Appunti Hemingway, Fitzgerald, Faulkner, Appunti di Letteratura Angloamericana

Scarica Appunti Hemingway, Fitzgerald, Faulkner e più Appunti in PDF di Letteratura Angloamericana solo su Docsity! LEZIONE 3 Hemingway wrote 2 letters to his friend Dos Passos. Both of them wrote about the war. Stories (In Our Times) composed in different times, then put together. We identify clusters. This book is like the muesli and the stories are clusters. MICRO – MACRO DINAMISMO – STATICITà – chimica transformation BEFORE – AFTER (jesus..jesus..jesus) TRAGEDY – COMEDY HOMECOMING STALENESS Background ≠ foreground (what is really the story about?) PAPER STRUCTURE – THEME and VARIATION Useful analytical structures for the paper. Logica della sostituzione in CUTTING RAIN. Intense emotions you feel during war are not sustainable (lied to the sound and the fury). World War I. War atrocities. Bacon frie typical frie of american breakfast. His curbs looks = il grasso che si era sciolto si sta indurendo. Vita a casa VS vita di azione in battaglia. Dal dinamismo della guerra alla staticità. Pane è stale – raffermo. Naturalization of rain, paini is natural just like rain. Fried bacon becomes stale. Chemical transformation ?. Hemingway choose to kill himself. Ellen is the sister who asks her brother if she can come and watch him playing basketball. ERA OF THE BEGINNING OF CINEMA – WRITING NARRATIVE – EXPERIMENTING. Ellen plays basketball. Basketball is also the game of life. Connections between them are very tight. The fear is a superficial way to put them together. Chapter 7 – “the first matter […] the second matter […]crazy drunk […] you can’t add more than three incompetent mattators”. Bullfight. Combination of TRAGEDY and COMEDY in Hemingway. Classic situation in which we don’t if we should laugh or cry. Moby Dick is the King Lear of American Literature, tragedy even if there are also ironic elements. Mrs. And Ms. Elliot. Letter – “as you will see i’ve rivisited Mrs. And Ms. Elliot story […]”. Diffamation through a book. Elliot american poet best known for the poem the Westland. Vivienne was so crazy, she had mental health problems. Painful end of the marriage. Legal action – change of the spelling in T.S. Elliot. Happy ending – lesbian relationship but in real life she had an affaire with Bertrand Russel (french philosopher). Triangulation – Mrs. Elliot, Ms. Elliot and her girlfriend. He drinks white wine. Lesbian relationship – light element in the tragedy. Being a lesbian in the 20s wasn’t a really easy thing. Hemingway was kind a misogynist. Gertrude Stein (butch) and Alice B Toklas. He was probably thinking to this lesbian couple, a very happy couple. But he added the tragic element. In the film of Allen Gertrude Stein is like a mentor for Hemingway. Model of happy long-lasting relationship – he uses this element to produce a tragic-comedy effect. A tragedy that doesn’t happen. Comedy and farse. He remains at that level where tragedy and comedy meet each other.. Chapter 10 - Idea of the LOGICAL SUBSTITUTION. Last twist. Kind of remisture. H. is more interested in comedy than tragedy different from Aris who gives tragedy an higher status, and talks about commedy in few lines. Emotional proximity between tragedy and comedy, not naturally given but pointed out by the writer. Picador and Mattador. The mat. Is who actually kills the bull, Picador in on foot and weakens the bull, stabben him. Substitution with horses. Entrails coming out. Ritualised practice. No thematic continuty between chap. 10 and cutting the rain. Cutting the rain si svolge in Italia. The cut is a look for s/t else – i’m not happy, at least i want a cut (substitution). No happiness in the elliot marriage. Chap. 9 – very violent episode. I WANT A CUT, I WANT A CUT. The emotional support to the wife is not given by her husband, the hotel gives it to her. LEZIONE 4 – LAM The lack of emotional satisfaction and resolution. Emotional space in H. Chap. 12 – bullfighting “When he started to kill […] they became one”, direct contact between the matador and the bull, zooming out/in. Becoming one – an approach to life. It’s all about the way he perceives emotions. Sense of frustration, desire of being beyond the place (we can see it also in From the bells tolls). The moment when Pedro kills the bull. Bullfighting – metaphore of life and war. He and the bull being one. THE BIG TWO-HEARTED RIVER Haunting, fishing – H. often tells about them. Metaphor of the discomfort caused by the War, just like the bullfighting. Trauma comes over and over again in the aftermath. Zooming in/out. There will be no degradation in life if you have a good death (same preoccupation of FTBT). H. is a very adfermative writer, he retells the story one more time. gonna happening. Women in a balloon. Darker elements added to the lighter and aetherial environment. Jeanne Duval, Baudelaire’s mistress, declined – sound, visual field that carries noise just like the glimpse of Daisy and Jordan Baker in the Baloon. House party – curious conversation about driving a car, passagge “I’m careful. No you’re not”. Non accountability i san important trait about the social environment. The accident is a foreshadowing of what is gonna happen in the end. Car accidents were very common at the time. Gatsby takes Daisy home, passage “when we left New York […] back”, F. is saying she is a bad driver, be careful in the assignment of blame. The way people drive is a very revealing element about charachters’ personalaties. Jordan Baker is negligent. Mia Farrow, not guilty but lucky, she isn’t able to deal with situations. Nick and Gatsby, they both took part in WWI, very sensitive (the way Nick describes Daisy’s voice). Daisy described in an abstract way. Gatsby – described in psichological details, like a sismograph. Passage “fading light even in the course of that evening” quality of sound. Nick has a deep relation to daisy’s voice as well as Gatsby. Gatsby “Her voice is full of money” gingles, golden girl. Goldness of Daisy. Woman driven by the search of richness. An age of miracle but underwritten in the other age of miracle of gold (Fitzgerald). Gilded age (da gilding, doratura) più che golden age – Mark Twain. Anti- capitalism. Nick and Gatsby – captured by Daisy’s voice. When the sound estinguishes, the novel is coming to an end. Passage “Daisy and Tom were sitting each other..”. Myrtle and Gatsby linked together, the want to destroy the marriage which survives. Sound being estinguished by Gatsby, telephone, he is waiting for a call from Daisy but no telephone message arrives. Nick survives because he doesn’t care. Hemin. And Fitz. Different in the way they write but we have logical substitution in both of them (Picador scene/family history of Nick Carraway – this passage seems to be separated from the rest of the novel but actually it isn’t). Nick and Gatsby – different in illusion and disenchantment, Gatsby is an idealist, colossal vitality of the illusion ≠ Nick is a realist. Passage “J.Baker was incurably dishonest…”, Nick does a comparable analytical operation on J. Baker, just like the one done on Daisy. Auditory and visual. LIBRO SU COME SCRIVERE UN PAPER https://www.pdfdrive.com/academic-writing-from-paragraph-to-essay- d12836704.html CORSO DI SCRITTURA https://www.coursera.org/learn/getting-started-with-essay-writing https://www.coursera.org/learn/getting-started-with-essay-writing? specialization=academic-english Getting Started with Essay Writing Offered by University of California, Irvine. Course 2: Getting Started with Essay Writing This is the second course in the Academic English: Writing specialization. By introducing you to three ty... www.coursera.org LEZIONE 8 Technique of not being able of finishing the sentences (Benji but also Quentin), fragmentary syntax. Crumble of sensations (?). Caddy always says what Benji cannot say. Testicles – they are gone. People mentally retarded who get castreted, metaphore for the lost of Caddy. Faulkner is very empathic in the way he portrays Benji. Connection between B. and C., F. substitition is related to tenderness, empathy. Golden age of innocence. Smooth bright shapes, sconforting shapes. F. provides to give tenderness to this character abandoned by everyone. SECTION OF QUENTIN Disturbato, pensieri suicidi, blow up, zooming in. Tempo per Benji (non ha cordinate temporali, assente) e tempo per Quentin (ossessione, distorto). Romanzo che ha radici nel sud ma respiro internazionale. It is the same story told 4 times with different narrative techniques and perspectives. Theme and variation. Notion of kinship. The two bro can’t bear the loss of innocence of C. 3 analytic registers, in what way the two are kin: 1. They live in the USA after the Civil War 2. Traumatic loss of Caddy 3. Incomplete syntax in their way of speaking, importance of the sense of smell (she smells like trees) 4. Both of them are the weak link in the relationship with black people Race Relations – black people have future, the society of Benji, Quentin etc. has no future. Dielsey and Luster are the only two figures who help Benji. Quentin window. College. Black people are more adjust to understand the world. Benji is white but he does belong to the black world. He is rejected by his family, he is not accepted, his name is changed. Conversation with the DEACON He is a black man in Massachussets. Story – what does it mean being a black man in massachussets. He moved to the Northward. Historical background – the Great Migration (1910- 70) occurred when slavery was abolished and afro-americans moved from the South to the north- east and Mid-west (paint by Jacob Lawrence). Besides the conversation between Q. and the deacon, another crucial event occurs between them: letter to Shrive (university mate), dialogue with the deacon. Quentin is intelligent but he isn’t able to adapt to the North. Quentin will die. I conferr to your wishes (concessione). The deacon has more agency than Quentin. Faulkner is writing not only the future of race but also of USA. Not only biographical migration but also psychological. They are also similar on the sensory level: the loss of innocence of Caddy. The bellows and cries are the weapons to hold back Caddy. The two bro have different outcomes. Sister – for Benji is safeness, for Quentin (forse ispirato a fatto vero il suo suicidio nel fiume) it has many more meanings. Breakdown of syntax for both of them. Quentine doesn’t speak in complete senteces when he is agitated. Blowing up in details. INTERSECTION BETWEEN GATSBY and QUENTIN Intense love for the object of desire. For Quentin is possession, for Gatsby it isn’t. Caddy is a very fleeting presence. Little italian girl that he call sister. Italics. Every woman encountered by Q. is contaminated by Caddy PERMUTATION of the term sister, logical association: The little italian girl – surreal character, De Chirico. The loss of virginity is so dramatic to Quentin, it is related to time “..over and over.. into the palm”. It refers to Caddy being pregnant. For Q. is a tragedy, for Caddy it is not. Quentin will never have the experience of sex and love, excepted for his sister. Love object impossible to obtein. The little italian girl – we see her instead of Caddy in Q. section. Substitution, permutations. Passage, strange description of the kid. Conflation of the two sisters, difference between Benji and Quentin. In Benji’s part his sister cannot wash herself. Dirt, filth, guilt transferred also to the description of the little girl (way of seeing women, contamination by the loss of sexual innocence, every single woman is going to carry some bad attribute of contamination). Another permutation, passage : ‘’oblivious for a long while… you might see Jesus walking like ‘’. The end of the Q. section – intertestual references to the cantico dei cantici. Relationship between death and water – washing away, cleaning. Whole semantic field rather than just a world. Committing SUICIDE – metaphorical meaning. I’m going to be gone (Caddy) – 1. to go somewhere else ; 2. to kill yourself. Tragedy. PAPER Thesis statement > first paragraph Leggi parti del libro che ha caricato Paragrafo – unità logica che contiene un solo main topic. LEZIONE 10 Jason – stream of consciousness più comprensibile. Non c’è breakdown syntax. Dinamico. Film – to have and have not, cerca. C’è Humphrey Bogart e Lorraine Bacall. Libro del ’44. Nagano seminar in Japan – same story but in different time. Battle of time. Fine sezione Benji, atemporale, finisce con nota piacevole, sensazione olfattiva. Time and sensations are connected. Temporary – bad word ever. His own tragedy (Caddy loosing her virginity). To avoid the temporarity of the tragedy he kills himself. Sense of deva station, fear. JASON SECTION Similarities with his brothers: - He has his own battle with time, the society is changing, much bigger picture of the USA (the yesterday and the tomorrow). In the yesterday his family was at the top of society but the presenti sa capitalism, battle within yesterday and tomorrow (Machbeth). The automobile – civility, social distinction, vehicle that to some exstent facilitate or complicate social sit. Raymond Williams (Marxism and literature) – KNOWVABLE COMMUNITY, in any given time there is a cultural setting with dominant com., residual dom. and emergent parts of any cultural group. Culture is the result of the tension among these cultural forces. Jason has 2 different people who is complaining about : - Relatives - Strangers Everybody wants to kid him, ha manie di persecuzione, psicotico. LEZIONE 11 Knowable/unknowable communities – Raymond Williams, The country and the city. Anche comparazioni. Storico della cultura marxista. Jason section : a battle between yesterday and tomorrow, battle with the automobile, he can’t stand the smell of gasoline. He always complains, about everything. A drammar (salesman), a bigger world than the one in which we saw Benji and Quentin. Cultural development from country to cities. The knowable community becomes a utopia. Jason structute of injury. Two passages which demonstrate how he is still in a knowable community and others the unknowable community. Jason – very short attention span. Temporary è tragedia di sua sorella, cristallizza il tempo uccidendo se stesso, si suicida. Jason he cannot hold on to his complain. Proverbs crystalize universal statements – once a bitch, always a bitch. He ha san aspiration to permanence. Complaining is a pleasurable activity for Jason, he takes pleasure in complaining. Smell of gasoline, terrible headache. Sa tutto di tutti, Knowable community. 1. Jefferson Mississipi, 2,3. BREAKDOWN WITHE KNOWABLE COMMUNITIES New York city becomes his punto di riferimento. Si lamenta della borsa di New York. Si lamenta dei soldati mandati a combattere in altri stati in Nicaragua. Degas, Fench Jewish banker. Lamentela nei confronti degli ebrei. Antisemitismo. Loro fregano. Michael Gold scrive Jews without money. Per abbattere stereotipo. Jason è complice in realtà del mondo di cui si lamenta. Obsessed with Western union. He is a small investor. Si lamenta che non arrivano i telegrammi da New York da parte della borsa. Main relationship in his life is with money. Il singolo schiacciato. County sacche – sempliciotto di campagna. Storia scritta quattro volte perché non gli andava mai bene. LEZIONE 12 No Caddy in the 4th. Part 4 – omniscent narrator, no first person (Dilsey), thematic accent on collectivity that now are black people. Malcolm Cauley – big fan of Faulkner. Portable edition is done just for big classics, like Faulkner. Appendix – key to the novel, written 20 yrs later. Caddy’s just exist through the eyes of her brothers. Vichy, the librarian. Dilsey. Essi resisterono. THEY ENDURE – maybe cross-racial WE (underlined assumption). FRANZ BOAS – non esiste relazione fra aspetto fisico e caratteri negativi. Caratteristiche non insite nell’essere umano ma inerenti all’ambiente. Human types. 1911 – smentisce principio secondo il quale these types are stable and trasportati in un altro ambiente non cambiano. Caratteristiche fisiche e psicologiche non assimilabili. No permanent social type, no psychological, no genetic type. Anachronistic word for that period but it is a way to understand it. Boas afferma questo prima ancora che sia provato dalla scienza, genetica. Fitzgerald – all possibile permutations of social types. MLA SAMPLE PAPER https://owl.purdue.edu/owl/research_and_citation/mla_style/mla_formatting_and_style_guide/ mla_sample_paper.html LEZIONE 14 (02.12) White trash – nonostante si tratti di gente bianca, si tratta di gente con livello molto basso (es. ragazzona Zen quattordicenne incinta). Non è razzista e neppure classista, sessista e bugiardo invece si. Abbiamo sia commedia che tragedia. Tragedia classica con soggetti white trash. Classical allusion – Ulysses (book 11 Odissea). As I lay dying – rif. ad Agamennone che parla della crudeltà di Clitemnestra. Clitemnestra torna anche in Light in August. Riprendi storia di Ifigenia. Comincia a scrivere AS I LAY DYING il giorno dopo del crush del mercato finanziario. Si concentra col rumore della dynamo. Era operaio e lavorava anche di notte. Very steady house. Sharecropper – sb who doesn’t own a land. 2 more theories. - Michail Michajlovic Bachtin – teorie sul romanzo. Ricerca. Multiple voices/languages. Ciò che abbiamo visto per Fitzgerald con i tipi. Qui però i tipi sono definiti dal loro linguaggio. Anche teoria dei generi sociali? (vedi) - Frank Keremode – 1979, The genesis of Secrecy: on the interpretation of narrative – metareading, bible. Classifying dialogues into 2 headings: 1. Shortened – abbreviazioni, linguaggio come ritratto di sottogruppo della popolazione; 2. recognizable speech – errore, qualcosa al posto di really; Cora (personaggio, vicina di casa) parla delle uova, avevano comprato i polli migliori (investimento) ma adesso i polli sono stati mangiati e lei deve rimediare alla cosa. Poi non vende la torta, la gente ricca può permettersi di cambiare idea e non comprarla più, loro invece no, ci vuole responsabilità al 100 %, qualunque cosa ricade su di loro. Psychologically redeming qlcs. Siamo in società protestante (i poveri sono visti come gente fallimentare, colpa loro). Quindi i poveri cercano di essere resilienti. Siamo nella crisi del ’29. Sypathetical and critical portraits of poor whites. Cora is the deviation, she is the starting point, poi anche altri si prendono proprie responsabilità. 2 segreti (figlia incinta, madre ha avuto alcuni figli da relazione extraconiugale). Short-term secret – figlia incinta. Addie sta morendo, tutti devono andare dal loro agglomerato di case fino al town. Motivo per andare a Jackson è apparentemente seppellire la madre, in realtà ciascuno ha motivazione più o meno segreta per andare lì. Lei dice, se alla fine della linea il suo sacco è pieno di cotone, abbortirà, in caso contrario no. Quote “..and I could no help it..and i knew, he knew..”. Conversazioni con gli occhi. Lot of hatred in this family. LEZIONE 15 (03.12) Personal quest dei personaggi in As I lay dying. Opening paragraph of As I lay dying. Henry James. William James. He is experimenting consciousness, with the point of view. The idea of omniscent narrator is questioned by H.James (what if the ON has a limited voice/point of view ?). Limited consciusness of the narrator, Darl. Big part of the modernism in terms of experimentation. Hatred, violence are unmistakable. Nel suo sviluppo la narrazione genera segreti (Kermode). Caratteristica della narrativa modernista. Narratore onnisciente ma anche elemento attivo della narrazione. Portrait of 3 brothers told on the standpoint of the sister (processo inverso a ciò che avviene in The Sound and the Fury). J. Is not keen to us, he doesn’t care for the rest of us. He is the one who can make a real income for the family, he wants to make a coffin for his mother. Darl is a very skilled labour and artisan. Social dialect cannot capture the sociological reality (Bachtin). S/t special about Darl. Vardemom is an adolescent. Specific specimen, voice « and it is dark … ». The identities of J. and .. are interfused. Human and not human – accoppiamento animale/uomo tipico dell’epica anche in Faulkner. Genesis of AS I LAY DYING “As I lay dying the woman with the dog eyes’…”. Epic journey, mock-heroic, on a small scall. It takes adv. On 2 epic conventions : 1. Hearing the voices of dead (Agamennone/Addie/Dante). 2. Consciounsess while dead of Addie just like in Dante or Odyssey, no boundaries between humans and non humans. Vardemom and the passage immediately after. Horses beaten, they run away. Unrelated scattering of compons. We don’t know when the human ends and the animal begins. My mother is a fish (Vardemom). Other conventions are broke up. Homer, moments in which men are like animals : 1. uomini maiali – trasformati da Circe. Dante fa una cosa simile. Association between sinner and punishment, antecedent of the importance of snakes. Animal imagery. 2. Ciclopi – not quite human but close enough. Vuole essere sicuro che appena le pecore lasciano la gabbia non scappino. Cross-species identification. Kinship in a physical but also psychological level between sheeps and humans. Anche in Dante abbiamo uomini animalizzati. Cerbero trasforma uomini in animali o alberi. 3. AS I LAY DYING: Pesce – madre, galline – Cora, cavallo – J., muli – campi, avvoltoio (vulture, hawk) e serpente. Mixture of ingredients. Paper – focusing on minor characters. Mule – quote « when I looked back to my mule .. ». I muli sono il coro che vede il disastro. Rhetorical representation of the poor white – defenseless but basic non aggressive, not true here. So much hatred (important emotional bound in a small and isolated community) here. Jewel and his brothers, kinship. Envy, sense of expectation of death. Jewel identifies both with snakes and horses (passage, « so many flames.. », scene of the horse). Backward reference to another animal (snake). These animals are not that alike. Scattered representation of the horse. Transcendent kind of motion, constant motion. Fragmentation of a body in motion. La rappresentazione si rompe nelle sue parti. Ambigous relation bw Jewel and the horse – most important creature to J. but no affection there. F. is suggesting that J. is sneaky, emotional bound that comes from snakes, hatred. Secrecy narrative, no social dialect. The bull and the mattator have become one here.