain was also, like the other readymades, a calculated attack on the most basic conventions of art. Duchamp defended the piece in an unsigned article in The Blind Man, a one-shot magazine published by his friend Beatrice Wood. To the charge that Fountain was mere plagiarism, “a plain piece of plumbing,” he replied “Whether Mr. Mutt with his own hands made the fountain or not has no importance. He CHOSE it. He took an ordinary article of life, placed it so that its useful significance disappeared under the new title and point of view — created a new thought for that object.”
At the time, almost nobody understood what Duchamp was talking about. But fifty years later everyday objects would be commonplace in art.
Freudian analysis. MA Previous.
Class notes as on 8th July, 2010
Freud basically talked about the id, ego and the super ego. To get into some piece of detail let us look back to what Lacan who pointed out that since birth mankind is polymorphous and all that they desire is the pleasure principle.This desire is thereby sought through the mother. Can we then say that man by nature and conception is therefore incestuous?
According to Freud, both boys and girls realise at a young age that they cannot hold authority over their mother since she is legally, physically, emotionally possessed by the father who is all standing authority. In case of the boys this was referred to as the Oedipal complex which was followed by the castration complex. By this time, say, when the boy is approximately fourteen years of age he looks outside home for an alternative mother figure thereby becoming an exogamous heterosexual.
Similar is the case with young girls who cannot at their age differentiate between the clitoris and the penis. On realisation that they actually do not have one they become wary with their mothers for not having given them one. At this juncture quite like the boys, the girls too get attracted to their fathers. However, on coming to terms with the mother's authority and right over the father, the girl seeks a father figure outside home and hence, exogamous and heterosexual. The feminists however convert the lack (of a penis) to the advantage of possessing a womb. A feminist backlash to the core which places men (as in the gender) into the position of lacking something (the womb).
It is coming to terms which actually subordinates the pleasure principle to the reality principle.( If this is not done, one would actually be looking out for pleasures of the body and hence no work done.)
Freud says however that not everybody reaches this stage of proper subordination and therefore it is the repressed desire that form the unconcious.This also represents itself in the form of Freudian slips. The psychopathology of everyday life!
It is good to see that at no juncture is Freud critical of people.
Writing as per Freud is interestingly neurosis where the repressed desires are put down on paper.
For more on Freud, refer: a) Civilization and its Discontents b) Interpretation of Dreams and c)Three Essays on the Theory of Sexuality
Pinto, Anil. Class lecture.On Freud.Christ University. Bangalore, India. 8 July 2010. Lecture.
Freud basically talked about the id, ego and the super ego. To get into some piece of detail let us look back to what Lacan who pointed out that since birth mankind is polymorphous and all that they desire is the pleasure principle.This desire is thereby sought through the mother. Can we then say that man by nature and conception is therefore incestuous?
According to Freud, both boys and girls realise at a young age that they cannot hold authority over their mother since she is legally, physically, emotionally possessed by the father who is all standing authority. In case of the boys this was referred to as the Oedipal complex which was followed by the castration complex. By this time, say, when the boy is approximately fourteen years of age he looks outside home for an alternative mother figure thereby becoming an exogamous heterosexual.
Similar is the case with young girls who cannot at their age differentiate between the clitoris and the penis. On realisation that they actually do not have one they become wary with their mothers for not having given them one. At this juncture quite like the boys, the girls too get attracted to their fathers. However, on coming to terms with the mother's authority and right over the father, the girl seeks a father figure outside home and hence, exogamous and heterosexual. The feminists however convert the lack (of a penis) to the advantage of possessing a womb. A feminist backlash to the core which places men (as in the gender) into the position of lacking something (the womb).
It is coming to terms which actually subordinates the pleasure principle to the reality principle.( If this is not done, one would actually be looking out for pleasures of the body and hence no work done.)
Freud says however that not everybody reaches this stage of proper subordination and therefore it is the repressed desire that form the unconcious.This also represents itself in the form of Freudian slips. The psychopathology of everyday life!
It is good to see that at no juncture is Freud critical of people.
Writing as per Freud is interestingly neurosis where the repressed desires are put down on paper.
For more on Freud, refer: a) Civilization and its Discontents b) Interpretation of Dreams and c)Three Essays on the Theory of Sexuality
Pinto, Anil. Class lecture.On Freud.Christ University. Bangalore, India. 8 July 2010. Lecture.
Wednesday, July 21, 2010
Aesthetics and the Individual
7th July, 2010.
MA Previous
The concept of aesthetic was talked about because of the existence of the individual that is to say, one would talk of it only because there is an individual who has been sanctioned since everybody cannot do everything.Precisely,an individual can make, has genius, can create and simultaneously can plan his destiny as well as other's.In the meantime he gets what is basically identified as life source that is monetary gains.
The idea of the individual is only six hundred years old. For an understanding of the concepts refer:
Dogma of Christ by Erich Fromm.
Myth of the Individual by Ian Watt
Idea of the Individual as in the Norton Critical Edition of Robinson Crusoe.
However, it is very interesting to look at what Freud's stand is on this concept. Freud interestingly denied the entire idea of the individual and thought of them as subjects- acted upon and manipulated. Edmund Husserl's argument that we are all products of subjective apparatus was coupled by his coinage of the word 'inter subjective' in 1917.Meaning to say, whatever one feels- pain or pleasure (not just one's own but also of others that an individual is capable of evoking) becomes inter subjective.There is also this lack of choice and the choices we talk about are not really choices in the first place. For instance, you can only choose to be in the class or outside. There essentially is no third option which proves the fact that we are constantly being subjected with even temporal realities working on it all at the same time.
Also, not to forget is the idea of pleasure principle versus the reality principle.
In short all what we have discussed till now are:
a) Notion of the aesthetic and the idea of the individual.
b) Intellectual pre history of modern day notion of art and aesthetics.
c) Colonial legacy of geographical/cultural aesthetic categories.
Pinto, Anil. Class lecture.Aesthetic and the Individual.Christ University. Bangalore, India. 07 July 2010. Lecture.
MA Previous
The concept of aesthetic was talked about because of the existence of the individual that is to say, one would talk of it only because there is an individual who has been sanctioned since everybody cannot do everything.Precisely,an individual can make, has genius, can create and simultaneously can plan his destiny as well as other's.In the meantime he gets what is basically identified as life source that is monetary gains.
The idea of the individual is only six hundred years old. For an understanding of the concepts refer:
Dogma of Christ by Erich Fromm.
Myth of the Individual by Ian Watt
Idea of the Individual as in the Norton Critical Edition of Robinson Crusoe.
However, it is very interesting to look at what Freud's stand is on this concept. Freud interestingly denied the entire idea of the individual and thought of them as subjects- acted upon and manipulated. Edmund Husserl's argument that we are all products of subjective apparatus was coupled by his coinage of the word 'inter subjective' in 1917.Meaning to say, whatever one feels- pain or pleasure (not just one's own but also of others that an individual is capable of evoking) becomes inter subjective.There is also this lack of choice and the choices we talk about are not really choices in the first place. For instance, you can only choose to be in the class or outside. There essentially is no third option which proves the fact that we are constantly being subjected with even temporal realities working on it all at the same time.
Also, not to forget is the idea of pleasure principle versus the reality principle.
In short all what we have discussed till now are:
a) Notion of the aesthetic and the idea of the individual.
b) Intellectual pre history of modern day notion of art and aesthetics.
c) Colonial legacy of geographical/cultural aesthetic categories.
Pinto, Anil. Class lecture.Aesthetic and the Individual.Christ University. Bangalore, India. 07 July 2010. Lecture.
Visuals/ Hustle and Flow.
7th June 2010.
MA PREVIOUS
One man's struggle to rise above his circumstances prompts him to try a career in music in this acclaimed drama from writer and director Craig Brewer. Djay (Terrence Howard) is a low-level pimp and drug dealer who scraped together a living in the ghettos of Memphis, TN. Djay isn't happy with his life, and the realization that he's reached the same age when his father unexpectedly died has made him start thinking about changing his ways. Djay has always had a gift for spinning stories, and after picking up a cheap keyboard, he begins picking out beats to go along with his rhymes. After bumping into an old high-school buddy who works in gospel music, Key (Anthony Anderson), Djay decided to take the plunge and remake himself as a rapper. With the technical know-how of Key and the musical input of a local beat maker named Shelby (DJ Qualls), Djay begins turning his way with words and his first-hand knowledge of the street life into music, as his two live-in girlfriends, Lexus (Paula Jai Parker) and Shug (Taraji P.Henson), add their musical input and emotional support and Nola (Taryn Manning) continues to turn tricks to pay the bills. When local boy-turned-nationwide hip-hop star Skinny Black (Ludacris) comes to town to pay a visit to Arnel (Isaac Hayes), a club owner friendly with Djay, he sees an opportunity to put his demo in the hands of someone who can bring his music to the masses, though it turns out to be far more difficult than he expected.
Keep hustling..keep flowing...! and thats not all that keeps you glued. The cinema is in the real and as crude as it can get in an environment as is portrayed. Even the technicalities were marvellous with the focus on tighter, closer frames which makes it absolutely difficult and challenging for the actors because the expressions are under constant review where the scene is crammed.
Interestingly there is no background score either!Its either only the music that is composed then and there or the background in a bar which does not make it as superficial as other prime time cinemas can get to be.
From another perspective, it is about people. The age of innocence is over and the anti-social realm is held in close observation where everything flows in a vicious circle until the protagonist dares to break this circle of crude emotions.Skinny Black mutilates DJay's records but the chain breaks there when the latter agrees to listen to the records of the cops in the jail. The systems that fall into place with Nola who initially was a passive call girl takes charge and apparently brings about a notable movement in the movie and brings out DJay in the music market against all odds. It makes you think not only about costumes and appeal but cinematography, music, acting and thought.
As the man says : Everybody gotta have a dream!!
MA PREVIOUS
One man's struggle to rise above his circumstances prompts him to try a career in music in this acclaimed drama from writer and director Craig Brewer. Djay (Terrence Howard) is a low-level pimp and drug dealer who scraped together a living in the ghettos of Memphis, TN. Djay isn't happy with his life, and the realization that he's reached the same age when his father unexpectedly died has made him start thinking about changing his ways. Djay has always had a gift for spinning stories, and after picking up a cheap keyboard, he begins picking out beats to go along with his rhymes. After bumping into an old high-school buddy who works in gospel music, Key (Anthony Anderson), Djay decided to take the plunge and remake himself as a rapper. With the technical know-how of Key and the musical input of a local beat maker named Shelby (DJ Qualls), Djay begins turning his way with words and his first-hand knowledge of the street life into music, as his two live-in girlfriends, Lexus (Paula Jai Parker) and Shug (Taraji P.Henson), add their musical input and emotional support and Nola (Taryn Manning) continues to turn tricks to pay the bills. When local boy-turned-nationwide hip-hop star Skinny Black (Ludacris) comes to town to pay a visit to Arnel (Isaac Hayes), a club owner friendly with Djay, he sees an opportunity to put his demo in the hands of someone who can bring his music to the masses, though it turns out to be far more difficult than he expected.
Keep hustling..keep flowing...! and thats not all that keeps you glued. The cinema is in the real and as crude as it can get in an environment as is portrayed. Even the technicalities were marvellous with the focus on tighter, closer frames which makes it absolutely difficult and challenging for the actors because the expressions are under constant review where the scene is crammed.
Interestingly there is no background score either!Its either only the music that is composed then and there or the background in a bar which does not make it as superficial as other prime time cinemas can get to be.
From another perspective, it is about people. The age of innocence is over and the anti-social realm is held in close observation where everything flows in a vicious circle until the protagonist dares to break this circle of crude emotions.Skinny Black mutilates DJay's records but the chain breaks there when the latter agrees to listen to the records of the cops in the jail. The systems that fall into place with Nola who initially was a passive call girl takes charge and apparently brings about a notable movement in the movie and brings out DJay in the music market against all odds. It makes you think not only about costumes and appeal but cinematography, music, acting and thought.
As the man says : Everybody gotta have a dream!!
Sunday, July 18, 2010
V Semester Literary theory class notes 5: Syntagm and paradigm
28 June 2010
Starters
Syntagm and paradigm
Syn- in Greek means together
Syntagm is in any sign system (language), sign system can be language, cricket match,
All sign systems have their syntagmatic and paradigmatic relationships.
Because in any language or sign system the key word is relationships and minus that there is no language. Each sign makes means something in relation with another sign in a system, outside which it makes no sense.
Syntagmatic relationships
· Are horizontal relationships
· Occur together
· Are irreducible
· Mutually exclusive
For example,
A dog ate a cat
You can mutually replace dog with cat. You cannot replace A with dog or vice versa, but they are put together.
Therefore they occur together but are irreducible. It will no more make sense. They are syntagmatic.
A dog ate a cat.
The dog ate a cat.
Some dog ate a cat.
Look at this relationship. A, The and some are replaceable, the sentence is still meaningful. They are mutually
inclusive. Remember the story of Oedipus Rex, the story can be read across or up-down.
Or take the example of stories ‘Snow White’ and ‘Cinderella’, there is a princess, stepmother, prince. And there can be
seen a syntagmatic and paradigmatic relationship among them.
This can be found in a lot of other places. For example go to a hotel and ask for the menu. It will be something like
this,
For example,
A dog ate a cat
You can mutually replace dog with cat. You cannot replace A with dog or vice versa, but they are put together.
Therefore they occur together but are irreducible. It will no more make sense. They are syntagmatic.
A dog ate a cat.
The dog ate a cat.
Some dog ate a cat.
Look at this relationship. A, The and some are replaceable, the sentence is still meaningful. They are mutually
inclusive. Remember the story of Oedipus Rex, the story can be read across or up-down.
Or take the example of stories ‘Snow White’ and ‘Cinderella’, there is a princess, stepmother, prince. And there can be
seen a syntagmatic and paradigmatic relationship among them.
This can be found in a lot of other places. For example go to a hotel and ask for the menu. It will be something like
this,
Starters
-
-
-
Main course
· Mutton
1. Mutton biryani
2. Mutton curry
· Chicken
-
-
-
· Bread
-
-
-
· Rice
-
-
Dessert
-
-
-
So now here we see that the order of starters main course and dessert is a syntagmatic relationship. You cannot replace one with the other. You do not have dessert first and then the main course, at least normally we don’t.
But among starters you can have anything in any order. This is known as the paradigmatic relationship.
Now the point here is that, this, what we have applied in food can be applied to anything.
This kind of paradigmatic structure, and syntagmatic structure can also be seen in different cultures, organizations, even in clothing patterns.
Pinto, Anil. Class lecture. Introduction to Literary Theory. Christ University. Bangalore, India. 28 June 2010. Lecture.
Pinto, Anil. Class lecture. Introduction to Literary Theory. Christ University. Bangalore, India. 28 June 2010. Lecture.
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