Tuesday, May 31, 2005
I encourage you to continue the discussion in the "Comments" section ....
- "Before we can categorize Lad and Chick Lit we must first have a base criteria. I believe that the nature of the main protagonist gives the reader an insight to whether the book should be considered Lad Lit or Chick Lit. If the protagonist is having an internal conflict (ie. a struggle with one's identity or fight for individualism) then the book can be defined as Chick Lit; for example novels like Villette and Bridget Jones's Diary. In Chick Lit the protagonist looks inward for affirmation of womanhood. However, if the protagonist is in conflict with a villain or society (ie. external forces) then the book can be defined as Lad Lit; for example novels like Rob Roy and classics like Beowulf. In Lad Lit the protagonist must often prove himself to the world to reaffirm his masculinity. I would appreciate any comments on this working thesis."
- "We brought up was distinction between internal and external, or private and public. We have found that in chick lit, the female deals with her problems and emotional landscape via a direct link toher psyche and internal self. She directs her energies to fixing her problems by analyzing her own emotions; pondering her internal struggles; and fixing on the effects other people, places, or her own thoughts have on her own psyche. She may experience similar emotions of outward violence or anger that a male in lad lit might feel, though there often seems to beconstraints on such behaviour, and she thereforedeals with problems internally. In contrast, we have found that in lad lit, the male deals with problems by projecting them outwards - onto other people. He may be having similar concerns and issues that the female in chick lit feels, but he deals with them in an outward manner -- by engaging in battle, in other forms of physical competition, or by emotionally projecting anger though violence to antagonists, or "bad guys".We generally came to a conclusion much like the lectures, that Villette and Rob Roy are quite different novels with quite different attributes, but they do not easily fit into the simple genre categories of chick lit and lad lit. We did bring up the fact that much depends on how one defines the two genres. Our hypothesis is that the forthcoming books in the course will become more clearly defined and easier to separate into two limited genres.Someone in our group also mentioned that in chick lit the characters are not as divided into "good" and "bad", but in lad lit there are characterswho are more evidently "good" and more evidently "bad". We will see, though our research, how generally this applies to chick lit and lad lit .
Sunday, May 29, 2005
A short tutorial on setting up a blog will be given during seminar this coming Wednesday .
The grading criteria are the scope, originality, inventiveness and literary insight of the accumulated blog entries. Technical proficiency will not be graded, but of course you are free to use any mechanical technique you wish. I will publish all the Groups' blog addesses on the Course blog and you are encouraged to solicit advice & criticism from the whole class throughout the course of the semester. Open collaboration is one great strength of blogging: some scholars, for instance, post parts of articles or even books in the blogosphere for criticism and correction before publication.
Of course, I am available for expert consultation: in person during Office Hours, and online most times.
Because this is a Group project, you will find that synergy will soon animate and enlived the assignment. I offer the suggestion that each Group assign responsibilities to members based on individual proficiencies and preferences. For instance, in principle, only one member need do the mechanics of posting the collaborative entries. There will be one group grade for all members.
I will take a snapshot of your blog on the day of the last seminar of the term and use that for grading: however I will look in regularly throughout the term as a means to, shall we say, encourage you not to leave the whole enterprise until the last minute. The experience of blogging regularly for a couple of months will, I believe, be its own benefit to you down the years.
The intent of the assignment is to help get you started on your Term Paper. After your five-minute presentation, your class-fellows will provide beneficial response and resulting discussion to the end of directing (or re-directing) your research.
Wednesday, May 25, 2005
Look at this picture of today's victorious Champions League winners, Liverpool FC. Let it be admitted first that academic interpretations of cultural and anthropological phenomena can be, on occasion, to say it kindly, a stretch. What the heck: say it unkindly, pompous and preposterous. That being said, the picture here shows me that primitive emotions and forms of behavior are still part of lad nature. The leader of the tribal warrior (i.e. the team captain) lifts the "trophy" over his head. Now here is my typing of the OED definition of trophy.
Gr. and Rom. Antiq. A structure erected (originally on the field of battle, later in any public place) as a memorial of a victory in war, consisting of arms or other spoils taken from the enemy, hung upon a tree, pillar, etc. and dedicated to some divinity. Hence applied to similar monuments or memorials in later times.
What I saw when I watched this live after class was some chieftan lifting the decapitated head of the defeated rival before the tribe dances in ecstasy of celebration. Sir Walter Scott clearly represents Rob Roy as an eighteenth-century avatar of such behavior. The cover painting to our PenguinClassics edition of Rob Roy is well in line of this. [Posted below.]
At the moment, I find no better explanation for the peculiar nature of the ritual depicted in this photograph, or the intensity of the passions of those involved -- both victors and those defeated. Your thoughts?
Rob Roy brought back memories of throwing my head against the wall trying to get through Trainspotting. Luckily, the narrator wasn't a Scotchman as well. I found it kind of peculiar that the title character wasn't really revealed until 200 pages or so into it and it makes me wonder whether or not Scott originally set out to write about Rob Roy. Even in the earlier encounters with Rob Roy when he was known as Cambell, he didn't really make that big of an impression on me. I find it hard to believe that Scott would have written more than two hundred pages on Francis Osbaldistone to set up Rob Roy. Then again, maybe that's why I'm not an author.
Aside from the nature of the story, I think Rob Roy is considered ladlit because of the assumptions that the narrator makes in his storytelling. Some of Frank's episodes offer little in motivation, but I still understand why he acts the way he does because we share the biological trait of not having a uterus. Also, Frank acts without thinking very hard, as he follows Rob Roy to see Owen in jail without knowing for sure whether or not he means him harm. That directly contrasts Villette in that Lucy thinks too hard about everything and ... she doesn't really do much as far as I know.
I guess it's necessary for Frank to act on instinct for the story to progress smoothly and maybe that's another characteristic of ladlit that we have yet to discuss. hmm. curiouser and curiouser...
Tuesday, May 24, 2005
Read the full article, and Google some of its key-words if you're interested enough, for a better sense of the atmosphere which bred the Yorkshire Bronte's aggressive patriotism.
Monday, May 23, 2005
Saturday, May 21, 2005
Here is a list of some features of Bronte's novel that may qualify as identifying elements of the chick-lit genre.
- An unmarried female protagonist, Lucy Snowe, with competing rival male suitors.
- A text that valourises a female protagonist, and insists that her internal qualities -- character, intellect, acumen, &c -- be acknowledged and valued, while external limitations -- physical or mental state, material circumstance, &c. -- are to be ignored. The narrator emphasises the plainness of her appearance -- but presents it as a virtue, in concert with her sensible Yorkshire rusticity. Her savage denunciation of the painting in "Cleopatra" represents her attitude toward luxuriousness in dress, cosmetics and apartment.
- A dark and dangerous Byronic-type male: M. Paul - the fictional representation of Bronte's employer and desired lover in Brussels, the married M. Heger. Also, a fair and pliant gentlemanly object of desire: Dr. John Graham Bretton. One neuter male to be derided: the metrosexual de Hamal.
- Problems and complications in the matter of romance with all suitors: including their complete obliviousness to their status as suitor.
- Dissatisfaction, conflict, &/or lack of fulfulfilment with work: or, as the West Riding Yorkshire Bronte might have put it, "trubble a' mill!"
- Obssession or unhealthy degree of focus on some aspect of self: in Villette this is mental stability, specifically melancholia.
- A romantic setting and mood -- "romantic" used here in several senses. Villette with its dark-&-stormy-nights, its large, old, heavily-built, former nunnery, and possible haunting by a reputedly murdered Nun, applies the gothic tradition to its artistic purpose.
- Great emphasis on dialogue and description of place and character over plot. Suggestion of mock epic in the faux and very petty suspense that the narrator -- soon understood to be of questionable reliability -- habitually presents.
- Heavy-handed villainising of an "other" -- here, Roman Catholicism.
- Unmistakable affirmation of the narrator's system of value: in Villette an incessant and loud English patriotism. This laudation of all things English is ubiquitous in the text and is the heavy-handed antipathetic complement to the portrayal of decadent non-Protestant Europe.
So, there's a list. I'll give a synthesis sometime later. For now, I'm interested in considering your posted comments on how you summarise Villette for purposes of our research into the genre of chick-lit.
Friday, May 20, 2005
Blog comment sections are ideal for all sorts of converse: I'm posting the thread here in case anyone else wishes to join the enagagement.
K.] I'm just writing about the David Sexton article. I'm still very confused about this whole gap between male and female reading patterns. I've been reading rabidly from a very young age, and I really have never noticed such a huge gap in the things my girl friends and guy friends read .... I've made ! many friends who are also readers, and I still don't see a huge difference in what they read. None of my female friends read "female books" about what Sexton calls "love and family". I understand the difference between chick lit and lad lit, but I don't think it can be easily applied to everyone.
Villette is neither chick lit or lad lit. It's written by a woman, but as you said in class, it's universal. It's about "love and family", but also about "sex and violence". Unless we're talking about what women and men are "supposed" to be interested in? If the book marketing world wishes to apply the terms chick lit and lad lit, aren't they also applying prescriptives as to what they think each gender should read and be interested in? Also, just because there are such things as chick lit and lad lit does not mean that the differences in what each gender likes to be entertained by is purely biological. I think these differences (as they do exist, but not, it seems, in my social circle!) could definitely arise out of expectations on each gender. aybe I'm totally missing something, but it's been very hard to relate the differences to my own experience.
S.] Well, as you know, our business is academic research: by nature descriptive, not prescriptive, so there is no "should" built into what we are doing. As for publishing Houses, it is possible that they have prescriptive intentions. That is an empirical question: in other words, before an academic could remark on it, a formal research project would be required. (A journalist, by contrast, will write or say whatever opinion happens to be wafting across his or her mind at any given time.)
However, insofar as I understand capitalism, it does not seem to have a moral component: that is, free-market capitalists want to maximise profits and will try to match product and market without reference to what "should" happen. As you know, the amorality of free-market capitalism is one charge familiarly laid against it by its opponents.
Here are some of the research constants that I have for our term-long experiment. One, that there are in fact two acknowledged genres called chick-lit and lad-lit. Two, that the fiction in the two genres have exclusive qualities - in other words, research will show that chick-lit, for instance, has some set of qualities that lad-lit doesn't (or, more likely, will have significant;y different proportions of shared qualities) and vice-versa. Three, that the readerships will differ by proportion by sex, but not be exclusive. In other words, romance literature is read primarily by women, but some men read it and some women won't like it. In fact, I would hypothesize that although the majority of readers of chick-lit are women, the majority of the population of women readers don't read chick lit. And four, that the sex of the author is indifferent to the genre: to speak broadly, Ann Radcliffe writes lad-lit and Nick Hornby writes chick-lit. These are important constants in response to your discussion -- & number three is that kind of fundamental but subtle distinction that can tend to mislead.
Regarding Villette in particular, assume that the conclusion of our research is correct - that Bronte's novel matches criteria of chick-lit: plot and performative "action-&-adventure" are de-emphasised; it contains a preponderance of dialogue and reflective character decription and analysis; it follows the Darwinian sexual selection model in a form that a female protagonist choses between rival competing males (who also, on my additional theory, form the Cad-Curate-Colin Firth trichotomy); etc. That allowed, because of its masterful quality, it will have appeal broader than the usual genre readership.
Now we need to note in this regard that we are talking about two different clas! ses of readership. The members of the class of readers who enjoy literary masterpieces will -- it is argued -- contain proportionally few members of the class who like popular romance fiction. The latter class will find Villette tough sledding. One theory of my own is that what popular fiction (like, mutatis mutandis, popular music) does is take any one main element of a literary masterpiece and make that the unvaried entirety of the pop work. Thus, Disco music was one single beat & rhythm from funk, isolated and repeated - ad nauseum!
Ergo, chick-lit has isolated some few major elements from works such as Villette and is selling them to a mass market. And by "mass market" one means "a large number of a particular class or quality of reader." This, then, is why I am saying that our course has a print culture component.
Lastly, am I correct in configuring your comments as what I described in lecture as an essentialist approach to the two genres? That is to say, you are opposed to the contention that chick-lit and lad-lit have qualities that are essentially for men and essentially for women by nature of their biological differences? That is probably what attracted Arts & Letters Daily to the Sexton article. If that is in fact the background to your addressment, then might you wish to do your term paper on that approach? As for the lectures, as I mentioned are taking alternatively a genetic and a functionalist approach to understanding the two genres. That is, we are exploring a historical arc for chick-lit & lad lit and we are looking at the ways in which the two genres are configured as market entities in the print culture.
K.] I am opposed to the essentialist view, yes. I don't know what you would call my view, but you could say what it isn't....and that's definitely that I don't think there are essential female qualities or essential male qualities. I think there are biological givens (guys have testosterone, girls have estrogen and oxytocin, etc....guys don't have babies, girls do, etc.), so that it isn't totally "tabula rasa", but I think these givens take a back seat to cultural experience. I think that a person's experiences and environments are imprinted on their body, psyche, personality, etc..
And I understand that there is no "should" in our research. I'm just saying that there are "shoulds" in many places in society, including the publishing companies, etc..
I totally understand the differences in chick lit and lad lit, in terms of the different styles of writing and the different occurences that take place in each form, although it's harder for me to see Villette as purely chick lit because it existed prior to the marketing terms. It seems like the terms themselves have given way to a certain prescriptive type of writing style. I think that the writing caters to those who would like to keep the genders distinct, with their own assigned roles, their own proper and acceptable conduct, etc.. I know it's not so blatant like the book you brought last class, but it's much more subtle (though possibly not all the time!). So, while I'm totally fascinated with the study of chick lit and lad lit, I'm also a bit disturbed that the distinction is there in the first place. I'm not saying that it "shoudn't" exist, only that it tells us a lot about what's going on in the world.
If writing that is aggressive and violent and sexual is only meant for males, then what do females experience when they feel these things or are attracted to them, but are told that they are not appropriate for their gender? And vice versa -- if writing that is based on family and cultivating love and friendships is meant for females, then what do males experience when they are told that these things are not appropriate for them to be concerned with? I have many guy friends who are more maternal than some of my girl friends, but they sometimes hide these maternal qualities when they are around other guys. And the same is true of some of my girl friends, who act more "girly" when they are around other females. It's like there's a certain code to be followed, and if you don't follow it in some circles, you are looked down upon.
Isn't there also a Darwin-like selection model in lad lit, though,....in other words, instead of cad-curate-collin firth....there's bitch-angel(i.e.pure sexless mother figure)-sex kitten (sorry, i lost the alliteration!) :) ?? I'm not as much certain about these figures in lad lit, but I know for certain they exist in movies and tv shows. There's many movies where the guy has to pick a girlfriend, and he has to decide if he wants a nice good girl he can bring home to the parents, the crazy half-psycho witch girl, or the seductress. Or the main guy figure has these sorts of female figures around him, and they each seem to pose their own specific benefits/problems, pros/cons, etc..
And what about the travel writing of the 19th century, much of it aimed at a female readership?....and this writing was chiefly about exciting happenings during the author's travels, etc.. Where would that fit in?
I really like your theory about popular artefacts (lit, music, etc.) focusing on one element of a lit masterpiece. However, I think Shakespeare was considered popular and even vulgar in his time, but he became the "head of the canon" so to speak. Regardless, I think one could apply your theory to many many cases.
And one of my main problems with the Sexton article was that he said the fact that women are attracted to a certain thing and men are attracted to another thing is PROOF that there are biological sex differences governing their responses to the world around them (and if this is true, then I'm TOTALLY a biological oddity!!! ha ha!). I would agree with you that this kind of "fact" only appears in certain niches (eg. that romances are read by primarily women, but that a good deal of women do not actually like romances, etc..)....and therefore does not apply to all men and women.
S.] I like very much what you say about a genre acting as a de facto enforcer of prescription. Its a print culture fact. It's why I hear most songs on modern rock stations having the same vocal affectation: new bands and their labels want mass purchase so they try to find what has the widest appeal and then copy it. Same for mass-market genre fiction.
For this course, I see my duty as providing a framework for understanding that is broad enough to be inclusive but tight enough to provide clear focus and research productivity. I should present an honest range of available material and then encourage and support any practical and valid academic interpretation.Does that sound like your underst! anding of the proper professorial function?Your observation that Villette is pre-chick-lit is an intelligent one. For myself, I'm still undecided: I am still going through the process of examination into the question of how far back the genre goes. I also need to research specifically whether Mundy's kept data on the sex of their lenders by title in ninteenth century Britain.
The Darwinian sexual selection model for lad lit is the competing male: Darwin says they will be displaying heightened traits based on what the female's preference is. My working hypothesis is that for lad lit, women are not explicitly central -- or, better, they are the sublimated goal of the quest! In other words, the purpose of a quest or adventure, on the Darwinian model, is to demonstrate performative success so that the hero will be able to get a woman to select him.
I like further your idea that men might have an analogue to Cad-Curate-Colin Firth. The "madonna-whore" trope that we commonly hear about is not relevant here -- we can talk about that elsewhere if you have any interest. For me, that question is interesting, but in a different type of course -- i.e. here we're concentrating on the Darwin experiment.
That's because there are many possible intellectual levels at which these matters can be questioned - a "gender studies" level, for instance, or a theological, or a Marxist level. But I believe that it is a mistake -- unrigorous and academically unproductive -- to simply throw in any and all approaches in any one course. A good academic study has a humble aim. Here, we are not looking at the matter of sexual politics as a whole, for example, rather we are isolating two important and interesting literary genres and applying a helpful cohesive idea in order to, by the end, understand the genres better -- and of course improve our literary analytical skills and appreciation!
I guess everything I've said thus far is to get closer to the Darwin model, closer in the sense of understanding it and then applying it. Darwin's model has seeped into our ideals for sure, and those show up in chick lit and lad lit. But other literature appears to have transcended Darwin's narrow constrictions. I think Bronte transcends it, but she goes back and forth. She at times tries to follow the role of passive (and therefore also Godly) female, but at other times she shoots daggers into the distinction itself. I think she realizes the limitations of the different roles for males and females, but at the same time feels that it is difficult to act outside of these roles.
Wednesday, May 18, 2005
At 1:30 we will proceed to our lecture room for a course lecture.
Tuesday, May 17, 2005
We are researching two literary genres - chick-lit and lad-lit - to see if any complementary relationship exists. Three possible ways of defining the genres were outlined: the essentialist, the genetic, or the functionalist. The course texts are arranged for a genetic definition: that is, they follow a chronological sequence that, research may or may not establish, follow an arc of development. A functionalist definition, however, is used for our operational purposes: to wit, the two genres exist by virtue of the market demographic by sex - a study, that is, in print culture. Individual students may prefer to develop an essentialist definition through their research contribution.
Our literary experiment is to analyse representative works to see if Charles Darwin's doctrine of sexual selection is a valid explanatory model for elements of the fiction. Here is Darwin's summarisation of his sexual selection mechanism:
. Descent of Man. 6th ed. (New York: Appleton & Co, 1898) 629 The inter-male rivalry that Darwin prescribes will, it is argued, put performance as a dominant theme in fictional representations of the masculine. The power of choice that Darwin configures for females has a literary manifestation in the "cad, curate or Colin Firth" model of romantic hero, with the female protagonist manifesting inner strength and the power, expressed dialogically, of character configuration.
The sexual struggle is of two kinds; in the one it is between the ndividuals of the same sex, generally the males. In order to drive away or kill their rivals, the females remaining passive; whilst in the other, the struggle is likewise between the individuals of the same sex, in order to excite or charm those of the opposite sex, generally the females, which no longer remain passive, but select the more agreeable partners
We are currently analysing Charlotte Bronte's Villette as a literary masterpiece sui generis. Following an account of her life and background, and a close reading of the first volume, we will place the novel in the context of Burton's Anatomy of Melancholy and Ann Radcliffe's Mysteries of Udolpho before resolving pertinent elements against the Darwinian hypothesis.
Nancy holds an honors degree in English literature and lives in the Pacific Northwest. She spends her days sensibly employed inventing men who combine amazing sexual prowess with sensitivity to a woman's needs, and women who aren't afraid to fight for their dreams.
To quote a line from Bronte's Villette: "Ouf! Je n'en puis plus!"
Thursday, May 12, 2005
I didn't know where else to post this, but another issue that is worth viewing throughout the class that coincides with 'questioning Darwin's Theory. If humankind is the odd species out for women to possess the physically attractive characteristics (in contrast to the Peacock's feathers) and if women have chosen their men based on what they can sustain them with, what occurs when in recent decades, esspecially with the 'dawn' of metrosexuality, men (openly) prep themselves in much the same manner, and how does this affect the female's choice, and if it does affect it, how does this affect Darwin's Theory?Questioning Darwin? Now, how brave is that?
Regarding metrosexuality, look forward to a truly astonishing video "find" in Monday's lecture ...
Tuesday, May 10, 2005
My Engl 342 class is in AQ 4140 this Wednesday to view the lad-lit film The Browning Version: Tony Asquith's screen adaptation of Terence Rattigan's magnificent one-act play. Among other benefits, it will embellish your sensibility for the setting of Stalky & Co. Nb: This is not the characteristically abysmal '90 Hollywood remake. Engl 369 students very welcome, schedules permitting.
CORRECTION: For our class, the embellishment will be general -- the contrasting portrayal of the husband, wife & lover, particularly.
Monday, May 09, 2005
Sunday, May 08, 2005
Bronte, Charlotte - Villette
May 2nd & 4th
May 9th & 11th
Scott, Walter - Rob Roy
May 16th & 18th
Gaskell, Elizabeth - Cranford
May 30th & June 1st
June 6th & June 8th
Haggard, H. Rider - She
June 13th & June 15th
June 20th & June 22th
Fielding, Helen - Bridget Jones’s Diary
June 27th & June 29th
July 4th & July 6th
Amis, Martin - Money
July 11th & July 13th
July 18th & July 20th
July 25th & July 27th
The two recommended texts for the course will be discussed throughout the term and should be read before and after the Mid-Term assignment.
See support material available on Library Reserve.
Assignment Deadlines: Nb. There is a 3% per day late penalty for assignments, documented medical or bereavement leave excepted.
1. Mid term paper, two thousand words: due June 27th in lecture. Assignment sheet with suggested topics will be handed out in lecture on June 13th. Criteria will include literary analysis, engagement with course themes and writing mechanics.
2. Group e-text project: in collaboration with the Course Instructor, create a web log dedicated to a distinct topic the works from the course reading list. Groups set & assignment sheet handed out May 25th. Seminar time will be set aside throughout the term to work with the Instructor on this project
3. Individual class presentation: schedule and assignment sheet handed out in seminar. A five minute polemical presentation, on one of the course texts, that adds to the class' understanding of the course material and which lays out a possible research direction for your Final Paper.
4. Final Paper, three thousand five hundred words: due in lecture July 27th.
The course is working toward an understanding of two literary genres: chick-lit and lad-lit. The genres exist as an empirical fact of print culture: writers write, publishers publish, marketers market and journalists ... well, let's say journalists look for money, under those headings. We will look at a representative historical arc of texts in each genre and submit them to a literary-critical analysis.
This course is a research project: we will be analysing the works under a specific hypothesis - that Charles Darwin's theory of Sexual Selection is a valid explanatory scheme for the two genres. Each student, as an independent scholarly researcher, will present his or her conclusions, rigourous and reasoned, in the Final Paper.
Course requirement weighting:
10% Course participation
10% Seminar presentation
20% Group e-Text project
20% Mid-term paper (approx. 1500 words)
40% Final examination
Nb: “Participation requires both participation in seminar and attendance and punctuality at lecture and seminar."
Office Hours: Monday and Wednesday, 11:30 – 12:30 in the lecture hall. Also email@example.com and http://chicklitladlit.blogspot.com. Use campus mail accounts only for email contact, please.
Friday, May 06, 2005
Let me elaborate here. First, our class-fellow's working class father (clearly a highly admirable man) earned Cambridge in the nineteen fifties, by which time the class boundaries were feeling the blows of many engines: the two World Wars for instance. And second, at a larger remove, remember that Britain has a system of class not caste: in other words, there had always been some opportunity for mobility - in both directions. Profligate aristocrats had for centuries dropped their posterity well into the middle class. Successful business acumen brought some middle (and even some originally lower) class men into the aristocracy via a knighthood. Consider Sir William Lucas in Pride and Prejudice. And elevation by marriage was also an avenue: the stage was an effective platform in more than one sense; and "let a man be ordained to the clergy and he can marry as high as he likes" is a line from Born in Exile by George Gissing.
But beside all this, mobility is only one aspect of the class system: the levels are enduringly divided by the behavior and attitudes that the members of each level share. Mr. Lucas could rise to status of gentlemen, but he could not prevent Mr. Bingley's sisters from sneering at him behind his back. Indeed, only Elizabeth Bennett's omnipotent womanhood could make Mr. Darcy repent (with obsequy) of his disdain for her Cheapside relations, the Gardners.
My point about North America is that culture is uniform to a degree not experienced in England. Members of the Canadian Senate watch NHL games in undershirts while drinking beer - as does a longshoreman in Surrey whose choice of beer is quite likely to be Stella Artois. During the last American Presidential election, John Kerry -- a north-eastern aristocrat -- rode a mountain bike, wore a trendy yellow Lance Armstrong bracelet and had rap on his iPod. Bank balances allow for important -- even critical -- differences in health and opportunity among North Americans. And ethnic diversity provides reasons to celebrate significant difference. But for all that, a remarkable similarity of taste and value makes "class" a problematic term to apply. The "Red State/Blue State" divide, for instance, is a geographic and regional divide, not a class divide. And the rural/urban divide in Canada does not map faciley to income.
Less so under New-Labour Britain (which is just what is argued as a master hypothesis by this course,) but still very much alive, is exactly a class distinction where North America has a conformity. It was the fact that Diana: Princess of Wales, behaved like Anna Nicole Smith that caused Her Unstable Majesty to be ostracised by the British aristocracy. And, contrariwise, the fox-hunting passion of aristocrats -- nouveau and old alike -- produces derision against "toffs" from the man on Wigan pier.
Speaking of George Orwell, here is one of his many characteristically pithy insights into the British class differences in terms of attitude rather than mobility.
And again, take the working-class attitude towards ‘education’. How different it is from ours, and how immensely sounder! Working people often have a vague reverence for learning in others, but where ‘education’ touches their own lives they see through it and reject it by a healthy instinct. The time was when I used to lament over quite imaginary pictures of lads of fourteen dragged protesting from their lessons and set to work at dismal jobs. It seemed to me dreadful that the doom of a ‘job’ should descend upon anyone at fourteen. Of course I know now that there is not one working-class boy in a thousand who does not pine for the day when he will leave school. He wants to be doing real work, not wasting his time on ridiculous rubbish like history and geography. To the working class, the notion of staying at school till you are nearly grown-up seems merely contemptible and unmanly. The idea of a great big boy of eighteen, who ought to be bringing a pound a week home to his parents, going to school in a ridiculous uniform and even being caned for not doing his lessons! Just fancy a working-class boy of eighteen allowing himself to be caned! He is a man when the other is still a baby. Ernest Pontifex, in Samuel Butler’s Way of All Flesh, after he had had a few glimpses of real life, looked back on his public school and university education and found it a ‘sickly, debilitating debauch’. There is much in middle-class life that looks sickly and debilitating when you see it from a working-class angle.Note how this corrects the mistaken North American misunderstanding that the proletariat pines in frustrated envy for the values of the middle and upper middle classes. As an exemplary aside, I often observe students and professoriat alike stating that some group or another of fellow citizen are "deprived" of a university education: making, that is, university attendance a quality of universal worth. Too flagrantly pretentious and distastefully preening, I believe, to insist that one's own accidental preference or aptitude must be the sine qua non of social worth.
I have confirmation that Paul Grescoe, author of "Merchants of Venus" will speak to our class on July 20th. In addition to his talk, he will answer any questions you may have on chick-lit, or the romance genre more broadly. He will also present copies of his book.
Thursday, May 05, 2005
... her findings offer an alternative view to the "sex blindness" of the traditional theory that all men were viewed as intellectually and morally superior to women, thereby creating a system that benefited all men at the expense of all women. "We need a multi-relational framework when assessing gender relations," says Dr Shepard, "it involves a great deal more than the simple opposition of women and men."