Pols Final Notes PDF

11.11 SURREALISM: ** Salvador Dali: Time is fluid, attention to clocks Modern time that is fragmented and measured. We are constantly rushing. “Outer edge of modernism” → That is pushed to a slightly different area. Not a symbolic painting, it feels personal. ** Subj...

11.11 SURREALISM: ** Salvador Dali: Time is fluid, attention to clocks Modern time that is fragmented and measured. We are constantly rushing. “Outer edge of modernism” → That is pushed to a slightly different area. Not a symbolic painting, it feels personal. ** Subjective was the general state of the World → Modernism What is subjective here? These are personal, private obsessions as well. What is the point? He is almost trying to pull out his subconscious. Extremely personal Externalizing the subconscious ** Proust: All about memory: “my ex’s cologne”, “my grandmother’s cookies” This fact that we are not in control of our memory. ~1~ ** Surrealists were very interested in Freud. → Decentering of self Surrealists were very interested in Freud because his ideas about the unconscious mind and hidden desires contributed to the decentering of the self. Freud showed that much of what shapes our thoughts and actions happens outside our conscious awareness. This idea challenged the belief in a stable, unified self, suggesting instead that the self is shaped by subconscious forces we cannot fully control. Surrealists embraced this concept by exploring dreams, free association, and other methods to reveal the hidden, fragmented parts of the mind. This focus on the subconscious shifted attention away from the self as a central, rational figure, emphasizing its complexity and instability. There is something there and you manipulate it. Obsessed with women’s hair. “ Enjoy your symptoms”: this is what makes you, you. ∟ THEY FOCUS ON THAT IDEA There is no boundary between life & art. ~2~  It is so hyper realistic to the point of it being uncanny. Not because something is being added to it, but because it is singled out. (Another face of surrealism) Not necessarily attraction, in contrast to the “Woman With Long Hair” ** Losing that thing (obsession, fetish) wouldn’t be liberation. It would be the loss of that one thing that is untouched. ~3~ Surrealist Photography: Man Ray: creative manipulation (collage, play with light and shade, extreme angles) Boiffard, Lotar: uncanny hyper-realism Photographs in Nadja: neither creative artworks, nor hyper-realist documents, nor illustrations Photographs in Nadja: “witnesses” to what happened that endow the described events with their original intensity and give them an aura of concrete reality ** It kind of beats the purpose when you describe it then add a picture. André Breton, Nadja (1928): “Who am I?” à to discover what makes me different from others à follow one’s obsessive fantasies, strange attractions, recurrent fears, odd fetishes, peculiar rituals ** What makes me unique: They are beyond my reach but they make me and reflect me. à a text comprising different genres, discrete events, unclear chronology, incoherent argument ** No refined language, there are not finished sentences, semi colons and the inability to keep attention. ** There is this romantic idea of ADD: jumping from one thing to another ~4~  Nadja: lives in the moment, in the street: a place of chance encounters that make her the subject of her own experience. She is a surrealist without trying to be one: free, without any pragmatic concerns. ** She seems to be doing the things he wants to be doing. She is a completely carefree person: Unusable for everyday life. She seems to be a very erratic person. Nadja: not a work of art but a register of experience that preserves the original intensity of the moment Writing this register: allows Breton to explore the irreducibility of his self through nuances of his sensory reactions and spontaneous affinities hidden in the original intensity In Nadja, André Breton uses his writing style to explore the idea that his sense of self cannot be fully explained or reduced to simple definitions. By focusing on his sensory reactions—such as the way he instinctively feels, perceives, and connects to the world around him—Breton uncovers layers of his identity that go beyond logic or rational thought. He captures the spontaneity and intensity of these moments, revealing how they contribute to his understanding of himself. This approach highlights the irreducibility of the self, showing it as complex, fluid, and deeply tied to hidden, instinctive responses rather than fixed, rational structures. Reading it: exploration of reader’s own irreducible self ** How would you read it? Without having an idea. Reading Nadja without any fixed ideas lets you experience the book more freely and personally. Instead of trying to analyze or make sense of everything right away, you let the story, images, and emotions affect you naturally. This way, you can react to the text based on your own feelings and instincts, just as Breton explores his own spontaneous thoughts and reactions. As you read, certain parts might stand out or feel meaningful to you in ways you can’t fully explain. This process helps you discover things about yourself—your unique thoughts, feelings, and responses—without forcing them to fit into a specific idea or structure. It’s about letting the book guide you to explore your own inner world. ~5~ 14.11 Free self-exploration, self-experimentation: against the bourgeois world and lifestyle (rationality, practicality, achievement, self-improvement) ** Much more personal process than modernism. Nadia → untouched by social construction. Self-exploration through self-experimentation. “What am I?” Nadia is unlike every other people. She isn’t displaying how much she doesn’t care. Experiments with experience (drugs, sleep, city walks, art) à to erase the division of dream/reality: to incite spontaneous reactions and let them take their own course à the unpredictable and unexpected (chance encounters) ** Art was just a small part. The reality itself has kind of a dreamy quality to it. That boundary between being asleep and awake and experimenting with it. → Some ways to activate the unconscious. City walks: unpredictable encounters. Revolution of everyday life: not to see new things, but to see things anew à re- enchantment of everydayness, manifestation of the extraordinary in the ordinary à “everyday magic” (Breton), “marvelous quotidian” (Aragon) ** The ordinary life itself is the source of the extraordinary. They are not trying to see new things, but things with fresh new eyes. You better seek the extraordinary in the ordinary rather than waiting for the extraordinary. ~6~ Surrealist Literature: Not literary production but personal practice: process and activity (writing, reading) instead of goal and object (literature) ** They are not writing for the fame, money, or the product, they are writing for the process itself. When the product is created it no longer serves you, so it is pushed aside. Everything is done for the experience. There is no self, just experiences. Obsession with “new” This practice: undoes the distinction between literature and life This practice: a “technology of the self” that is not “expressive” (what I am) but “creative” (what I become) à continuous self-reinvention through self-experience and liberation of desire ** You use some sort of instrument for self-exploration (walking, writing etc.), but you are not trying to do self-exploration for a particular reason. There is no thing that exists as a pre-self. No “I have an idea of what I want to become and I will use this instrument to obtain it. (Example: I will do yoga to relax.) There are just practices whereby I shape myself but there is no I and there is no goal. Aimless, drifted, nomadic existence. They don’t force themselves to do anything. They don’t have concern for the future and no breaks. Everything becomes that self-expolartion. Pierre Taminiaux, “The Revolutionary Memory of Surrealism” Surrealist ideal of freedom: not only against bourgeois values, but also against organized political opposition (party, movement) ** Kind of has anarchist connotations. They didn’t care but they also didn’t care to show that they didn’t care. What kind of politics does surrealism imply? Not revolution but “rebellion”: yet one that does not negate: spontaneity that constantly renews itself ** Interpreted as a gesture even though it is not intended as one. (Ex: a woman not having kids) This rebellion: inherently political (undermines accepted values, conventional hierarchies, and established forms of political power); yet unusable in practical politics? ~7~ 18.11 Existentialism: Lukacs would hate this. Total self-involvement Not well-structured or composed, obsessive flow Everything is in the way because they exist, I can only kill myself but then I will be in the way. → Inescapability ~8~  Experience of finitude, loneliness, boredom, indifference of the universe → life is meaninglessness → angst ** All of these combines cause angst. Angst for existentialists is absolutely crucial. (Angst: express anxiety, apprehension, or insecurity: to feel or express anxiety, apprehension, or insecurity: to experience or express angst.) Martin Heidegger: angst → authentic human existence: lived in full affirmation of finitude (“being-towards-death”) ** Without angst, you cannot live a truly authentic life. Authentic values emerge in you. You need to cultivate some unpleasant experiences. A period in your life that has passed but has added to you. It is when you truly embrace finitude, but it is not when life truly ends, it is when life starts. Affirming finitude Albert Camus: life’s “absurdity” → “There is but one truly serious philosophical problem, and that is suicide” ** Life doesn’t add up to anything. A branch of existentialism that is religious. ~9~  Camus: “Even if one does not believe in God, suicide is not legitimate […] even within the limits of nihilism it is possible to find the means to proceed beyond nihilism” “The workman of today works every day in his life at the same tasks. This fate is no less absurd than Sisyphus’s. But it is tragic only at the rare moments when it becomes conscious.” Consciousness (“lucidity”) about the absurdity of existence à gives existence a value (transforms nihilistic resignation) ** Tragedy as a good thing, our lives are not tragic. It’s more so like Sisphus’s By being aware of it and our fate we make it tragic. I don’t embrace being a victim. I embrace it kind of in a heroic sense even. Albert Camus’s philosophy revolves around the idea of the absurd—the conflict between our desire for meaning and the universe's apparent indifference. In this context, he rejects both religious consolation and nihilistic resignation, arguing instead for a heroic embrace of life’s absurdity. In his statement, “Even if one does not believe in God, suicide is not legitimate […] even within the limits of nihilism it is possible to find the means to proceed beyond nihilism,” Camus insists that rejecting life is not the solution. Instead, he advocates for living with awareness, or lucidity, of life’s lack of inherent meaning. This consciousness transforms what might seem like a meaningless existence into one of deliberate rebellion and personal significance. The comparison to Sisyphus—a figure condemned to push a rock up a hill for eternity— illustrates this. Camus suggests that life is no less absurd than Sisyphus’s endless toil. However, it only becomes tragic when we become aware of its absurdity. This awareness, far from being a cause for despair, is what gives life value. By acknowledging the absurd and continuing to live fully, we transform our situation into a heroic act, rather than succumbing to victimhood. In this sense, tragedy is not something to be avoided but embraced. Our ability to face life’s absurdity with courage and to create meaning despite it is what elevates us beyond being mere victims. Lucidity: a form of revolt For Camus, lucidity—the clear awareness of the absurdity of life—is a form of revolt. It means seeing life for what it is: a world without inherent meaning, where our deepest desires for purpose clash with the indifference of the universe. Instead of denying or escaping this reality through illusions, religion, or nihilism, lucidity confronts it head-on. Revolt: although we cannot change the human condition, we can “scorn” it (“One must imagine Sisyphus happy”) ** Life is meaningless and absurd. We cannot change it that is the human condition. But we can “scorn” it through lucidity. You must be happy doing what you are doing. ~ 10 ~  Lucidity, scorn: “pessimism about the human condition, but optimism about man” à human togetherness (it is our common condition) ** Lucidity turns human fate into tragedy. We are in this together. It is something that is irreplaceably personal, however, since everyone goes through it, it creates a society. 21.11 Jean-Paul Sartre, No Exit (1944) : ** The play is not directly political, you have to extract it. Does this play celebrate existentialist emotions (angst, alienation, self-enclosure, etc.) or criticize them? Garcin, Estelle, Inez (+ valet) ** Garcin fears that he will be seen as a coward. Estelle is obsessed with her beauty. It is a very psychological play like existentialism. Each character tortures eachother: The situation grows like an avalanche. What all of them have in common: is efficiency → “If nobody saw your beauty then it wouldn’t exist.” A triangle where one wants the other to forget that you are in hell. Hell: total exposure to other people and oneself à psychological terror à hatred (“self- service torture”) ** It is a room furnished tackily. No books, lights are always on: No distractions. “How am I going to withstand myself?” In a room with all your anxieties, insecurities, and you reflect it to the others in the room. Hell as an exposure to yourself and others with no distractions which is what life is. One is what one has done à can adjust it, even change it (what one does now) à need of others to get out of hell Self-Other dynamic à insecurity à one acts in a way to feel more secure à perpetuates selfishness ** They are realizing that by the way they have acted, they do not matter and that they are forgotten. They try to matter but they can’t because they are selfish. They are reciprocally using each other. (like a trophy wife X rich man) ~ 11 ~ What idea emerges? → What you are is what you have done/ how you have acted. (Act of will, you can change it) What they can do in No Exit is to change their actions. However, it is difficult for them. Characters’ self-confessions: do not help (fear that now others see my true face and will abuse it) ** When silence doesn’t work, they decide to be transparent. We’re all just complete fakes, maybe by being transparent we can climb out of “Hell”. Belief that someone manipulates their situation ** The belief that the situation is very carefully fabricated is another way out. Failure to establish genuine relationships à “Hell is other people!” ** Why are they failing? Because they are deficient but the gesture is there. Sartre: “Existence precedes essence”: one’s actual living constitutes who one is à free will and action à social and political engagement ** There is no essence. When you are born you don’t have a boundary between the self and the world, it is very parse. We develop it with time. Engagement: through concrete social and political acts (not Camus’s abstract scorn for the human condition) ** You can see how different it is from Camus politically. Scorning for Camus → Awareness, lucidity Sartre: Yes but that doesn’t lead to anything, there must be will and action. Acting for the group à acting as a group à overcoming the frustrating self-enclosure in which we find ourselves as individuals Side by Side vs Face to Face What this comparison does: This Santerían (clos to everyday life) situation critiques Comus’s side by side view. Comus: it is dangerous. Mobilization of people around ideas always hurts people. ~ 12 ~ Jean-Paul Sartre’s existentialism revolves around the idea that existence precedes essence, meaning that individuals are not born with a predetermined purpose or identity. Instead, who we are is shaped by the choices we make and how we act in the world. This philosophy emphasizes free will, action, and responsibility, leading Sartre to advocate for engagement—active participation in concrete social and political efforts. Sartre’s focus on engagement contrasts sharply with Camus’s approach. While Camus values lucidity—awareness of the absurd—as a form of revolt, Sartre criticizes this as insufficient. For Sartre, awareness alone does not create change; it must be followed by will and action. He believes that individuals must move beyond personal lucidity to participate in collective action, working together to overcome the isolation and self-enclosure of individual existence. This involves a shift from side by side relationships, where individuals coexist without deeper interaction, to acting as a group, where people collaborate toward shared goals. This difference also extends to their views on collective mobilization. Camus is wary of mobilizing people around ideas, fearing that such efforts often lead to harm or oppression. Sartre, however, sees collective action as essential for addressing social and political issues. He critiques Camus’s detached, philosophical stance as being too distant from the practical realities of everyday life, arguing instead that engagement through direct action is necessary to create meaningful change. This reflects a fundamental divide in their philosophies: Camus’s focus on individual awareness versus Sartre’s emphasis on collective will and transformative action. Patrick McCarthy on Sartre and Commitment: Sartre’s changing views on Nizan ~ Sartre’s changing views on political & literary commitment (engagement) 1938: a communist cannot write a novel (is too ideological, manipulates characters, deprives them of their freedom) 1948: Nizan’s novels are committed (they give structure to his anger without defending specific ideologies) à activates readers 1952: only the Party can shape people’s freedom and revolt à Nizan is not a serious communist 1960: need for a new revolutionary movement à Nizan as a model for a non-Party Leftist politics ~ 13 ~ Patrick McCarthy highlights the evolution of Sartre’s views on Paul Nizan as a reflection of his shifting perspectives on political and literary commitment (engagement). Sartre’s changing opinions on Nizan parallel his broader thoughts on how writers and intellectuals should balance freedom, ideology, and activism. 1. 1938: Sartre was skeptical of communists writing novels, believing their ideological commitments limited creative freedom. He argued that such novels manipulated characters and deprived them of their autonomy, reducing their ability to embody authentic human experiences. 2. 1948: Sartre softened this stance, seeing value in Nizan’s novels. He praised them as examples of literary commitment, arguing that they channeled Nizan’s anger into structured works that avoided promoting rigid ideologies. Instead, they activated readers, encouraging them to think critically without being preached to. 3. 1952: During Sartre’s closer alignment with the Communist Party, his views shifted again. He criticized Nizan for not being a “serious communist,” claiming that only the Party could effectively shape freedom and revolt. Nizan’s work, from this perspective, seemed insufficiently aligned with party principles. 4. 1960: As Sartre grew disillusioned with the Communist Party, he began advocating for a new revolutionary movement outside traditional party structures. In this context, he revisited Nizan as a model for non-Party Leftist politics, valuing his independence and his ability to engage readers without strict ideological constraints. Sartre’s evolving perspective on Nizan illustrates his ongoing struggle to reconcile artistic freedom with political engagement, reflecting the broader tensions in his philosophy and activism. 25.11 Colonialism: “More than three-quarters of the people living in the world today have had their lives shaped by the experience of colonialism.” Bill Ashcroft, Gareth Griffiths, Helen Tiffin, The Empire Writes Back: Theory and Practice in Post-Colonial Literatures ** Colonialism and their products haven’t died with the people who have colonialized. Attempt to take over a piece of land. Why to colonize? 1. profit, 2. geopolitics, 3. nationalism ** Expandatory method for profit, Geopolitics: Britain strategically controlling the trading routes. (Very different from the French). ~ 14 ~  Justification: 1. social Darwinism, 2. civilizing mission ** Biological Darwinism is applied socially and states that colonialism is not just okay to do, but that it is also mandatory. “We are helping these people to be civilized.” “We bring value.” He word “primitive” is commonly used. Language and literature: central to colonization ** The idea of “our superior” language and literature. Novel: key genre during the expansion of empires: 1. regulatory social role (helps to form imperial attitudes, references, and experiences) + 2. political role (“there, yet ours”) ** Novels almost completely dominated literature. It was a space to build a character and watch it grow + evolve + learn things + find out the ways of the world. Novel also inspires the entrepreneurial spirit of going out there and doing something. Example: Wuthering Heights: Colonialism is not clear or obvious. But it is also obvious that the boy goes to colonies because it is the easiest and fastest way to make money. (He was poor at the beginning but then he becomes very rich) Images of colonies: places of quick profit, adventure, romance, exotic experiences ** Social attitudes: The image of a lazy native. Postcolonial Theory: Frantz Fanon: “Europe is the creation of the Third World” Colonies: enable Europe to define itself through contrasting images, ideas, and values Edward Saïd: Orient is an image of the East created in the West for the West à reflects and perpetuates a particular power structure ** That idea of an “Orient” is not just a place or a poor understanding of that place or even an innocuous mistake. This discourse was created for a political reason, because it justifies being there. Literature in colonies: written by elites (colonizers + local upper classes) in the language of the empire After independence: literature becomes part of the search for national identity (written not just by the elites + in both local and ex-colonizer’s languages) ~ 15 ~ 28.11 Albert Camus, “The Guest”: Daru, Balducci, the Arab Images of nature; traces of France: ** Teaching France’s geography. (“It is superior”) Region: cruel, but Daru was born there (“home”) Opening scene: hospitality & reserve ** Whose home is this? Daru: “I was born here” (He is the host) But he is being hosted in another country. (Whose home is this?) He argues that he is the host since he is born there. The concept of "home" in Camus's The Guest is deeply complex and tied to the story's themes of identity, belonging, and alienation. The region, described as cruel and harsh, is Daru’s birthplace, which gives him a sense of belonging and makes him feel like the host. However, this sense of being the host is complicated by the colonial context. Though Daru claims, “I was born here,” and views the land as his home, he is living in a colonized country, making his role as a host ambiguous. This tension raises the question: whose home is it truly? From Daru’s perspective, his birth and life in the region establish his claim as the host. Yet, as a European in Algeria, his presence represents the broader colonial dynamic where the indigenous people are the true, displaced hosts of their own land. The opening scene reflects this paradox through both hospitality and reserve— Daru is both the host and a guest in a land that is his home by birth but not by heritage. This duality underscores the story’s exploration of identity, power, and the uneasy coexistence between colonizers and the colonized. Interpersonal dynamic: Balducci-Arab, Arab-Daru, Daru-Balducci ** 3 different people with very different goals (the situation is calmer/slower in comparison to Sartre) Sartre’s was on edge, Here everyone is a lot more demure. The interpersonal dynamics in Camus's The Guest highlight three distinct relationships shaped by the individuals' differing goals and the subdued, restrained tone of their interactions, contrasting with Sartre's more tension-filled and confrontational scenarios. ~ 16 ~  1. Balducci-Arab: This relationship is defined by authority and duty. Balducci, representing colonial law, views the Arab prisoner as someone to be controlled and delivered. His approach is pragmatic and unemotional, emphasizing his role as an enforcer rather than a participant in moral reflection. 2. Arab-Daru: The interaction between the Arab prisoner and Daru is marked by a quiet, almost detached respect. The Arab's silence and lack of resistance reflect his acceptance of his situation, while Daru’s reluctance to impose judgment creates a subtle, unspoken tension. Daru’s decision to give the Arab the freedom to choose his path adds a layer of moral complexity, showcasing his discomfort with authority and the imposed role of executioner. 3. Daru-Balducci: The relationship between Daru and Balducci reflects a clash of principles. Balducci, loyal to the colonial system, expects Daru to follow orders without question. Daru, however, resists being drawn into the machinery of authority, prioritizing his own moral autonomy. Their interaction is civil but carries an undercurrent of disagreeme nt, as Daru’s refusal to comply challenges Balducci’s expectations. The tone of these relationships is calm and restrained, with none of the heightened urgency or aggression seen in Sartre’s scenarios. Camus’s focus is on the quiet moral dilemmas and unspoken tensions that arise in the context of colonialism and individual responsibility, making the story more reflective and less confrontational than Sartre’s intense and action-driven narratives. Daru: is the Arab against “us”? ** A sense of “us” and being against one another. The grouping of Arabs to revolt Experience of brotherhood; but also fantasies of escape ** Daru wants to act ethically, however, he gets put in a situation where he politically can't. Prison: leaving the choice up to the Arab Back at school: promise of retribution ** “Do you regret killing your cousin?” Cultural clash & he doesn’t understand everyone living together. **The idea of there is always somebody living there before you. How back in history are you supposed to go? The imaginary purity is an illusion that is politically constructed. → What Camus would say. Back at the schoolhouse, the threat of retribution looms. Daru’s neutrality is misinterpreted as complicity, and the promise of revenge underscores the impossibility of standing apart from the ~ 17 ~ cultural and political clashes surrounding him. His question to the Arab—“Do you regret killing your cousin?”—reveals a deeper cultural misunderstanding. Daru cannot fully grasp the social codes and communal ties that define the Arab’s world, illustrating the disconnect between colonizer and colonized. Camus’s perspective aligns with the idea that the purity of identity or ownership is an illusion— politically constructed and often weaponized. The notion that “someone always lived there before you” challenges claims to absolute belonging or moral superiority, showing that history is layered with displacement and conflict. For Camus, the imagined purity of identity or culture denies the complexity of human existence, reinforcing the futility of trying to impose simple solutions or clear boundaries in a world defined by ambiguity and shared histories. Postcolonial Critique of Camus Colonies: a setting for his stories, but never described with social and historical detail; disregard for local situation à Algeria as a “place” (ahistorical landscape, a non-nation) Arabs: passive, silent, subjectless + colonizers are locals à erases Arabs and neutralizes colonizers Facts about colonialism: dropped in favor of humanism (universal moral issues, parables of the human condition) à moralism (no political cause justifies violence) à becomes a political statement (especially at the time of conflict) Style (lyricism, idyllic detachment): also a political statement (whitewashes and naturalizes colonialism) Sartre (against Camus): first create an independent Algeria (cannot jump directly to multiculturalism) à violence is necessary for 1. local independence, 2. destruction of Western imperialism 1. Algeria as a Non-Nation: Camus presents Algeria not as a nation with its own history and culture but as an abstract, ahistorical backdrop for his philosophical explorations. By disregarding the social and historical details of the colonial situation, Camus reduces Algeria to a "place" rather than a politically charged environment. 2. Representation of Arabs: Arabs in Camus's works are often depicted as passive, silent, and lacking agency. This depiction neutralizes their subjectivity and reduces them to mere symbols or plot devices. At the same time, colonizers like Daru are portrayed as locals, blending into the landscape and further erasing the presence of indigenous Algerians. 3. Humanism Over Colonial Facts: Camus prioritizes universal moral questions, such as the nature of violence and individual responsibility, over the specific realities of colonial oppression. While his moral stance—rejecting violence as a solution—is framed as humanist, it can also be read as a political statement that indirectly critiques the violent independence movements of his time. 4. Lyricism as Political Neutrality: Camus’s lyrical and detached writing style contributes to a romanticized and depoliticized view of colonial Algeria. This aesthetic choice has been criticized for whitewashing and naturalizing colonialism, framing it as a harmonious coexistence disrupted by external conflicts, rather than a system of exploitation and oppression. ~ 18 ~  5. Sartre’s Critique: Sartre directly opposed Camus’s apolitical humanism, arguing that colonial violence cannot be addressed with abstract moralism. For Sartre, achieving justice requires recognizing the necessity of violence in decolonization—both to establish local independence and to dismantle the structures of Western imperialism. Sartre contended that Camus’s focus on multiculturalism and coexistence ignored the immediate need for liberation and equality, which could only come through radical political and social change. In summary, while Camus’s works engage with profound philosophical themes, his avoidance of colonial specifics and his universalizing moralism have led to critiques of his complicity in erasing the realities of Algeria’s colonial condition. His humanism, though deeply moral, often sidesteps the structural and political violence inherent in colonialism. 02.12 Postmodernism: Postmodern Architecture ** Decontextualized free-floating styles with a juxtaposition. Creates a violent clash that draws you attention. Postmodernism is the return of the surface. The column is taken out of context and function. ~ 19 ~ Postmodern Cinema: ** Clash of Kung-Fu movies with Western American movies. There are things that are encoded within, that are not important to decode. It is supposed to give the feel of (Example: WW2) ** Captions: Once upon a time, Chapter 2, etc. → You get this clash of genres. Postmodern Literature: John Barth, Giles Goat-Boy Or, The Revised New Syllabus of George Giles our Grand Tutor (1966) ** Literature as something to be thought rather than something to be read. → That comedic drawing attention in the title. A story of Giles, a half-man/half-goat, and his journey from a farm animal to Grand Tutor at the New Tammany College. Giles wants to be a savior of humanity. Various mythological and Christian allegories make this appear as his fate (e.g., he performs all the tasks from Joseph Campbell’s The Hero of a Thousand Faces). The story is presented as a computer tape given to John Barth who denies that it is his work. John Barth's Giles Goat-Boy: Or, The Revised New Syllabus of George Giles our Grand Tutor (1966) is a richly layered and metafictional novel that blends comedy, allegory, and postmodern playfulness. The story invites readers to think about literature as an intellectual and philosophical engagement rather than a straightforward narrative experience, beginning with the comedic self- awareness in its title and structure. The novel follows Giles, a half-man, half-goat, on his journey from humble beginnings as a farm animal to becoming the Grand Tutor at New Tammany College. Giles aspires to be a savior of humanity, and his quest mirrors mythological and Christian allegories. His story aligns closely ~ 20 ~ with Joseph Campbell’s The Hero of a Thousand Faces, as he undertakes archetypal hero’s tasks, emphasizing the cyclical and universal nature of such narratives. Adding to the novel’s metafictional complexity, the story is framed as a computer tape handed to Barth, who denies authorship. This device blurs the lines between author and text, drawing attention to the act of storytelling itself and encouraging readers to question the origins and authority of narratives. The novel’s comedic tone, allegorical depth, and self-referential structure highlight Barth’s exploration of literature as a construct to be analyzed and thought about, rather than passively consumed. It reflects the postmodern ethos of challenging traditional boundaries between fiction and reality, inviting readers to engage with the text on multiple levels. Self-reflexivity (metafiction): narrator’s (and “author’s”) excessive commentary and self- focusing Other self-reflexive elements: genre-hybridity, visuality, textuality (hypertext, footnotes, glossaries), the topic of writing (including this very book and other books by the author) à display of the medium Playful literature: embraces the end of metanarratives, the end of history, and the death of the author ** You are supposed to accept the functionality of the text and play along, the reader is seduced. Play: surface pastiche of heterogeneous aesthetic and historical elements (different styles, genres, tones, the old and the new) Play and pastiche: a double-coding that destabilizes the distinction between high culture and pop culture ** It is there because it is stolen from somewhere but for no reason. John Barth’s Giles Goat-Boy exemplifies postmodern literature’s self-reflexive and playful nature, challenging traditional notions of storytelling and authorial authority. Through its layered narrative and excessive commentary, the novel draws attention to its own construction, inviting readers to engage with the text as an active process of interpretation and play. Self-Reflexivity (Metafiction) Barth’s narrator (and the fictional "author" Barth distances himself from) frequently interrupts the narrative with excessive commentary, breaking the fourth wall to focus on the act of writing itself. This self-awareness extends to the book’s structure, which includes genre hybrids, hypertextual elements, footnotes, and glossaries. These features not only blur the boundaries between different forms of text but also force the reader to confront the medium of literature as an artificial construct. ~ 21 ~ Playful Literature and the Reader’s Role Barth embraces the end of metanarratives, rejecting grand, all-encompassing explanations like those found in traditional religion, history, or literature. Instead, the novel presents a collage of pastiche and playful elements, combining old and new styles, genres, and tones. The text seduces readers into "playing along," accepting its absurdities and fragmented logic as part of the fun. This playfulness requires readers to engage with the novel not as a coherent narrative but as a dynamic, interactive game. Pastiche and Double-Coding The novel’s use of pastiche—incorporating disparate aesthetic and historical elements for no deeper reason than their availability—destabilizes distinctions between high culture and pop culture. The blending of styles and references from different eras and genres creates a double- coding: it operates as both parody and homage, subverting the idea of originality and showing how texts are constantly borrowing and reassembling fragments of other works. These elements are “stolen” from existing sources but are included not to serve a grand purpose but to emphasize the playful and performative nature of the text. Conclusion Through its self-reflexivity, playfulness, and use of pastiche, Giles Goat-Boy exemplifies the postmodern ethos. It dismantles the authority of the author, celebrates the fragmentary and constructed nature of storytelling, and invites readers into an open-ended, interactive relationship with the text. Rather than presenting a definitive message, the novel revels in its ability to destabilize meaning and blur cultural boundaries, making literature an engaging act of play. (Antiform :) carefully manicured chaos. Antiform can be designed (not to create harmony), But it is not. (Anarchy :) They are not trying to be anarchists (Poor choice of words) ~ 22 ~ 5.11 Jameson, “Postmodernism and Consumer Society”: Modernism: emphasis on personal style and individuality Postmodernism: individuality and unique self are myths (114-115): “nobody has that kind of unique private world and style to express any longer” (115) Postmodernism: if uniqueness is a myth and all possible styles have been already invented à playful pastiche of the existing with no ulterior motive (116), imitation of previous styles without any critical or ironic impulse because there is no normal language (113- 114) ** No self-exploration, not discovering anything, just enjoying the nomadic path you are taking. It’s all about the surfaces. ** Since it is not possible anymore, we need a paradigm that doesn’t fight it, but embraces it Pastiche: used in Modernism, but in Postmodernism it becomes the central principle of literary writing (123) Modernism: oppositional, negative, subversive art Postmodernism: non-oppositional, positive art (123-124) Postmodern pastiche: not return to historical past, but repetition of our cultural stereotypes about that past à postmodern world of simulations, reality of images (119) ** Not inventing anything new, just playing with the things that already exist. “Reality of images”: Sort of like an oxymoron: simulation of a simulation of a simulation. Postmodern simulations: a symptom of our inability to relate to the present and represent our own current experience (117) Postmodernism: shows “the necessary failure of art and aesthetic, the failure of the new, the imprisonment in the past” (116) ** Jameson: all of that is political: relating to the present, shaping of our own common destiny is gone. Postmodernism: cultural logic of late capitalism (product of the new economic order: the postindustrial, consumer, media society of multinational capitalism) (113) ** No longer with the industrial capitalism but with the imperial capitalism. Can there be a postmodern art that would resist, rather than reinforce, the logic of consumer capitalism? (125) ~ 23 ~ The relationship between postmodernism, pastiche, and the cultural logic of late capitalism reveals key tensions in contemporary art and literature, as explored by thinkers like Fredric Jameson. Postmodernism, unlike modernism, moves away from being oppositional or subversive, instead embracing a non-critical, playful repetition of existing cultural elements. Pastiche in Postmodernism: Pastiche, which was present in modernism, becomes central to postmodernism. Unlike parody, which critiques its source material, pastiche in postmodernism simply reuses cultural elements without questioning or opposing them. It does not invent anything new but plays with what already exists, layering simulations upon simulations— creating what Jameson describes as the "reality of images." This phrase captures the oxymoronic nature of postmodernism, where representations of representations are mistaken for reality itself. Simulations and Disconnection Postmodern simulations highlight a symptom of our inability to relate to the present or represent our own experiences authentically. Instead of creating art that connects to contemporary realities, postmodernism reuses cultural stereotypes and past aesthetics. This repetition underscores a failure: the failure of art to produce anything truly "new" and the failure to break free from the past. The postmodern world is one of simulation, where reality is obscured by endless layers of imagery. Cultural Logic of Late Capitalism Jameson ties postmodernism to the cultural logic of late capitalism, shaped by the postindustrial, consumer-driven, media-saturated society of multinational capitalism. In this economic order, art no longer resists or critiques but often reinforces the systems of commodification and consumption. Postmodernism’s playful, non-critical nature aligns with the consumerist mentality, where everything—including history, art, and culture—is commodified and recycled for aesthetic pleasure. The Political Implications Jameson argues that this postmodern condition is inherently political. The focus on simulations and pastiche reflects the erasure of a shared present and the inability to shape a collective destiny. In this context, postmodernism reveals the "necessary failure" of art and aesthetics under late capitalism, where the possibility of creating something transformative or new seems lost. Can Postmodern Art Resist? The critical question remains whether postmodern art can resist this cultural logic rather than reinforce it. While postmodernism often seems complicit in the commodification of culture, it may also hold potential for resistance by exposing the very mechanisms of simulation and commodification it employs. However, achieving this resistance requires moving beyond pastiche to engage critically with the systems it reflects, fostering a more profound connection to the present and a reimagining of collective futures. ~ 24 ~ 09.12 Minimalism: ** Purity, emptiness of space. Here it is the artist that makes the decision of where the art should be What makes the art is not the art itself, it’s the environment. (Example: A shoe, bicycle) When presenting an art like this, space is very important and integral. Purity without ornament Not in-your-face type of art (Like Tarantino: Sex! Violence! Embellishments!) Monochromatic nature: No clash of colors. ** Space is expensive. A room dedicated to a single cube: Upper class affair. Something that almost seems to be frivolous. ~ 25 ~ ** How does minimalist types of aesthetics translate into different forms of art? Music: silence (John Cage [1950s]), repetition (Philip Glass [1960s]) Film: austere settings, long takes, non-actors (Robert Bresson, The Trial of Joan of Arc ) Literature: brevity; plain style; external description with little psychology; characters and themes from daily life (Bobbie Ann Mason, Fredrick Barthelme, Ann Beatie, Raymond Carver) [1970s, 1980s] (gpt:) Minimalist aesthetics, emphasizing simplicity, focus, and reduction, manifest uniquely across different art forms while maintaining a shared philosophy of stripping away excess to reveal essence. Here’s how minimalism translates into music, film, and literature: Music Silence: John Cage’s 4’33” (1952) exemplifies minimalism in music by presenting silence as a form of sound. Cage’s work challenges listeners to find meaning in ambient noises and the absence of traditional musical structure. ~ 26 ~  Repetition: Composers like Philip Glass (Einstein on the Beach, 1976) employ repetitive structures and gradual variations to create hypnotic, meditative effects. The focus is on the subtle interplay of patterns rather than elaborate compositions. Film Austere Settings: Minimalist films, like Robert Bresson’s The Trial of Joan of Arc (1962), use sparse, unembellished environments to focus attention on the narrative and characters’ internal struggles. Long Takes: Extended, unbroken shots emphasize the passage of time and draw viewers into the rhythm of the scene. This technique creates a sense of realism and contemplation. Non-Actors: The use of non-professional actors adds to the unpolished, naturalistic quality of minimalist cinema, heightening the sense of authenticity. Literature Brevity: Minimalist writing is characterized by concise language and short sentences, avoiding unnecessary details or elaborate prose. Plain Style: Writers like Raymond Carver and Ann Beattie employ a straightforward, unadorned style that conveys emotional depth through simplicity. External Description: These works often focus on surface details and external actions, with little exploration of characters’ inner thoughts or psychological motivations. Daily Life: Themes are grounded in everyday experiences and ordinary characters, reflecting the drama and complexity of real life in an understated manner. Across these forms, minimalism challenges audiences to engage more actively with the work, finding meaning in what is present and implied rather than relying on overt expressions. The emphasis on reduction and focus allows for a heightened awareness of detail, form, and context, fostering a deeper connection between the art and its audience. 12.12 Raymond Carver, “Mr. Coffee and Mr. Fixit”: I’ve seen some things. I was going over to my mother’s to stay a few nights. But just as I got to the top of the stairs, I looked and she was on the sofa kissing a man. It was summer. The door was open. The TV was going. That’s one of the things I’ve seen. My mother is sixty-five. She belongs to a singles club. Even so, it was hard. I stood with my hand on the railing and watched as the man kissed her. She was kissing him back, and the TV was going. Things are better now. But back in those days, when my mother was putting out, I was out of work. My kids were crazy, and my wife was crazy. She was putting out too. The guy that was getting it was an unemployed aerospace engineer she’d met at AA. He was also crazy. His name was Ross and he had six kids. He walked with a limp from a gunshot wound his first wife gave him. I don’t know what we were thinking of in those days. ~ 27 ~ My dad died in his sleep, drunk, eight years ago. It was a Friday noon and he was fifty-four. He came home from work at the sawmill, took some sausage out of the freezer for his breakfast, and popped a quart of Four Roses. My mother was there at the same kitchen table. She was trying to write a letter to her sister in Little Rock. Finally, my dad got up and went to bed. My mother said he never said good night. But it was morning, of course. “Honey,” I said to Myrna the night she came home. “Let’s hug awhile and then you fix us a real nice supper.” Myrna said, “Wash your hands.” Minimalism: “Less is More” ** Surface depiction without contextualizing things. Almost a naïve, child-like description of events. Hyper-realism but not comprehensive + fragmented = minimalism “Maybe there is a quality that is missed?” The compulsion to go back and read. Not just the work itself (the object and its positive material), but also emptiness (around the object + of the object itself) Art that does not refer to anything beyond itself and its presence à direct and unmediated experience Demystification of art But also trivialization? Literature of utter banality (“Less is Less”)? Plus, socially and politically confusing: unclear how minimalism relates to what it presents ** Can we read this as not the author’s act but as a symptom of a certain moment in history? ~ 28 ~  Postmodern literature: “obsessive babbling” (Ihab Hassan); Minimalism: antithesis of babbling à Is minimalism anti-postmodern? Fredric Jameson: Modernist aspects of minimalism à slow, “negative” art that undermines consumption and enjoyment à reveals the nature of our social space (the neuroticism of our late capitalist society) ** Similar to Adorno: judgment not in what it says but taken as a whole A parallel paradigm to post-modernism. As Jameson argued, it is an ideological tool for easing us to capitalism. (Art is product to consume) Here it is undercut by undercutting the pleasure. → He would see it as a political paradagim. Rosalind Krauss: contradictions of minimalism: 1. Against commodification of art; But its easy reproducibility accelerates commodification ** Responds to this idea by saying “I see what you are saying but there are also these problems”: She is trying to pull him back and establish that it is more complicated than that: On one hand by emphasizing on the emptiness of the material and the environment it defetishises, demystifies, and decommodifies art (art has a price tag and a value). However, on the other hand, through this process art becomes more easily reproduced making it commodifiable. 2. Changes relational aesthetics and creates a minimal subject; But this subject is vulnerable to turning into an utterly fragmented postmodern subject of mass consumption. **Lastly, as it defetishizes art, that empty state is also vulnerable to consumption. ~ 29 ~