60 Matching Annotations
  1. Mar 2024
  2. Jun 2022
    1. ME: What exactly is the genre of this book? Is it a scholarly edition, is it a coffee table book? When I was putting it together, my thought was that it could be both of those things and more. That it could show us how those genre categories are insufficient or can be transcended to offer the reader something like an education: a pleasurable education, both historic and aesthetic, within the covers of a single book object.

      The edition as a pleasurable education. An aesthetic education, perhaps?

    2. doing what most annotators do not

      What is it that most annotators do not?

    3. It’s interesting that you explain editing as a response to domestic work. Because, sometimes, universities (more on my side of the Atlantic than on your side) tend to frame editing as a feminized service work. It’s caring for the text, cleaning it up, setting the table for the real literary-critical event.

      What does this mean? What is Price saying about the feminized nature of editorial labour?

    4. The beauty of doing an annotated edition was that I could inhabit many different kinds of scholarly and nonscholarly personae

      What are these personae?

    1. classification

      What is the classification principle?

    2. transformation principl

      What is the transformation principle?

    3. threat

      Why is "youth" chosen as the "symbolic form" of modernity?

    4. Virtuallywithout notice, in the dreams and nightmares of the so called'double revolution', Europe plunges into modernity, but withoutpossessing a culture of modernity. If youth, therefore, achieves itssymbolic centrality, and the 'great narrative' of the Bildungsromancornes into being, this is because Europe has to attach a meaning,not so mueh to youth, as to modernity

      What does this mean, do you think? What is Moretti saying here?

  3. Nov 2021
    1. Air

      There has been romance, but it has been the romance of pirates and outlaws. The natural graces of life do not show themselves under such conditions. There are no people there in the true sense of the word, with a character and purpose of their own. Froude, The Bow of Ulysses

  4. Sep 2021
  5. Jun 2021
  6. Nov 2020
    1. Cultural literacy, in Bayard’s view, depends upon the ways we inhabit reading and not reading together and the blurry area between the two where diverse means of establishing contexts for books allow reasonably intelligent people to participate in meaningful conversations about them.

      What does it mean to "inhabit reading and not reading together"?

    2. canonical fraction

      What is the "canonical fraction"?

    1. main claim
      • characterization is used to reflect the relationship b/t humans and natural world. Anne is a prominent example.
      • nature is reflected in characters.
    1. II

      How does Walcott go about representing or evoking the physical/material world in this section of the poem?

    2. Chapter I

      Why, in Omeros, does Walcott choose fishermen as his central characters? What possibilities does this choice afford? On the other hand, what limitations does it impose?

    3. I do not know what the name means. It means something, maybe. What's the difference? In the world I come from we accept the sounds we were given. Men, trees, water.

      Remember Shabine in The Schooner Flight: if we live like the names our masters please, we may become men. What is the gist of the conversation that follows between Afolabe and Achille? What is Afolabe saying?

      And what does Achille's name mean, in any case - anything?

    4. Touchez-i, encore:

      What's going on with this French/creole French in the text? Why does Walcott do this, do you think?

    5. III

      Consider this episode. What is narrated? How does this poetry differ from what we have encountered before - from Milton, from Wordsworth, from Oodgeroo, from Van Neerven, from Graham, etc (for example)?

    6. Abou

      What is the metre of these lines? Why do you think Walcott chose this verse form? What are its affordances?

    7. The slit pods of its eyes ripened in a pause that lasted for centuries,

      This seems interesting. What does it mean for the eye of the iguana to ripen in a pause that lasts centuries?

    8. Although srnoke forgets the earth from which it ascends,

      Why this image of smoke/what does it mean?

    1. There has been roma11ce, but it has been the ronumce of pirates and outlaws. The natural graces of life do not show themselves under such conditions. There are no people there in the true sense of the word, with a character and purpose of their own.

      What's the significance of the epigraph, do you think?

    2. eaves not the lightest fern-trace of his fossil to be cultured by black rock

      What is this referring to? What does "cultured" mean here?

    3. milling air,

      What do we make of this verb/gerund: "milling"?

    4. those hot jaws, like an oven steaming, were open to genocide;

      What do we make of this image?

    5. Long

      And what about its grammar? How does grammar operate in this poem?

    6. unheard

      Why unheard?

    7. The

      In the lecture, I discussed metre a little - the hexameters of Omeros and Kamau Brathwaite's claim that the pentameter is the natural rhythm of English poetry. What is the metre of this poem?



  7. Oct 2020
    1. “It was a young boy I used to know,” she answered, “named Michael Furey. He used to sing that song, The Lass of Aughrim. He was very delicate.”

      Here the sense of nostalgia for an authentic Irish folk identity, located in a traditional pastoral world, is mapped onto personal nostalgia for a lost love

    2. O, the rain falls on my heavy locks And the dew wets my skin, My babe lies cold....

      Irish folk song

    3. We are met here as friends, in the spirit of good-fellowship, as colleagues, also to a certain extent, in the true spirit of camaraderie, and as the guests of—what shall I call them?—the Three Graces of the Dublin musical world.”

      Gabriel's clichéd line - which he pretends to give impromptu

    4. Listening tonight to the names of all those great singers of the past it seemed to me, I must confess, that we were living in a less spacious age. Those days might, without exaggeration, be called spacious days: and if they are gone beyond recall let us hope, at least, that in gatherings such as this we shall still speak of them with pride and affection, still cherish in our hearts the memory of those dead and gone great ones whose fame the world will not willingly let die.”

      The spacious past

    5. “For me,” said Aunt Kate, who had been picking a bone, “there was only one tenor. To please me, I mean. But I suppose none of you ever heard of him.” “Who was he, Miss Morkan?” asked Mr Bartell D’Arcy politely. “His name,” said Aunt Kate, “was Parkinson. I heard him when he was in his prime and I think he had then the purest tenor voice that was ever put into a man’s throat.” “Strange,” said Mr Bartell D’Arcy. “I never even heard of him.” “Yes, yes, Miss Morkan is right,” said Mr Browne. “I remember hearing of old Parkinson but he’s too far back for me.” “A beautiful pure sweet mellow English tenor,” said Aunt Kate with enthusiasm.
    6. “In London, Paris, Milan,” said Mr Bartell D’Arcy warmly. “I suppose Caruso, for example, is quite as good, if not better than any of the men you have mentioned.”


    7. Nobody answered this question and Mary Jane led the table back to the legitimate opera. One of her pupils had given her a pass for Mignon. Of course it was very fine, she said, but it made her think of poor Georgina Burns. Mr Browne could go back farther still, to the old Italian companies that used to come to Dublin—Tietjens, Ilma de Murzka, Campanini, the great Trebelli, Giuglini, Ravelli, Aramburo. Those were the days, he said, when there was something like singing to be heard in Dublin. He told too of how the top gallery of the old Royal used to be packed night after night, of how one night an Italian tenor had sung five encores to Let me like a Soldier fall, introducing a high C every time, and of how the gallery boys would sometimes in their enthusiasm unyoke the horses from the carriage of some great prima donna and pull her themselves through the streets to her hotel. Why did they never play the grand old operas now, he asked, Dinorah, Lucrezia Borgia? Because they could not get the voices to sing them: that was why.


    8. “Beannacht libh,” cried Miss Ivors, with a laugh, as she ran down the staircase.

      Irish cultural revival

    9. It was that of an old song of Aunt Julia’s—Arrayed for the Bridal.


    10. They were fussy, that was all. But the only thing they would not stand was back answers.

      This feels like Lily's FID or perhaps the Misses Morkan's.

    11. the best of everything: diamond-bone sirloins, three-shilling tea and the best bottled stout

      "best of everything" must indicate the point of view of the Morkan sisters or some other local observer, as these items wouldn't be universally or objectively considered to represent the "best of everything"

    12. the dark gaunt house

      This seems like a different, more authoritative and eloquent voice than the one to which we attribute "It was always a great affair".

    1. Writing a paper on fiction in 9 steps

      These steps are for writing essays on fiction - which here basically means novels. However, most of the advice here also applies to writing about poetry (and many poems, of course, can be classified as fiction).

    2. 5. Make an extended list of evidence

      Notice how many of the steps happen before you actually start writing! This is where the night-before essay writing strategy really breaks down.

    3. It might be helpful at this point to jot down all the elements of the text that have some bearing on the two or three topics that seem most promising.

      This can help with choosing one of the topics from the list provided.

    4. A problem, on the other hand, is something that bugs you or that doesn’t seem to add up. For example, a character might act in some way that’s unaccountable, a narrator may leave out what we think is important information (or may focus on something that seems trivial), or a narrator or character may offer an explanation that doesn’t seem to make sense to us.

      When we read "Lycidas", we talked a bit about how the poem contains multiple voices and many readers have found it incoherent or contradictory for this reason. This would be one example of a problem that an essay could explore - Stanley Fish's essay "Lycidas: A Poem Finally Anonymous" takes this problem for its starting point.

      Daisy Miller might be another text that invites this approach: we definitely are left in the dark about some key information, like Daisy's real thoughts or motives.

  8. Sep 2020
    1. What does it mean to describe an art work so that another viewer, reader, or listener will recognize this as a just aesthetic description?

      What does this mean? Is it a reasonable goal for literary criticism? Why/why not?

    2. The first rule of thumb is that no significant component can be left out of consideration.

      This rule needs to be qualified in light of the limited word count for this task! Perhaps, you should look for the most significant components.

    3. it is deeply inductive

      What does "inductive" mean? Why does Vendler emphasise this quality here?

    4. The aim of an aesthetic criticism is to describe the art work in such a way that it cannot be confused with any other art work (not an easy task), and to infer from its elements the aesthetic that might generate this unique configuration.

      This sentence is quoted in the close reading task description.

      Is it true that this is "not an easy task"?

    5. Critics who see interpretation as their raison d'être fundamentally regard the art work as an allegory: somewhere under the surface (as in a biblical parable) there lies a hidden meaning which it is the critic's responsibility (as it was the exegete's duty) to reveal. Such an ultimate disregard for “surface” in favor of a presumed “depth” goes absurdly counter to the primary sensuous claim of every work of art, the claim made precisely by its “surface” (these words, these notes, and no others).

      What do "surface" and "depth" mean when we're talking about literature?

  9. Jun 2019
    1. The Pangolin

      This is the 1936 text of "The Pangolin". You can find the 1967 version under supplementary texts.

  10. May 2019
  11. Feb 2019