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ENGB12H3 (3)
Lecture 12

Lecture 12

3 Pages
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Department
English
Course Code
ENGB12H3
Professor
Sonja Nikkila

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Previous
Austen: Family Tree
{
Fun Home: maps
{
Ondaatje: where you're from, how it affects your identity --> not about culture but actual land and space, and how this affects your
identity
{
Chapter: Tabula Asiae
"On my brother's wall in Toronto are the false maps. Old portaits of Ceylon. The results of sightings, glances from trading vessels, the
theories of sextant. The shapes differ so much they seem to be translations--by Ptolemy, Mercator, Francois Valentyn, Mortier, and
Heydt"--growing from mythic shapes into eventual accuracy. "
{
"False accuracy": incorrect + "opposite of true" --> being careful about what' s" true" versus "accurate"
"Translation": what we understand what the land is --> going from an idea to "accurate" (the difference between what is "accurate" and
what is "true"?)
"Growing" = Evolution: of island itself + of ppl's understanding of it--> "Amoeba, then stout rectangle, and then the island as we know
it now, a pendant off the ear of India"
Our conception of the island versus actual knowledge of it
Old maps: adds imagination
{
"Around it, a blue-combed ocean busy with dolphin and sea-horse, cherub and compass. Ceylon floats on the Indian Ocean and holds
its naive mountains, drawings of cassowary and boar who leap without perspective across imagined 'desertum' and plain."
Zooming in at old maps: attempts at topography-- not precise, but drawing pictures
Imagining maps at couple dimensions at once--down on land, across land, imagining land
"Imagined 'desertum' "--did anyone actually go there to see what was there OR did we fill in blank spaces with imagination? --> really
actually empty, or did it just not get recorded? (i.e. Jane Austen's letters)
Bechdel:
{
Wind in the Willows: the "mystical bridging of the symbolic and the real..." --> Fun Home
Old maps: bridging of what's symbolic versus real
e.g. "New Iron Bridge" --> name itself different from drawinga picture of it --> names are labels and can be shifted around and adjusted
in the mind, but when draws it out, links the symbolic text with the "Real" (e.g. Effort of graphic artist)
"At the edge of the maps the scrolled mantling depicts ferocious slipper-footed elephants, a white queen offering a necklace to
natives who carry tusks and a conch, a Moorish king who stands amidst the power of books and armour. On the south -west corner of
some charts are satyrs, hoof deep in foam, listening to the sound of the island, their tails writhing in the waves."
{
Elephants: book not post-colonial enough; post-modern
"At the edge": who you are is not just about what you look like/how exactly and accurately you replicate yourself, but what you
associate with *margin of evidence you're associated with
"a white queen offering a necklace to natives who carry tusks and a conch": Idea of where you came from, here suggesting colonialism
(intersection of native and white imperialists) *margin of your own history
"On the south-west corner of some charts are satyrs, hoof deep in foam, listening to the sound of the island, their tails writhing in the
waves": Island has suggestion of total make-belief, mythical
Book: post-modern but not post-colonial enough (country after colonialism)
Shows you what the land is, but also what it can offer--> bridging between imagination and the real
dZuÀoµu}µ}(}}PZÇUZ(}]vÀ]}vvUvZluu]v}(Àoo[o
throughout Arab and Chinese and medieval records. The island seduced all of Europe. The Portuguese. The Dutch. The English."
{
"Seduced all of Europe": versus post-colo --> "Europe raped the land"
The island was made the ACTOR /seducer
"And so its name changed, as well as its shape v^v]UZv]~^]ov}(Pu_Ud}vUo}vU]ovU^ÇoovU]o}vU
and Ceylon vthe wife of many marriages, courted by invaders who stepped ashore and claimed everything with the power of their
sword or bible or language."
{
In its seduction: name changed --> land as representation of SELF: what is the identity of the land, how does it depend on the name?
"Wife": land as being feminine
"language": "The Americans were able to put a man on the moon because they knew English. The Sinhalese and Tamils whose
knowledge of English was poor, thought that the earth was flat" --> Language: problem of power --> expression is power
Colonial concern: if you're mandated to learn English, do you truly have power if you're forced to express yourself in a cert ain way?
The pendant, once its shape stood still, became a mirror.It pretended to reflect each European power till newer ships arrived and
spilled their nationalities, some of whom stayed and intermarried"
{
"became a mirror": Fun House mirror --> relationship between self and other in life writing --> Shonagon: did she really like those things
or was she just reflecting on those around her who liked those things?
"pretended to reflect": What's the diff between TRUE reflection and one that has been "falsified/pretended"?
Y }Ávv}]À]vP]víòììU}}ÁZ}µZ]]vPP}Àv}[µPZÁ]ZvPZvÁÁ
with land, a foreign wife, and a new name which was a Dutch spelling of his own. Ondaatje. A parody of the ruling language."
{
If language is power, & the ability to ACT in that language is power, then here--> his own ancestor, taking the language forced upon the
island and carrying it, shaping it and using it for his own ends
Naming yourself (Douglass does, Kingston refuses to do): very power both when you do it and by its absence
"And when his Dutch wife died, marrying a Sinhalese woman, having nine children, and remaining. Here. At the centre of the rumour.
{
At this pointon the map."
Map isn't just a physical representation, but also TIME --> Space also means time
Map becomes four-dimensional: a map isn't just where you're going, but also, HOW to GET THERE (a type of narrative, + indication of
Lecture 12: Mapping the Self
April-07-11
6:16 PM
ENGB12H3 Page 1
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Description
Lecture 12: Mapping the Self April-07-11 6:16 PM Previous { Austen:Family Tree { Fun Home: maps { Ondaatje:where youre from, how it affects your identity --> not aboutculture but actualland and space,and how this affects your identity Chapter:TabulaAsiae { On my brotherswall in Torontoare the false maps. Old portaits of Ceylon. The results of sightings,glances from trading v essels,the theoriesof sextant. The shapes differ so much they seem to be translations--byPtolemy, Mercator,Francois Valentyn, Mortier,and Heydt--growingfrom mythic shapesinto eventual accuracy. False accuracy:incorrect+ opposite of true --> being carefulaboutwhat s true versus accurate Mapsas portraits of Ceylon Translation:what we understandwhat the land is --> going from an idea to accurate(the differencebetween what is accurateand whatis true?) Growing= Evolution:of island itself + of ppls understandingof it--> Amoeba, then stout rectangle,and then the island as we know it now, a pendant off the ear of India Our conceptionof the island versus actualknowledgeof it { Old maps:adds imagination Aroundit, a blue-combedocean busy with dolphin and sea-horse,cherub and compass.Ceylon floats on the Indian Ocean and holds its naive mountains,drawingsof cassowaryand boar who leap without perspectiveacrossimagined desertumand plain. Zoomingin at old maps: attempts at topography--not precise,but drawing pictures Imaginingmapsat coupledimensionsat once--downon land, across land,imaginingland Imagineddesertum --did anyoneactuallygo there to see what was there OR did we fill in blankspaceswith imagination? --> really actuallyempty, or did it just not get recorded?(i.e. Jane Austens letters) { Bechdel: Wind in the Willows: the mysticalbridgingof the symbolicand the real... --> Fun Home Old maps:bridgingof whats symbolicversus real e.g. New Iron Bridge --> nameitself different from drawing a picture of it --> names are labels and can be shifted aroundand adjusted in the mind, but when draws it out, links the symbolic text with the Real (e.g. Effort of graphicartist) { At the edge of the maps the scrolled mantling depicts ferociousslipper-footedelephants,a white queen offering a necklace to nativeswho carrytusksand a conch, a Moorishking who standsamidst the power of booksand armour.On the south-westcorner of somechartsare satyrs,hoof deep in foam, listening to the sound of the island, their tails writhing in the waves. Elephants:book not post-colonialenough;post-modern At the edge: who you are is not just aboutwhat you look likehow exactly and accuratelyyou replicateyourself, but what you associatewith *marginof evidenceyoure associatedwith a white queen offering a necklace to natives who carry tusksand a conch: Idea of where you camefrom, here suggestingcolonialism (intersectionof native and white imperialists) *marginof your own history On the south-westcorner of some charts are satyrs
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