amimetobios

amimetobios

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amimetobios episodes

  • Imagining Money II 1-17-19

    A class mainly on Kay Ryan's poem "Money is a kind of poetry," a riff on Wallace Stevens' line (in his Adagia): "Poetry is a kind of money."  The class, of course, is about both.  Link to handouts (including this poem) available in previous episode or here.

    48 min
  • Imagining Money (Literature and Economics) 1-16-19

    This is the first class of a new course called "Imagining Money."  You can find a draft syllabus -- an aspirational one, since we'll never get through it all -- here.  There are handouts for the first three days: the short passage from Beckett we discuss first, a miscellany of poems and riddles about money, and a selection of passages from Milton, Ovid, and Ambrose Bierce.  The syllabus gives you the lines to read from Milton's Paradise Lost, viz. Book 1, ll. 674-751, and Book 8, ll. 1-178.  And here is the Kawabata story.

    48 min
  • English Romanticism: Blake, Wordsworth, Coleridge 1/16/19

    An introductory class for a course on the early Romantics.  Today we talked about the oxymoronic title of Lyrical Ballads, more about ballads than about lyrics; about Milton; about Blake's describing him as being of the devil's party without knowing it.  Syllabus TK -- watch this space.

    1 hr 18 min
  • Soyinka - Death and the King's Horseman (1a-32 = last class)
    Last class of the semester, on Wole Soyinka's Death and the King's Horseman.  Compared and contrasted with Achebe's Things Fall Apart, which unlike the play is about the clash of cultures, and what happens when European culture arrives and destroys the cultures it is ignorant of; and with Conrad's Heart of Darkness, which makes African culture a backdrop to European reckoning with its own tragic ontology.  Death and the King's Horseman as treating British colonial culture as a catalyst and otherwise a (ridiculous) backdrop to its own concerns, concerns as archaic, as fundamental, and essential as anything to be found in Aeschylus or Shakespeare.  By way of long discussions of how we think of the audience as narratee, not as reader; and how we think of plays as having the same kind of hidden narrators as we think of novels as having hidden narratees.  Who is the audience, or who are its members, its narratees, who do we think they are, in Death and the King's Horseman?
    54 min
  • Print the Legend: The Man Shot Liberty Valance -- 1a - class 31
    The one film in the class.  "Print the legend," as a commentary on the kinds of movies Ford makes.  Flashback and truth in fiction.  Showing vs. telling.  Who did shoot Liberty? The two scenes of his death.  Flashback within flashback.  Woody Strode (Pompey).  What is he doing in the second scene?  Why does it matter?

    What we didn't get to: the way Vera Miles seems to have learned the story as we do.  We assume she now knows what we now know, though of course she (presumably) didn't know it before whereas now she (presumably) did know it before.  Still we read it as though she's learned it as we have, during the present time of the movie.  The alteration of the back story as the story is told.
    39 min
  • O'Connor -- the Violent Bear it Away (1a-30)
    What this strange book is about, at least in part.  Macguffins: baptism and murder.  And Free Indirect Discourse, natch.  The Protestant vs. the Catholic bible.  O'Connor quoting from Douay-Rheims.  The relevant passage in Matthew:

    [7]And when they went their way, Jesus began to say to the multitudes concerning John: What went you out into the desert to see? a reed shaken with the wind? [8] But what went you out to see? a man clothed in soft garments? Behold they that are clothed in soft garments, are in the houses of kings. [9] But what went you out to see? a prophet? yea I tell you, and more than a prophet. [10] For this is he of whom it is written: Behold I send my angel before thy face, who shall prepare thy way before thee. [11] Amen I say to you, there hath not risen among them that are born of women a greater than John the Baptist: yet he that is the lesser in the kingdom of heaven is greater than he. [12] And from the days of John the Baptist until now, the kingdom of heaven suffereth violence, and the violent bear it away. [13] For all the prophets and the law prophesied until John: [14] And if you will receive it, he is Elias that is to come. [15] He that hath ears to hear, let him hear. [16] But whereunto shall I esteem this generation to be like? It is like to children sitting in the market place. [17] Who crying to their companions say: We have piped to you, and you have not danced: we have lamented, and you have not mourned. [18] For John came neither eating nor drinking; and they say: He hath a devil. [19] The Son of man came eating and drinking, and they say: Behold a man that is a glutton and a wine drinker, a friend of publicans and sinners. And wisdom is justified by her children. [20] Then began he to upbraid the cities wherein were done the most of his miracles, for that they had not done penance.


    Matthew, 11: 7-20, in the Douay Rheims Bible

    51 min
  • 29 -- A class on Waiting for Godot: Godot as MacGuffin
    Seeing it as a residue of real drama. Paradramatic elements: what we can know by knowing elements of the script that we wouldn't know on stage.  Who is Godot?  Who are we meant to think he is?  Really an introduction to the play, to how the play makes you think about what it's doing.
    52 min
  • Second and last class on Invisible Man (1a, class 28)
    Invisible Man and Whitman.  What does the last sentence mean? MacGuffins in the novel.  Du Bois on the education of Black Men.  1943 riot in Harlem and the end if Invisible Man.  William Henry Johnson's "Moon Over Harlem." Moral of Invisible Man: don't use people.  Doing so turns them into the kind of people who use people. (Even the Invisible Man does: uses Sibyl for example.)

    52 min
  • 27a A section that was really a lecture, mainly on Stevens and Whitman
    An exhortation to take seriously the passion of Invisible Man, not only its purpose or the perception it comes to; a claim that being able to do this will give a hint at least of similar passions in works whose political contexts are now historical, that is no longer as live to us as #BlackLivesMatter, for example, makes Invisible Man, followed by quick but consecutive readings of Stevens's "The Idea of Order at Key West" and the rest of Whitman's "Out of the Cradle Endlessly Rocking."
    50 min

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