Tuesday, December 8, 2015

Thank You



With the semester coming to an end, I wanted to take a moment to thank you guys for following me through the various theories you'll need to be a literary critic. This blog covered theories including:

New Criticism
Reader Response
Feminism
Structuralism
Post Structuralism
Queer Theory
Psychoanalysis
New Historicism
and Postcolonialism

I attempted to explain these theories in the simplest terms possible while still covering the basic points you would need to know for each one of them. Hopefully, the blogs helped some of you out. Theory can be tough to grasp and even tougher to fully understand, but it just takes a bit of time and research to accomplish.

But if you're like most people and you don't have the time to become an absolute expert in Critical Theory, that's okay, too. Just take a trip back to this blog and brush up on the things you really need to know. Eventually, you'll be analyzing like a professional.


Citations:
"Thankyou." Flickr. Yahoo!, n.d. Web. 08 Dec. 2015. <https://www.flickr.com/photos/signote/6102820227>.

Queer Reading of Peter Pan

Nichole Currier
Robin DeRosa
Critical Theory
8 December 2015
Peter Pan
            Peter Pan is a classic tale that has been retold through books, movies, and various stage productions. Focusing on a young boy who refuses to grow up and lives in the magical world of Neverland, Peter Pan is a story that never grows old. Just because the plot has stuck around for generations, however, does not mean the theories have all been figured out. While Peter Pan can seem like a simple story of coming to terms with adulthood on the outside, it poses much more meaning when seen through the lens of Queer Theory. When focusing on the fact that in nearly every stage production of this story Peter is played by a girl, one can see how this idea changed the entire meaning of numerous other parts of the story. Peter’s interactions with those in Neverland, as well as his interactions with Wendy, take on a whole new meaning than they previously had. Peter Pan refers heavily to the homosexuality between women.
            Shannon Keating points out in her paper Peter Pan, Queer Icon that in every Broadway musical rendition of this show, Peter has been played by a female. She goes on to discuss how “what has become a casting custom holds more value than simply that of tradition” (Keating). She discusses how this practice is hardly ever done in other shows, movies, or theater productions. Women being cast as boys “remains almost as infrequent a cultural occurrence in modern media as it was 50-plus years ago” (Keating). The fact that this is an occurrence that has come across not once, not two times, but every time Peter Pan has been performed is to be taken into consideration when analyzing other aspects of the story.
            When viewing Peter Pan as a boy with masculine features, many aspects of the book take on completely new meanings. Keating discusses how, in the world of Neverland, genders are split almost directly down the middle. Boys, such as the pirates and Lost Boys of the land, are constantly going on adventures and fighting with one another. The girls, however, such as the mermaids and Tiger Lily, do little more than admire Peter and the many things he accomplishes. Even Wendy is seen solely as a girlish, mother figure throughout the entire series. On the outside, it seems as though women are given no more thought or purpose than absolutely necessary. When viewing Peter as his female part in theatrical productions, however, these roles of other women take on a whole new meaning. “Women playing those Peter Pans, at least, present the possibility that not only can anyone be Peter—anyone can fall in love with him, too” (Keating). By having a girl play Peter Pan and continue with the flirtatious banter that is passed between the mermaids, Tiger Lily, and Wendy the message becomes clear that gender is not the defining factor in who falls for who in this series. While Peter may still hold some masculine qualities, the fact that he is played by a female is the defining point in what pushes this story towards a queer analysis.
            Peter is not the only character in the story that possess the body of a female and the traits of a male, though. Taking a look at Peter’s right hand side kick, one can see how many of these boyish traits are reflected in Tinker Bell, as well. While still curvy and flirtatious as many femme fatale characters are, Tinker Bell holds a strong will, a malicious mind set, and the quickest temper of anyone else in the story. These are traits that are often linked to men, while women are viewed as the nurturing, level headed, and obedient characters—such as Wendy. Tinker Bell goes against these stereotypes, however, and even goes so far as to push the binaries farther with who is allowed to fall in love with the female version of Peter Pan. Towards the end of the story, when pirates set to poison Peter without him knowing, Tinker Bell goes out of her way to warn him and even drinks the poison herself when he does not understand. Peter immediately breaks down crying, showing how much he cares for his small female friend and goes to great lengths to bring her back. The actions from both of these characters show the deep devotion they have for each other, a relationship deeper than that of many other characters in the story. The fact that they both also happen to be female in practically every theatrical production simply adds to the homosexual undertones that can be seen here.
            While Peter Pan may not seem like any other heterosexual story on the outside, it’s clear that there are numerous homosexual undertones in various aspects of this story. By casting Peter as a girl in theatrical productions, one can see the homosexual feelings that drive him towards nearly ever other female character in the show. His interactions with the mermaids, Tiger Lily, Wendy, and Tinker Bell take on a whole new meaning than they previously had. Even Tinker Bell herself shows these binary breaking traits by possessing the characteristics that are often reserved solely for male characters. All of these points can be taken into consideration to see just how far the homosexual undertones lie within this story. It is easy to see how Peter Pan refers heavily to the homosexuality between women.

Works Cited

Barrie, J. M., and Nora S. Unwin. Peter Pan. New York: Charles Scribner's Sons, 1950. Print.
Keating, Shannon. "Peter Pan, Queer Icon." The Atlantic. Atlantic Media Company, 04 Dec. 2014. Web. 08 Dec. 2015. <http://www.theatlantic.com/entertainment/archive/2014/12/peter-pan-queer-icon/383422/>.


Postcolonial Theory: Then and now

Much like New Historicism, Postcolonial Theory is a concept that deals largely with social history. However, this theory also looks closely at physiology and the social aspects of people and literature. Postcolonial Theory focuses on the different races and ethnicity of people, as well as colonization and its effects on different cultures.

Postcolonial Theory requires just as much research as that of New Historicism. By looking at literature before colonization and comparing it to the literature after, theorists can get a better idea of the impact that was made when these cultures collided.


If Postcolonial theorists focused only on literature after colonization, or even solely on literature before colonization, the same similarities and differences would not be able to be drawn and the same conclusions would not be made. 

When looking at these two forms of literature, it is common to see how he colonized people often resent the destruction of their cultures. Different aspects of culture such as religion, customs, and languages can all be lost in the process of colonization. In some circumstances, these practices can even be outlawed by those colonizing the different tribes and communities. After this, the only remains of the the original inhabitants are left in what writings or art they may have had.

Today, many people continue writing novels and other forms of literature about colonization and the effects it had on their homes and the lives they once knew. These writings are great examples for some of the literature that Postcolonial Theorists have to work with. As long as cultural and social aspects of life are constantly changing, there will always be a place for Postcolonial Theory. It's hope is that perhaps it can shed light on more positive ways change can be made in the future.


Citations:
Wikipedia. Wikimedia Foundation, n.d. Web. 08 Dec. 2015. <https://en.wikipedia.org/wiki/Colonialism>.

Queer Reading of Harry Potter

Nichole Currier
Robin DeRosa
Critical Theory
8 December 2015
Harry Potter and the Chamber of Secret Meanings
            One of the most well known book series in children’s literature is the seven book series Harry Potter by J.K. Rowling. Inspiring kids of many ages for years, Harry Potter is a series that deals with many timeless issues. Telling the story of a young boy who is out of place until he realizes his true identity as a wizard, it’s easy to see how any outcast child could relate to this series. However, what happens when a queer theory is spun on the novels to provide an entirely new meaning for Harry’s story and the way his life plays out? Small aspects such as Harry’s abuse from the Dursley’s and his room in the closet, the way he and other wizards are viewed and treated by people such as the Dursley’s, and the connection Harry immediately feels after meeting more people like himself suddenly mean much more. David Nylund also takes a look at this theory in his paper Reading Harry Potter: Popular Culture, Queer Theory and the Fashioning of Youth Identity. By taking all of these details into consideration, it’s easy to see how Harry Potter may have a deeper and more complex meaning than readers initially though. Looking at the story through this lens has the possibility of even changing the entire meaning of the story. Harry Potter is actually a story about a young boy fighting against the homosexual abuse of his childhood and coming to terms with his sexuality.
            Since infancy, Harry was forced to live with his awful aunt, uncle, and cousin. Constantly being abused by these three members of his family, it is easy to see why Harry resents home so much. The Dursley’s excuse for their constant hardships on Harry, however, is solely for the fact that he is different than them in a way that they cannot understand. “In short, Harry is different and fated to live in the world of so-called “normal” people” (Nylund). This relates directly back to homosexual children who are caught in the position of trying to come out to a family that does not understand this sexuality. The book series goes so far as to put Harry in his own closet underneath the stairs, a metaphor that is used constantly by the queer community as someone being ‘in the closet’ before admitting to themselves or others that they are homosexual. When Hagrid arrives to take Harry away from his abusive home can be seen as the moment Harry finally made the decision to come out of the closet. Yet the Dursley’s never let up on their constant ridicule of the wizarding community.
            It’s important to look closely at how the Dursley’s go about demeaning wizards and those that are different from them. Nyund points out how Mr. Dursley is constantly referring to this community as “her crowd” and “their kind” when speaking about Harry and his late mother. These are terms that are constantly used in the ridiculing of homosexuals. When Harry is forced to live under his aunt and uncle’s roof, such as between school semesters, he is constantly told to stay in his room and keep quiet. Mr. Dursley’s solution to the problem of his nephew being different is to shut him up and be sure he is never seen or heard from. This is a punishment that many homosexual children face in households that do not accept who they are. This is also a method that had been used in times when homosexuality was seen as a disease that needed to be cured. In what was said to be meditation like practices, homosexuals were locked away for days at a time in an attempt to cure them of their homosexuality. They were lead to believe they were completely different and were treated as outcasts, much like Harry. However, these people were not alone.
            One important aspect of the Harry Potter series to take into consideration is the amount of acceptance that Harry feels when he is finally surrounded by those that are just like him. He no longer feels ridiculed or out of place, but supported and liked by those who share the same traits he does. Nyund compares these feelings to those told in his paper by a young homosexual, Steven. Steven shares how, when he was introduced to other homosexuals who had gone through similar circumstances he had, he “felt a lot less alone. [He] imagined that’s how Harry felt when he went to Hogwarts and found out there were other kids who were different” (Nyund). Just like Steven, Harry felt absolutely alone when stuck in his house with the Dursley’s. However, it was when he was saved by Hagrid and taken off to Hogwarts that he realized he wasn’t alone. This realization is what helped Harry, and Steven, come to terms with who they really were and continue to live life through the hardships that others faced them with.
            Many aspects of the Harry Potter series by J.K. Rowling show how there may be more to the story than what is initially seen. Harry can be seen as a young boy who, stuck in a household where he is unappreciated and unvalued, is constantly forced to deal with the fact that he is different from those around him. He is ridiculed, harassed, and ultimately abused daily for these differences. However, when he finally finds a group of people who share these differences with him, it’s the final bit of strength Harry needs to fight through the hardships that have been presented to him since childhood. While many see Harry Potter simply as a story about ‘the boy who lived,’ it is much more than that. Harry Potter is actually a story about a young boy fighting against the homosexual abuse of his childhood and coming to terms with his sexuality.


Works Cited
Journal Of Systemic Therapies, Vol. 26, No. 2, 2007, Pp. 13–. Journal of Systemic Therapies, Vol. 26, No. 2, 2007, Pp. 13–24 READING HARRY POTTER: POPULAR CULTURE, QUEER THEORY AND THE FASHIONING OF YOUTH IDENTITY (n.d.): n. pag. Web.
Rowling, J. K. Harry Potter. London: Bloomsbury, 2007. Print.

New Historicism: Grab your history books

Alright history buffs, here is the theory for you. New Historicism takes a moment to step back and take a look at literature in regards to history, both ancient and recent. This theory, much against the approval of New Critics, believe that literature links itself to political, social, and cultural aspects of every day life.

While this theory could be applied to just about any piece of text, it focuses largely on the twentieth century. As one would assume, research plays a large role in this theory and works as the basis for what is produced. So turn on the History channel, guys, you're not getting all that research done just by sitting around and procrastinating.



Another aspect of New Historicism is that of Cultural Studies. These studies focus more largely on the cultural aspect of texts as opposed to solely the historical. This opens the doors to many different non-literary aspects of life that can be used in research such as music, fashion, letters, and movies.

Another important part of New Historicism to remember is that history is not linear. What does linear mean? Simple:



History does not follow in one, single, completely predictable line. One cannot focus solely on a few significant people of a time and assume that everything they did, and only what they did, can sum up the history for that time period. People who lived everyday, mundane lives mattered as well. If you still aren't grasping what I mean, try taking a look at the play Our Town by Oscar Wilde.



History can be found in and utilized through many different pieces of literature. By thinking outside of the box and looking through more than just the stereotypical names and events of a certain time period, one can see just how the mundane lifestyle may have structured a great piece of writing.


Citations:
"File:Linear Sorption Isotherm.svg." - Wikimedia Commons. N.p., n.d. Web. 08 Dec. 2015. <https://commons.wikimedia.org/wiki/File:Linear_sorption_isotherm.svg>.
"History - Google Search." History - Google Search. N.p., n.d. Web. 08 Dec. 2015. <https://www.google.com/search?q=history&safe=off&rlz=1C1TSNO_enUS603US603&source=lnms&tbm=isch&sa=X&ved=0ahUKEwiOt7CmiszJAhUC2R4KHZZXCYYQ_AUIBygB&biw=1366&bih=599#safe=off&tbs=sur:fc&tbm=isch&q=oscar+wilde&imgrc=3736QvsKuShm3M%3A>.
Wikipedia. Wikimedia Foundation, n.d. Web. 08 Dec. 2015. <https://en.wikipedia.org/wiki/History_(Australian_TV_channel)>.

Queer Reading of Frankenstein

Nichole Currier
Robin DeRosa
Critical Theory
8 December 2015
The Secret Desires of Frankenstein
            Mary Shelley’s Frankenstein is one of the most well known works of gothic literature. The story revolves around Victor and his attempts, as well as successes, in creating a living creature. Through this journey, however, the reader is introduced to many other themes that are not so apparent on the surface level. One of these themes is that of homosexuality. Having been published in 1818, Frankenstein was written in a time when this was still an extremely controversial subject. Today, the idea is discussed openly. Douglas Sadownick addresses this theory in The Man Who Loved Frankenstein, where he discusses Frankenstein’s envy of female procreation as well as the close relationship he develops with Walton. Michael Eberle-Sinatra also explores this topic in Readings of Homosexuality in Mary Shelley's Frankenstein and Four Film Adaptations, where he discusses Victor’s relationship with Elizabeth as well as her constant concern that Victor’s love resides in another. One can also consider Victor’s extremely close relationship with Henry throughout the story as a symbol for the disregarded homosexual feelings Victor possesses. His relationship with male character differs greatly from those he shares with the female characters throughout the novel. Victor continuously hides his homosexual feelings from those around him throughout Frankenstein by Mary Shelley.
            The first example of Victor inhabiting homosexual desires can be seen in his process and obsession of creating a living being. “[Many] argued that Frankenstein was a feminist take on the male envy of female procreation…I was fascinated by the idea of procreating a "person" of the same sex as oneself” (Sadownick). By choosing to create a male creature instead of a female, the reader can see how Victor’s desires lean more towards homosexuality. Eberle-Sinatra points out how “the language used to describe the making of the Creature by Victor in the novel suggests masturbation.” Looking at the language that Victor uses when retelling his creation to Walton, it is easy to see how his story may have underlying homosexual desires. Victor tells how he “disturbed, with profane fingers, the tremendous secrets of the human frame. In a solitary chamber…I kept my workshop of filthy creation” (Shelley 58). Not only is Victor attempting to take on the role of female procreation, he finds an erotic joy from it as well. “These masturbatory elements also suggest homosexual fantasies” (Eberle-Sinatra). Victor shows more interest and excitement in his creation than he does with any other subject in the book, including that of his love, Elizabeth.
            Having met her at a very young age and developing an immediate attachment, it was decided early on that Elizabeth would eventually become Victor’s wife. However, as the two grow older Victor avoids his promise of marrying Elizabeth and instead goes off to complete his studies and experiments with his creature. Eberle-Sinatra points out how “the novel's Victor is obsessed with the Creature, who repeatedly makes his pulse beat faster and his brow sweat,” a reaction that Victor never has towards Elizabeth. Even after leaving his creation, Victor is constantly remembering “the nervous fever with which [he] had been seized just at the time that [he] dated [his] creation” (Shelley 76). Yet Victor hardly pays any mind to Elizabeth, who is constantly sending him letters and reaching out to him. Victor’s father notices his distance, confronting Victor about it on page 133 where he states “I confess, my son, that I have always looked forward to your marriage with our dear Elizabeth…but so blind is the experience of man…you may have met with another whom you may love.” Victor’s father makes no comment on whether the other he loves is male or female, leaving the passage open to reader interpretation. Even when Victor responds, “My dear father, re-assure yourself. I love my cousin tenderly and sincerely. I never saw any woman who excited, as Elizabeth does, my warmest admiration and affection” (Shelley 133), he is specific in saying that he has never seen another woman who he adores. Victor does not, nor could he in this time period, address the possibility that another man has stolen his love from Elizabeth. “The possibility that Victor might have met another man clearly does not occur to his father, and to a certain extent neither does this possibility occur to Victor himself, though he is certainly much more excited physically by the thought of the Creature and its physical presence than he is by Elizabeth” (Eberle-Sinatra). However, the creature is not the only male character that seems to cause excitement in Victor.
            After his creature escapes, Victor sets out to capture the beast and finds himself in the presence of Walton. Almost immediately, Walton is blatantly taken with Victor, writing to his sister how “my affection for my guest increases every day. He excites at once my admiration and my pity to an astonishing agree” (Shelley 37). Victor even goes so far as to return these feelings when Walton says “I spoke of my desire of finding a friend—of my thirst for a more intimate sympathy with a fellow mind could boast of little happiness, who did not enjoy this blessing” (Shelley 38). Victor replies with “I agree with you…we are unfashioned creatures, but half made up, if one wiser, better, dearer that ourselves—such a friend ought to be—do not lend his aid to perfectionate our weak and faulty natures,” and continues on to say “I once had a friend, the most noble of human creatures, and am entitled, therefore, to judge respecting friendship” (Shelley 38). In this section, Victor not only returns Walton’s affectionate feelings, but goes on to speak of Henry and the feelings he once had for this friend.
There are many instances throughout Victor’s story where he speaks highly of Henry, in a way that can easily be seen as affection and admiration. Henry also cared for Victor, taking time out of his studies after Victor’s incident with the creature to nurse his friend back to health. Victor admits to himself upon seeing Henry after that dreadful night that “nothing could equal my delight on seeing Clerval” (Shelley 62). The presence of his friend immediately calms Victor, even after the horrors he just witnessed over his creation. However, this love can most plainly be seen after Henry’s death. Even before telling the story to Walton, Victor shares how “little did I then expect the calamity that was in a few moments to overwhelm me…I must pause here; for it requires all my fortitude to recall the memory of the frightful events which I am about to relate” (Shelley 151). Victor goes on to tell how he was taken into custody for the suspected murder of his friend. It was not until Victor entered the room where the body of Henry lay, though, that he realized who had been killed. Victor’s reaction to seeing the lifeless body of Henry is one that shows how deeply he cared for his friend. “I gasped for breath; and, throwing myself on the body, I exclaimed, ‘Have my murderous machinations deprived you also, my dearest Henry, of life? Two I have already destroyed; other victims await their destiny: but you, Clerval, my friend, my benefactor—” (Shelley 153). Victor cuts himself off at this point in his rant, falling into a convulsion of uncontrollable sobs over the loss of his friend. This leaves the reader to wonder what Victor would have continued to say about his deceased friend, had he the strength to do so. It can easily be assumed that Victor would have gone on to call his beloved Henry “my love.”
            Throughout Mary Shelley’s Frankenstein, the reader follows Victor as he creates a living being. More importantly, though, the reader has a chance to see as Victor sees and feel as Victor feels about the events happening around him. After analyzing his thoughts of these tragic months, it can be seen that Victor had many feelings that were not brought to the surface through his story. From the homosexual reasons behind creating a male monster to his indirect rejection of Elizabeth to the strong bond he created with both Walton and Henry, it is clear that Victor’s relationships with males differed greatly for that with females. Victor continuously hid his homosexual feelings from those around him throughout the book Frankenstein by Mary Shelley.












Works Cited
Shelley, Mary Wollstonecraft, and Johanna M. Smith. Frankenstein: Complete, Authoritative Text with Biographical, Historical, and Cultural Contexts, Critical History, and Essays from Contemporary Critical Perspectives. Boston: Bedford/St. Martin's, 2000. Print.
Eberle-Sinatra, Michael. "Readings of Homosexuality in Mary Shelley's Frankenstein and Four Film Adaptations." Gothic Studies 7.2 (2005): 187-202. Web.

Sadownick, Douglas. "The Man Who Loved Frankenstein." (n.d.): n. pag. Web.

Monday, December 7, 2015

Psychoanalysis: The family romance

Psychoanalysis is a theory that deals heavily with the human psyche, starting from the early stages of infancy and following throughout childhood.

One of the first stages in psychoanalysis theory that needs to be understood is that of the Id, Ego, and Superego. Each of these represents a part of the unconscious mind and the way it operates.

Id: The Id is the most selfish of all three sections. The Id is the section of the brain that is concerned with oneself and only oneself. This section of the mind contains things such as sexual desires, need for satisfaction, and the fulfillment of biological desires.

Ego: This section of the brain is the closest to the conscious mind. This section deals with reality and works to keep the Id in check. Without the Ego, the Id would be off demanding anything and everything it wanted. The Ego, however, keeps the Id behaving in a socially acceptable manner.

Superego: The Superego works off of guilt. This is the section of the brain that works as a conscience and holds on to morals and values.



These are the basic terms on which the mind works off of. Once these are understood, one can dive deeper into the world on psychoanalytic.

One aspect of growing up that every child must go through to reach a healthy point of adult hood is that of developing feelings for his or her parents. Boys and girls are also presented with an envy and fear of wanting to be the other gender.

For girls, this comes across as penis envy.
For boys, castration complex.

When a young girl realizes that nature has not given her the same body as a boy, she beings to envy for a penis so she can be more like the central male figure in her life; her father. As she grows older, this want turns into that for a baby, which ultimately turns into a want for another man.

As for boys, when they realize that girls do not have the same parts that they do they begin to worry that this means the penis is detachable. This develops into a fear of castration, which ultimately develops into a fear of losing wholeness and control in one's life as the boy grows older.

These aspects focus largely on gender, just as the feminism theory does. However, this theory focuses on gender in a much different way, applying it more to the psyche and how this effects those growing up and through these stages.


Citations:
"File:Structural-Iceberg.svg." - Wikimedia Commons. N.p., n.d. Web. 08 Dec. 2015. <https://commons.wikimedia.org/wiki/File:Structural-Iceberg.svg>.