Critic Declan Kiberd has defined his mission in the interpretation of Irish and British literature as a "concern to trace the links between high art and popular expression in the decades before and after (Irish national) independence, and to situate revered masterpieces in the wider social context out of which they came” (Inventing Ireland, 1995, p. 3).
In his lecture at Woodbury H.S. in October 2008, Dr. Kiberd shared a view that past colonial masters – Britain, Portugal, and Holland, for example – had served, in effect, as parents to their own colonies, even as each subject colony – e.g., America, Brazil, or South Africa – had functioned as a child, inheriting its parents’ traits and values, including language and literature.
Postcolonial literary critics occupy themselves with the “before and after” of colonial rule. Likely candidates for postcolonial study, therefore, are literary texts that portray colonial or postcolonial figures: characters who struggle to come to terms with their lives, even as a surrounding community struggles to break or defy the bonds of colonial obligation.
The Scarlet Letter, by Nathaniel Hawthorne (1850), is set in America’s colonial heyday, the mid-1600s; yet critics persistently note that the retrospective novel may be viewed as a moral compass for post-colonial America, shedding light on certain successes and failures in the ensuing American experiment. Successes include the experience of the novel's steadfast heroine, Hester Prynne, whose heart “vibrates to the iron string” of self-reliance in the Emersonian sense of individuality and imagination (“Self-Reliance,” by R.W. Emerson, 1848). The strong-willed Hester outwits and outlasts the Crown-appointed masters of Puritan Boston in much the same way the Massachusetts Bay Colony subsequently defied and transcended the imposition of British rule.
American failures stated or implied in Hawthorne's catalogue include failures to suffer pangs of conscience regarding the treatment of slaves, Native Americans, and not least of all, women. Hester Prynne’s liberation is won at a high cost to her self-esteem. Her admonition to “be true” encourages women of all generations, including American women of the 1850s, to stand up for themselves when they have no voting rights, or when they have few rights with respect to property ownership, or, in many American states (including the freshly declared state of Minnesota), precious-few rights to maintain professional lives outside the home.
In all these respects, both positive and negative, it is interesting to read Hester’s ‘A’ as a letter that might stand for America. Postcolonial critics are alert to such readings; furthermore, as Dr. Kiberd plainly notes, it is natural for postcolonial critics to join their readings with those of the New Historicism. Kiberd’s first published volume, Men and Feminism in Modern Literature (MacMillan, 1985), also suggests - even as the present essay does - that an alliance between postcolonial and feminist theory might shed light on certain novels, poems and plays. ~ PRB
Questions Frequently Asked by postcolonial literary critics:
When does the action of this novel or play occur? Does this date coincide in any way with the colonial status of nations involved in the book's setting?
Do the lives of the characters in any way mirror a rupture or rite of passage that occurs between or among the nations involved?
Do the values of a dominant culture -- customs, laws, economy, or relgion -- affect the characters' decisions as they prosecute their lives in a subservient territory or culture?
Is there a "new world" in the book -- utopian, realistic, historical, or otherwise -- and in what ways is life in a new world characterized, especially in relation to the influences of older worlds or societies?
Noteworthy Postcolonial Literary Critics:
Edward Said; Gayatri Spivak; Henry Louis Gates, Jr.; Declan Kiberd; and many others.
Saturday, March 13, 2010
Thursday, March 11, 2010
A Prospective Feminist Interrogation of The Great Gatsby, by F. Scott Fitzgerald (1925)
Characters under consideration:
Daisy Buchanan ~ daughter of “old money” in Louisville; married to Tom B.
Jordan Baker ~ professional athlete in the national spotlight; from Louisville; dishonest.
Myrtle Wilson ~ address: Valley of Ashes; Tom’s mistress; mutilated victim in a vehicular homicide
Catherine ~ sister of Myrtle; (a prostitute?); an alcoholic; a desperate person...
Twins in Yellow Dresses ~ girls who beg the question: WHAT ARE FLAPPERS? I.e., Are they heroines? Are they loose women? Are they, as Nick suggests, “innocent”? Are they great dancers? Are they alcoholics? Are they gritty survivors?
...and let's not forget the various men who, by turns, woo them, win them, lose them, kill them, buy them, sell them, worship them... the list goes on.
Questions to ponder as we re-read Gatsby in a feminist lens :
Are women the victims of abuse? (And does abuse occur because of the victims’ gender? Or, does abuse ever occur for reasons unrelated to gender?)
Are women ever treated well? (And if so, what motives are responsible for the fair or just or luxurious or pampered treatment of women?)
Does Fitzgerald portray women in the Jazz Age as powerful characters, or as powerless ones??
What details does Fitzgerald invoke (i.e., through Nick’s descriptions) as he portrays female characters? Consider the minutiae of hair, clothing, make-up, shoes, et al.; HOWEVER, do not overlook the decisions made by women. As we see in plays like Oedipus the King and Hamlet, it is action, above all, that defines character and integrity.
PUBLISHED LITERARY CRITICS REPRESENTING FEMINIST THEORIES & SCHOOLS OF THOUGHT:
Elaine Showalter, Sandra Gilbert, Susan Gubar, Carolyn Heilbrun, Annette Kolodny, Nancy Miller, Lillian Robinson, Declan Kiberd, Deborah E. McDowell.
(n.b. This list is only meant to be representative; it is by no means intended to be exclusive or comprehensive! There are many others!)
Daisy Buchanan ~ daughter of “old money” in Louisville; married to Tom B.
Jordan Baker ~ professional athlete in the national spotlight; from Louisville; dishonest.
Myrtle Wilson ~ address: Valley of Ashes; Tom’s mistress; mutilated victim in a vehicular homicide
Catherine ~ sister of Myrtle; (a prostitute?); an alcoholic; a desperate person...
Twins in Yellow Dresses ~ girls who beg the question: WHAT ARE FLAPPERS? I.e., Are they heroines? Are they loose women? Are they, as Nick suggests, “innocent”? Are they great dancers? Are they alcoholics? Are they gritty survivors?
...and let's not forget the various men who, by turns, woo them, win them, lose them, kill them, buy them, sell them, worship them... the list goes on.
Questions to ponder as we re-read Gatsby in a feminist lens :
Are women the victims of abuse? (And does abuse occur because of the victims’ gender? Or, does abuse ever occur for reasons unrelated to gender?)
Are women ever treated well? (And if so, what motives are responsible for the fair or just or luxurious or pampered treatment of women?)
Does Fitzgerald portray women in the Jazz Age as powerful characters, or as powerless ones??
What details does Fitzgerald invoke (i.e., through Nick’s descriptions) as he portrays female characters? Consider the minutiae of hair, clothing, make-up, shoes, et al.; HOWEVER, do not overlook the decisions made by women. As we see in plays like Oedipus the King and Hamlet, it is action, above all, that defines character and integrity.
PUBLISHED LITERARY CRITICS REPRESENTING FEMINIST THEORIES & SCHOOLS OF THOUGHT:
Elaine Showalter, Sandra Gilbert, Susan Gubar, Carolyn Heilbrun, Annette Kolodny, Nancy Miller, Lillian Robinson, Declan Kiberd, Deborah E. McDowell.
(n.b. This list is only meant to be representative; it is by no means intended to be exclusive or comprehensive! There are many others!)
Suggested Outline for the Lit. Analysis w/ Research paper
Paragraph 1.
Grab the reader’s attention with something important from the book – or, at the very least, from the author’s viewpoint – one that provokes, surprises, or imposes demands. Next, give a preview: “roll tape” and screen a trailer of what’s to come. Last but not least, deliver a reliable thesis statement:
Sample thesis statement for this paper:
As literary critics have made efforts to note, the artistic unity of _______________ (novel/play) derives coherency from ________________________ (a feature of New Critical analysis) and from ____________________ (another feature of New Critical analysis); these, in turn, promote ____________’s (author’s) ends and means, as readers can plainly see using the “lens” of ____________________ (school of literary criticism), to dwell on such issue(s) as ________________________.
Still another sample thesis statement:
The _________________ (political fervor; the passionate ideals) of _______________ (author) are dramatically expressed by_____________ (NC feature 1), ____________________ (NC feature 2) and ___________________ (another NC feature3); however, the philosophical focus of _________________ (title of novel/play) lacks force or completion unless it is viewed through the (prism/lens/perspective, et al.) of ________________________ (school of literary criticism), a view that amplifies ____________ (author's) ultimate purposes.
Still another prototypical thesis statement:
________________ (novel/play) runs the risk of distracting readers with its (NC literary features of) _____________________, _____________________ and ______________________ as vehicles for _________________’s (author’s) convictions about ____________ (theme, issue, question, or concern); however, for a more full and accurate understanding of , ___________________ (novel/play), readers would do well to turn to _______________________ (name of a lens #2), for a thoughtful explanation of __________ (issue, theme, crisis, ambiguity, etc.).
Or... allow your imagination to be your guide!!! The more personal your approach, the more authentic the essay is likely to become.
Next, devote six or seven paragraphs to matters of stylistic unity: that is, the NC question: "How does the work hang together?" Cite passages from your book, and involve your critics in the conversation!!
Paragraph 2
A literary quality or feature that helps it to hang together. Insert a textual citation to prove your point, and do some close reading. New Critic.
Paragraph 3
Another literary quality or feature that helps it to hang together. Insert a textual citation to prove your point, and do some close reading. Different New Critic.
Paragraph 4
Another literary quality or feature that helps it to hang together. Insert a textual citation to prove your point, and do some close reading. Critic.
Paragraph 5
Discuss some over-arching literary feature that provides “glue” to the whole book. Include the words of a second critic – one who either agrees or disagrees with you regarding this third literary feature. Discuss your agreement or disagreement.
Paragraph 6
A perhaps a critic who disagrees with you overall. Discuss your agreement or disagreement. Rebut!!
Paragraph 7: Summary and transition.
Summarize what you have observed with respect to the aesthetic unity of your book. Then begin a transition to your work with a second lens. Perhaps you can talk about what is not achieved or not understood via the New Critical approach, indicating the need for a new perspective.
Paragraph 8 (Lens #2 discussion begins)
Introduce readers to your concept of Lens #2. Reassure readers that this lens – along with all the preceding will help him or her to understand that _________________________(novel/play) deals more forcefully with ______________________________ (issue or question in the book) far better than he or she would have understood otherwise, absent any knowledge of _______________________(Lens #2).
Paragraph 9
Explain in simple terms how ___________________ (Lens 2) helps to explain an important aspect of this novel or play. Ideally, you can point back to moments from the book discussed in the paragraphs above.
Paragraph 10
Invoke the words of a Lens #2 critic for support with this contention, providing an ample quotation from this critic for support. Discuss.
Paragraph 11.
Explain in simple terms how _________________________ (Lens 2) explains another important aspect of this novel or play. Use support from a second Lens #2 critic for support on this question, providing an ample quotation from the work of this critic.
Paragraph 12
Here, you might discuss parallels between your book and the work of other works discussed by Lens #2 critics. For example, if you are using a feminist perspective on The Bluest Eye, by Toni Morrison, what do the feminist critics say about other books by Toni Morrison? And how do feminist themes in The Bluest Eye have echoes in other TM works? // A different strategy for this paragraph might be to connect your book to some issue that we face in the world – e.g., the Election, the financial crisis, global warming. What parallels to these issues occur in your book, and how do Lens 2 critics help to clarify such parallels.
Paragraph 13
Now we are winding down. Provoke, yet also reassure. Raise questions. What questions have not been resolved in your essay, or by your critics? Become more philosophical now. You are near the end. You have worked hard, so you can don a gray beard of wisdom & philosophy.
Paragraph 14
Wrap it up. Review the main connections between Paragraph 1 and Paragraph 8, doing your best to prove that your contentions about (I.) artistic beauty and (II.) political, social, economic, historical, gender, linguistic, or psychological theory go hand in hand in order to achieve a thorough understanding of your book or play.
...and
That’s a wrap.
Grab the reader’s attention with something important from the book – or, at the very least, from the author’s viewpoint – one that provokes, surprises, or imposes demands. Next, give a preview: “roll tape” and screen a trailer of what’s to come. Last but not least, deliver a reliable thesis statement:
Sample thesis statement for this paper:
As literary critics have made efforts to note, the artistic unity of _______________ (novel/play) derives coherency from ________________________ (a feature of New Critical analysis) and from ____________________ (another feature of New Critical analysis); these, in turn, promote ____________’s (author’s) ends and means, as readers can plainly see using the “lens” of ____________________ (school of literary criticism), to dwell on such issue(s) as ________________________.
Still another sample thesis statement:
The _________________ (political fervor; the passionate ideals) of _______________ (author) are dramatically expressed by_____________ (NC feature 1), ____________________ (NC feature 2) and ___________________ (another NC feature3); however, the philosophical focus of _________________ (title of novel/play) lacks force or completion unless it is viewed through the (prism/lens/perspective, et al.) of ________________________ (school of literary criticism), a view that amplifies ____________ (author's) ultimate purposes.
Still another prototypical thesis statement:
________________ (novel/play) runs the risk of distracting readers with its (NC literary features of) _____________________, _____________________ and ______________________ as vehicles for _________________’s (author’s) convictions about ____________ (theme, issue, question, or concern); however, for a more full and accurate understanding of , ___________________ (novel/play), readers would do well to turn to _______________________ (name of a lens #2), for a thoughtful explanation of __________ (issue, theme, crisis, ambiguity, etc.).
Or... allow your imagination to be your guide!!! The more personal your approach, the more authentic the essay is likely to become.
Next, devote six or seven paragraphs to matters of stylistic unity: that is, the NC question: "How does the work hang together?" Cite passages from your book, and involve your critics in the conversation!!
Paragraph 2
A literary quality or feature that helps it to hang together. Insert a textual citation to prove your point, and do some close reading. New Critic.
Paragraph 3
Another literary quality or feature that helps it to hang together. Insert a textual citation to prove your point, and do some close reading. Different New Critic.
Paragraph 4
Another literary quality or feature that helps it to hang together. Insert a textual citation to prove your point, and do some close reading. Critic.
Paragraph 5
Discuss some over-arching literary feature that provides “glue” to the whole book. Include the words of a second critic – one who either agrees or disagrees with you regarding this third literary feature. Discuss your agreement or disagreement.
Paragraph 6
A perhaps a critic who disagrees with you overall. Discuss your agreement or disagreement. Rebut!!
Paragraph 7: Summary and transition.
Summarize what you have observed with respect to the aesthetic unity of your book. Then begin a transition to your work with a second lens. Perhaps you can talk about what is not achieved or not understood via the New Critical approach, indicating the need for a new perspective.
Paragraph 8 (Lens #2 discussion begins)
Introduce readers to your concept of Lens #2. Reassure readers that this lens – along with all the preceding will help him or her to understand that _________________________(novel/play) deals more forcefully with ______________________________ (issue or question in the book) far better than he or she would have understood otherwise, absent any knowledge of _______________________(Lens #2).
Paragraph 9
Explain in simple terms how ___________________ (Lens 2) helps to explain an important aspect of this novel or play. Ideally, you can point back to moments from the book discussed in the paragraphs above.
Paragraph 10
Invoke the words of a Lens #2 critic for support with this contention, providing an ample quotation from this critic for support. Discuss.
Paragraph 11.
Explain in simple terms how _________________________ (Lens 2) explains another important aspect of this novel or play. Use support from a second Lens #2 critic for support on this question, providing an ample quotation from the work of this critic.
Paragraph 12
Here, you might discuss parallels between your book and the work of other works discussed by Lens #2 critics. For example, if you are using a feminist perspective on The Bluest Eye, by Toni Morrison, what do the feminist critics say about other books by Toni Morrison? And how do feminist themes in The Bluest Eye have echoes in other TM works? // A different strategy for this paragraph might be to connect your book to some issue that we face in the world – e.g., the Election, the financial crisis, global warming. What parallels to these issues occur in your book, and how do Lens 2 critics help to clarify such parallels.
Paragraph 13
Now we are winding down. Provoke, yet also reassure. Raise questions. What questions have not been resolved in your essay, or by your critics? Become more philosophical now. You are near the end. You have worked hard, so you can don a gray beard of wisdom & philosophy.
Paragraph 14
Wrap it up. Review the main connections between Paragraph 1 and Paragraph 8, doing your best to prove that your contentions about (I.) artistic beauty and (II.) political, social, economic, historical, gender, linguistic, or psychological theory go hand in hand in order to achieve a thorough understanding of your book or play.
...and
That’s a wrap.
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