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ENGC47H3 Lecture Notes - Vise, Door Door, Ernest Hemingway

Course Code
Andrew Du Bois

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One whom some were certainly following was one who was completely charming
One whom some were certainly following was one who was charming
One whom some were following was one who was completely charming
What difference does it mean to take words out or move certainly to the end of the sentence?
Strangely building up meaning
Gertrude Stein
An American who moved to Paris, France for most of her writing
She went to Radcliff (the Harvard school for women)
Author of pragmatism - you do whatever works
Wrote about religious experiences
She was one of his favourite students - her answer to his difficult questions was "it's too pretty
outside to write this philosophy exam"
She went to school with Henry James brother (William)
Throwing a lot of info at them while having things swinging from the ceiling
Studying how that info entered their writing
Experiments on students who were too tired after studying exams
Went to John Hopkins - studies of attention
Repetition was important to her
One of the first to do "pros poetry"
Breaking down the boundaries between poetry and pros
Describing how important the process of writing from Saysan was in creating a composition
She was a big collector of art and she wrote in a very artistic
He did a painting of her and she felt it didn't look like her
"People will become the painting" - Picasso
Very rare that you have to look up her words
Hemingway learned a lot from her and her style
Her diction (choice of words) is very simple
Before saysan you took one element and everything surrounded it
Including prepositions - like, than, the
But every element to him was equally important - and she took that into words
She wants to see what the difference is if you move words around or take some out
She wrote portraits of people
Very interested in parts of speech and punctuation
Idea of composition - taken from the painters
Usually considered figuratively
What's the difference in repetition?
"a rose is a rose, is a rose"
Realism isn't just something that you're trying to depict from the outside world, but the
composition of your thoughts
Trying to write the reality of what's in your head, just as important as what you see
"The realism of the composition of my thoughts" - G.S.
Trying to describe every human that ever lived - most demanding books you could ever read
Striking - associate literature with new vocabulary, but easily understood
In a black hole of literature - time changes when you read it
Astonishing long to read, but puts you under a spell
The making of Americans
He works on a flat plane, but showing the front, back, and side on this
She tries to write in "the round" like him
Feel the repetition and accumulation when reading "Picasso"
How they made their money
Physical attributes
Where they were born, grew up, etc.
Personality characteristics
When trying to create a literary portrait of someone you think of
Lectures in America
Lecture 4 - 21/09
Wednesday, September 21, 2011
9:07 AM
C. de Souza ENGC47H3 Page 1
Personality characteristics
Beyond the conventional understanding
In order to make a portrait of Picasso you have to look beyond it
Creating distance
Strange, considering he was a personal friend of hers - not based on secondary knowledge
Other than the title she refers to him as "one"
Surplus of creative energy
He's ahead of his time, always being followed, not following himself
Always working
She believes the essence of Picasso is that he's always working and bring things into being, and people
are always following
A variety of meaning associated with him
Indicating that the essence of Picasso was completely working and playing at the same time
To the end he wasn't completely working
Rhythm and sound seem more important
The notion of composition
Multiple meanings
While listening to the reading you can hear that she's not primarily interested in what has meaning
Sacred Emily
Line 19 - she was queer
Dealing with sound and repetition
Does repetition change the meaning of words?
Line 140 showing homophones, interested in sonic relationships and categorical relationships
Domestic object, protective devise, the cousin of the curtain
Don't usually think of the relationships
Line 124-125 - Curtain cousin. / Apron
Kinds of things, or kind, how are they related to each other, and she tries to describe them in an
unconventional way of thinking about them
Tendencies that suggest or show us her techniques
Sometimes we don't know where to stop, because we can't think of one primary meaning
Looks like the word is split open
The door is open
A door could be seen as an obstacle
You can tell a lot about a story from the missing elements as much as those that are in it
Didn't have to put the "don't" because it is implied
The word door contains the meaning within itself - do or don't
Line 334 - Door. / Do or
Rather than using a question mark she'll use a period
She dislikes certain punctuation marks in the same way a painter may say they don't like a
particular colour
The emphasis on punctuation
The autobiography of ____ is writing about her from the view point of her lover's eyes
There is a gentile eroticism to her writing
Susie Asado
23 years old
About a young flamenco dancer
Another portrait, but unlike the Picasso portrait
Unison - bringing things together but one thing
"What" is the equivalent of an object
It's impossible for language not to have meaning
Meaning seems more circumscribed in Yeats or Frost
We question ourselves as we read this - are we trying to concretize something that is arbitrary?
Feels as though it is arbitrary
In a cluster it seems to add up
Is there an erotic element?
Here is a gay woman talking about a young, athletic woman
From tender Buttons
Doesn't follow a set of rules
Begin to try to conjure up an interpretation of what you see on the page
C. de Souza ENGC47H3 Page 2