An excellent little compilation, although one that I would assign to graduate students rather than undergrads--it seeks to complicate accepted writingAn excellent little compilation, although one that I would assign to graduate students rather than undergrads--it seeks to complicate accepted writing practices rather than introduce them. (For introductory classes, even into the masters, I'd still go with Johanek, I think.)
A few highlights I might include in various course packets, at least:
Doug Hesse's "Writing Program Research" which includes the great research into how many students, can, in fact, write a decent sentence at his institution as well as other useful bits for assessment.
Asao B. Inoue about including racial distinctions in research, because I think it's important (although I think the N is scandalously low)
Haswell on Quant Methods, because Haswell.
Christina Haas et al on combining methods of discourse analysis and literacy studies.
Heidi McKee and Porter on general principles of internet research.
I donno, as I'm making these highlights I also like Canagarajah's bit on autoethnography and its pitfalls and Nickoson's Teacher Research. The book veers heavily towards feminist ethnography, probably because of the interests of the editors, so there's a lot of blurring of lines that blur towards those methodologies, but a lack of balance doesn't mean that what is included isn't worthwhile. ...more
First off, a disclaimer: I am not planning on getting married any time soon. I just really like Bruce C Hafen books in the genre of churchy books, andFirst off, a disclaimer: I am not planning on getting married any time soon. I just really like Bruce C Hafen books in the genre of churchy books, and this is one he wrote. So.
There's some great wisdom here, especially I like the idea that relationships shouldn't be about dependence, or even independence, but should be about interdependence, really learning to trust and care for each other in a deep, loyal sense. I also kind of liked the chapter on the moral influence of women, which sounds so cliche, but biologically, as well as spiritually, women have the most investment in stability and so they often get to set the terms for what a relationship is. Over all, the theme is that love is a deep and crucial connection, one that by definition is going to include a lot of pain and work, but that pain is the inverse of the depths of joy attainable in a relationship.
(I was less wild about his wife's epilogue, which--is that okay to say? Is that mean? Gosh, I hope she doesn't read Goodreads reviews.)...more
Bourdieu can be nearly unreadable, between the allusions to obscure French writers, the neologisms and the nearly endless streams of prepositions, but
Bourdieu can be nearly unreadable, between the allusions to obscure French writers, the neologisms and the nearly endless streams of prepositions, but when you cut through it, you find an engaging argument. For my purposes, I'm most interested in the idea that artists have a different hierarchy of prestige than do the bourgeoisie, but I'm also interested in his habitus-based method of reading, which he gives us an example of in reading "A Rose for Emily" at the end, which is easier than the painful Sentimental Education reading to discuss the hierarchy bits.
“The sociologist [...] stand opposed to the ‘friend of beautiful spectacles and voices’ that the writer also is: the ‘reality’ that he tracks cannot be reduced to the immediate data of the sensory experiences in which it is revealed; he aims not to offer (in)sight, or feeling, but to construct systems of intelligible relations capable of making sense of sentient data” (xviii). “scientific analysis of the social conditions of the production and reception of a work of art, far from reducing it or destroying it, in fact intensifies the literary experience” (xix).
“There is no better testimoney of all that separates literary writing from scientific writing than this capacity [...] to concentrate and condense in the concrete singularity of a sensitive figure and an individual adventure, functioning both as metaphor and as metonymy, all the complexity of a structure and a history which scientific analysis must laboriously unfold and deploy” (24).
“The charm of the literary work lies largely in the way it speaks of the most serious things without insisting, unlike science writing according to Searle, on being taken completely seriously” (33).
“The relationship between cultural producers and the dominant class no longer retains what might have characterised it in previous centuries [...[ even allegiance to a patron or an official protector of the arts. Henceforward it will be a matter of a veritable structural subordination which acts very unequally on different authors according to their positions in the field. It is instituted through two principal mediations: on the one hand, the market, whose sanctions and constraints are exercised on literary enterprises either directly, by means of sales figures, numbers of tickets sold and so forth, or indirectly, through new positions offered in journalism, publishing [etc.]; and on the other hand, durable links, based on affinities of lifestyle and value systems,” (49).
“An ambiguous reality, bohemia inspired ambivalent feelings” because is closer to the people but also aristorcrats “no less true of its most destitue members who, strong in their cultural capital and the authority born of being tastemakers succeed in providing themselves at the least cost with audacities of dress, culinary fantasies, mercenary loves and refinded leisure, for all of which the ‘bourgeois’ pay dearly” (56-7)
Concern with the institution “those who claim to occupy the dominant positions in it will feel the need to manifest their independence with respect to power and honors” (61).
“in a field reaching a high degree of autonomy and self-awareness, it is the mechanisms of competition themselves which authorize and favour the ordinary production of out-of-the-ordinary acts, founded on the rejection of temporal satisfactions, worldy gratifications and the goals of ordinary action” (68).
“The progress of the literary field towards autonomy is marked by the fact that, at the end of the nineteenth centurey, the hierarchy among genres (and authors) accordingto specific criteria of peer judgement is almost exactly the inverse of the hierarchy according to commerical success” (114)
Painters and commissions “helped reveal to writers [...] the possiblity of a freedom henceforth offered to (and thereby imposed on) anyone wanting to enter into the role of painter or writer” (139).
“Thus the opposition is total between bestsellers with no tomorrow and the classics, lasting bestsellers whcih owe to the education system their consecration, hence their extended and durable market” (147).
“It is not enough to say that the history of the fields is the history of the struggle for a monopoly of the impositin of legitimate categories of perception and appreciation; it is in the very struggle that the history of the field is made” (157)
“cultivated people are in culture as in the air they breathe, and it takes a major crisis (and the criticism that accompanies it) for them to feel obliged to transform the doxa into orthodoxy or into dogma, and to justify the sacred and consecrated ways of cultivating it” (185).
(“in fact, it is probably in Michel Foucault that one finds the most rigorous formulation of the coundations of the scrusctural analysis of cultural works” (197))
National traditions create a hierarchy of arts (e.g. music or painting) or science. Relates to hierarchies of nations, too (200).
“traditionaly entrusted to university people, criticism is the indispensable accompaniment of that profound transformationof the structure of the dividual of intellectual work” (210).
“the literry or artistic fields are characterized, particuarly compared withthe university field, by a weak degree of codification, and, by the same token, by the extreme permeablity of their boundaries adn teh extreme diversity of the definition of the posts they offer and the principles of legitimacy which confront each other there” (226).
Definition of field of power: “the space of relations of force between agents or between institutions having in common the possession of the capital necessary to occupy the dominant positions in different fields” (215) the heteronomous hierarchy which is about economic and political clout and the autonomous which is focused on freedom lack of compromise (216). “it is in the name of this collective capital that cultural producers feel the right and the duty to ignore the demands or requirements of temporal powers” (221). and “defenders of teh most ‘pure’” can argue exclusion of “a certain number of artists (etc.) are not really artists, or that they are not true artists, they deny them existence as artists” (223). “One of the central stakes in literary (etc. ) rivalries is the monopoly of literary legitmacy, that is, among other things, the monopoly of the power to say with authority who is authorized to call himself writer” (224). “the posts of ‘pure’ writer and artist, like that of ‘intellectual,’ are instituions of freedom, whicha re constructed again teh ‘bourgeoisie’” (257). The formation of “anti-institutional institutions” like salons, avante-garde journals etc. (258).
According to the sybolic capital recognized in her as a functin of her position, each writer (etc.) sees herself accorded a determinate set of legitimate possibles meaning, in a determinate field, a determinate share of possibles objectively offered at each given moment in time” (260).
Wrtiers adn artists situated at the economically dominated (and symbolically dominant) pole of the literary field, itself temporally dominated, can doubtless feel a solidarity [...] with the occupants of economically and culturally dominated positions in social space” (251) “One [artistic aim] is in fact in an economic world inverted: the artist cannot triumph on the symbolic terrain except by losing on the economic terrain (at least in the short run), and vice versa (at least in the long run) (83). “Thus the invention of the pure aesthetic is inseparable from the invention of a new social personality, that of the great professional artist who combines, in a union as fragile as it is improbable, a sense of transgression and freedome from conformity with the rigour of an extremely strict discipline of living and of work, which presupposes bourgeois ease and celibacy and which is more characteristics of the scientist or the scholar” (111) -- “the producer of the value of the work of art is not the artist byt eh field of production as a universe of belief which produces the value of the work of art” (229) “The dominants have always found their best guard dogs, the fiercest anyway, among intellectuals disappointed and often scandalized by the casualness of those heirs who have the luxury of repudiating their hertitage” (280).
“the experience of the work of art as immediately endowed with meaning and value is an effect of the harmony between the two aspects of the same historical institution, the cultivated habitus and the artistic field, which mutually ground each other” (289).
“Production of the work bring into play all the producers of works classified as artistic, whether great or small” the whole artistic community and middlemen (295). “All position depend, in their very existence, and in the determinations they impose on their occupants, on their actual and potential situationin the structor of the field--that is to say, in the structure and distribution of those kind of capital (or of power) whose posession governs the obtaining of specific profits (such as literary prestige) put into play in the field” (231).
“the literary (etc.) field is a force-field acting on all those who enter it, and acting in a differential manner accordin to the position they occupy there” and also “it is a field of competative struggles which tend to conserve or transform this force-field” (232).
“two persons possessing each a different habitus, not being exposed to the same situation and to the same stimulations, do not hear the same music and do not see the same paintings since they construe them (289) differently” (299).
A double historicuzation of the tradition and the application of the tradition (309) because “to escape (however slightly) from histoyr, understsanding must know itself as historical and give itself the means to understand itself historically” (310).
“The habitus urges, interrogates, make the object speak, while for its part, the object seems to incite,call upon, provoke the habitus” (320). “In short, the habitus is the basis of the social structuration of temporal existence” (329).
“Intellections are two-dimensional figures who do not exist and subsist as such unless (and only unless) they are invested with a specific authority, conferred by the autonomous intellectual world [..] whose specific laws they respect” (340).
anxiety of influence: artists “reject what their most consecrated are and do” (240). ...more
Pretty fun, snickery, good times. Sometimes I do wonder how closely the author read the books--does Ortberg think Ishmael cared about the white whalPretty fun, snickery, good times. Sometimes I do wonder how closely the author read the books--does Ortberg think Ishmael cared about the white whale?--although the Halmet texts alone make it worth the read....more
Main points: put all of your to-do tasks into a sort of "inbox" and then sort them into actionable and inactionable items. If it's inactionable, you eMain points: put all of your to-do tasks into a sort of "inbox" and then sort them into actionable and inactionable items. If it's inactionable, you either trash it or keep it in a Maybe/someday pile (this is like my "Everything in my head but not on paper" file) or reference (this is huge for me--my commonplace book). If it's actionable and takes less than two minutes--well, do it. If it takes moe time, either delegate it to someone better suited or put it on the calendar to do at a specific time or make SPECIFIC, CLEAR next action plans. As in, like, "pick up the phone and call the hair salon" or "open the document with comments." Actually, I rather like all of this quite a bit--a task can seem daunting without clear, small "next action" plans. I read this in bursts between organizing my own tasks. That seems effective.
Get everything “outside of your head and off your mind “ (3) “Now, for many of us, there are no edges to most of our proejcts” (5) Managing unfinished projects in “collection bucket” to sort through later (13). If something is stuck in your mind, it’s because you haven’t figured out the outcome, the next step or reminders to do the next step (15) Have “as few [collection buckets] as you can get away with” (29). empty the bucket by doing, putting somewhere else or otherwise organizing (30). “projects” have more than one step and you need to plan(37)
“Implementaton [...] is a lot about ‘tricks” (85) Time--use weekends and afterhours to really be productive (no meetings) Space--don’t share space Stuff--folders, paper, calendar Filing system--keep drawer less than ¾ full, keep fresh folders (99) Practicing a “mind sweep” by getting out all ideas in your brain on separate bits of paper (113) Once you get everything “in,” organize by area: at home, at school, on the bus (121) Categories: calls, at computer, errands, office, home, agendas, read (144) Weekly review: collection stray papers process notes look at calendar empty head—everything you’re thinking about review big projects review next action lists review waiting for lists review someday/maybe list be creative and courageous (185-187)
When you look at your lists and decide what to do think: 1. Context (do you have what you need to do this?) 2. Time available 3. Energy available 4. Priority (192)
When you are good at this sort of thing you are “organized enough to take advantage of the ‘weird time’ windows that show up” and you can “switch between one task and others” (199) . ...more
My sister gave me this book and I was sick, so I read it all at once. I remember some of these delightful stories from anthologies, stories that stuckMy sister gave me this book and I was sick, so I read it all at once. I remember some of these delightful stories from anthologies, stories that stuck in my head (the one about the minor demon and the rose inspired a whole art phase in high school) for a long, long time. I didn't have a voice to read them aloud, but I'm so glad to have them to do so. Brilliant one and all....more
I wish there were a word for "good-natured understanding that we are all ridiculous in our own right, but nonetheless lovable." Because that's what maI wish there were a word for "good-natured understanding that we are all ridiculous in our own right, but nonetheless lovable." Because that's what many Eastern European Jewish stories are,what my favorite TV shows (Parks and Rec, Brooklyn 99, etc.) are and that's what this book is. The plot, if you can say there is a plot, revolves around being an unexpected guest at an old-fashioned country squire's home where the traditions of 17th century England are the most recent. The sketches of the cheery, odd, quaint and lovable characters sort of take the edge off of the "hap-happiest" time of the year and make you just appreciate the strange and lovely people around you....more
One of the best academic books I've read in a long time. Every article was well written and thoughtful and it was a really diverse assortment of topicOne of the best academic books I've read in a long time. Every article was well written and thoughtful and it was a really diverse assortment of topics. Here's my thoughts excerpted from the review I wrote.
"It would be tempting to suggest that transnationality of bodies occurs only in the international movement of bodies, and certainly that is part of national discourse about bodies. The very real risks and consequences of the immigrating body are highlighted in chapters by Natalia Molina and Kristina Shull, which investigate US anxieties of, respectively, unhealthy Mexican and unlawful Cuban immigrants. Nation states trying to shape or reshape a national identity can easily fix upon immigrants as threats to that identity, sending undesirable bodies back, banishing them from the national body or else keeping them in limbo, as in the case of the Mariel Cubans, many of whom, Shull points out, waited twenty-five years to have their status finally determined. Immigration, though, is just one site of transnational anxiety.
Transnational biopolitics also anxiously seek to circumscribe contact between exported military bodies and civilians in the occupied nations, especially sexual contact. Paul A. Kramer examines perceptions of US-sanctioned prostitution during the Philippine-American War and finds well-worn concerns about health and corruption in encountering the other-nationed body. Although the US government accepted the inevitability of prostitution, Kramer points out the consistent domestic debate against US sexual exploitation. Brenda Gayle Plummer, studying a period more than half a century later, points out the contradictions of US policy regarding interracial marriage between GIs and European women that led to thousands of abandoned mixed-race children. When military bodies can be tempted away by women in occupied territories, domestic female bodies, too, become redefined as part of the national project. Emily S. Rosenberg points to a six-page spread in Life magazine on May 21, 1945 that declared explicitly “[GIs] have seen and evaluated the relative endowments of English girls, French girls, Australian girls, and Polynesian girls. They have some to be beautiful, come pretty, some exotic. But none of them look like the American girls and the GI has come to appreciate and miss, with a deep and genuine poignance [sic], the look that sets American girls apart from those of all other lands.” Describing the so-called American Look became a way of reclaiming soldiers at the end of the war from international romances. Women domestic and abroad redefine national tropes during times of war.
Other bodies encountered in military occupation, especially enemy bodies, both combatant and civilian, but especially dead, challenge national identities. Marilyn B. Young describes how the practice of “body counts” began in the Korean War as part of the mission to “kill as many Chinese Communists as possible without enlarging the war at the present in Korea.” This unofficial objective crescendoed during the Vietnam War, marking Vietnamese bodies as dehumanized metrics for advancement. The practice, Young points out, has been discontinued and redefined, but always lingers with the troublesome question of “whose bodies count” (238). Rosenberg and Fitzpatrick’s epilogue take the question to the extreme by examining the absence of combatant bodies. They point out that the “dead body is troublesome to good and ordinary people and much be repeatedly concealed” through the distance of modern warfare and torture techniques. Dark sites and drone attacks maintain “the illusion of innocence” to domestic audiences while bodies are “very visible to others” feeding “an accelerating cycle of misunderstanding and ever more vicious violence.” The bodies of the veterans themselves can be appropriated to a national narrative, too, points out Annessa C. Stagner, whose study of shell-shocked WWI veterans reveals an American obsession with not just curing the emotionally distraught vets, but “building even better men.” While European veterans might be unable to control their minds, “mirror[ing] the irrationality of European nations leading to the outbreak of war,” American veterans were repeatedly told that war-induced mental illnesses were “relatively simple and recoverable rather than complex and dangerous.” The metonymy of the soldier body for the nation is not a difficult jump when each soldier wears the flag on the sleeve, especially as that body crosses national boundaries
But a body doesn’t have to cross nation-state boundaries to be transnational. America is, itself, the editors assert, “always simultaneously a transnationalism.” From the non-racial descriptions of the American Look to the “transnational participatory pastiche” of Physical Culture’s ripped and toned figures (Fitzpatrick 81) to the physical fitness of young children, American transnationalism has had an internal as well as external bent to it. Individual bodies can, themselves, be transnational; articles in Body and Nation describe how Asian American celebrities Anna May Wong and Sammy Lee embodied transnationalism as ambassadors of American culture and politics, while the carefully curated body of US president FDR became a symbol for American strength in World War II." ...more
Foucault parable of IKEA knock-offs and panopticons. Genuinely terrifying and you might be tempted to find the protagonist too glibly indie, but she,Foucault parable of IKEA knock-offs and panopticons. Genuinely terrifying and you might be tempted to find the protagonist too glibly indie, but she, uncharacteristic of that type, changes in wonderful, terrible, realistic ways. Definitely one for the hauntology course....more
Aspasia wasn't just a rhetorician--she was rhetorical.
Because we don't have any of her unmitigated writing, it's hard to know what Aspasia wrote--orAspasia wasn't just a rhetorician--she was rhetorical.
Because we don't have any of her unmitigated writing, it's hard to know what Aspasia wrote--or didn't write--or who she was--or wasn't. Henry traces her legacy from classical times up through the 20th century as whore, teacher, madam, scholar, wife, philosopher, schemer, matchmaker, feminist, puppet and butt of jokes. As she says in the conclusion "we can say remarkably little about Aspasia of Miletus" (127).
Some of my favorite bits:
But the tradition does speak of Pericles' love for Aspasia, and the question of its nature haunts us still. If, as the tradition suggests, she was highly intelligent, the love of a powerful and wealthy man could have protected and nurtured her, allow her to develop her mind in ways not open to other women who lacked either her wisdom or the materially and emotionally supportive environment provided by such a love" (13).
In aristopanes as a pimp "Once she is defined as the keeper of whores, Aspasia is a woman near the center of government who controls men's access to women and whose displeasure could bring on a war" (26).
In fragments by Aeschines of Sphettos "Pericles is used here as an example of aspasia's skill as teacher. The story of Pericles' loss of composure at her trial may have indicated his political dependence on her as well as his devotion to her" (43) Aeschines also emphasizes her as a rhetoric teacher of Callias' son as well (43). Aeschines is also responsible for the fragment quoted in Cicero and Quintilian where Aspasia gives advice to Xenophon and his wife (Inv. Rhe 1.31.51ff)
"She is a crosser of boundaries, a woman who has had marriage-like relationships, but not marriages, with leaders of the polis and who advises husbands and wives to seek and to be the bet possible spouse" (45).
"The fact that exceptional women, usually prostitutes, are found in man different genres is not insignificant" (61).
From Didyous Chalcenteros "Aspaia the Meilian ....Socrates derived an enjoyment of philosophy from her and PEricles rhetoric" (66).
"Interestingly, however, Aspasia has no known male mentor. She is no one's student and seems to have come intellectually out of nowhere" (130).
READ PLUTARCH's discussion in 24.2-1; 25.1
Renaissance source Promptuarium Iconum by Guillaume Rouille...more
Riveting, gruesome tale about how the Victorians were riveted by gruesome things. Murder in general, and poisoning, especially across classes, fascinaRiveting, gruesome tale about how the Victorians were riveted by gruesome things. Murder in general, and poisoning, especially across classes, fascinated everyone, including some of the greatest novelists of the period. Flanders especially traces these literary influences, but also describes the popular response to sensationalist murders in baby farms, slums, and villages. The attitude towards police and public execution vary radically through this century....more
Charming ghosty coming-of-age tale. Not unlike The Jungle Book in its episodic, quirky and sometimes grim tone, as KP pointed out. Especially admire iCharming ghosty coming-of-age tale. Not unlike The Jungle Book in its episodic, quirky and sometimes grim tone, as KP pointed out. Especially admire individual sentences and the fact that the adults are wise, independent and engaged, unlike many children's books of this ilk. Some questions left unanswered and isn't that lovely?...more