Normal Final

Passage: "In every other art and manufacture, the effects of the division of labour are similar to what they are in this very trifling one; though, in many of them, the labour can neither be so much subdivided, nor reduced to so great as simplicit of operation. The division of labour, however, so far as it can be introduced, occasions, in every art, a proportionable increase of the productive powers of labour." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question:Which of the 4 points is being made here

Adam Smith The Wealth of Nations 1776 USA Productivity-- norms of capitalism. That expands to social and cultural norms to increase productivity

Passage: "The proportion between capital and revenue, therefore seems everywhere to regulate the proportion between industry and idleness. Wherever capital predominates, industry prevails' wherever revenue, idleness" "Individuals, by their universal, continuous and uninterrupted effort to better their own condition." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question:Workers drive the economy how?

Adam Smith The Wealth of Nations 1776 USA the grind

Passage: "First, the improvement of the dexterity of the workman necessarily increases the quantity of the work he can perform; and the division of labour, by reducing every man's business to some one simple operation and by making this operation the sole employment of his life, necessarily increases very much the dexterity of the workman." "The rapidity with which some of the operations of those manufacturers are performed, exceeds what the human hand could, by those who had never seen them, be supposed capable of acquiring." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: Which of the 4 points is being made here and how does he view it?

Adam Smith The Wealth of Nations 1776 USA Division of labor increases productivity by breaking labor down into specialized functions. Example: pin factory Everyone really good at one thing Norm of capitalism= specialization Special tasks in capitalist society None can be economically self-sufficient because of specialization. We depend on others. manufactory= no variety, work repetitive and boring but speeds up work. Is alienating he views this optimistically

Passage: "The proportion between those different funds necessarily determines in every country the general character of the inhabitants as to industry or idleness. We are more industrious than our forefathers, because, in the present times, the funds destined for the maintenance of industry are much greater in proportion to those which are likely to be employed in the maintenance of idleness, than they were two or three centuries ago. Our ancestors were idle for want of a sufficient encouragement to industry. It is better, says the proverb, to play for nothing, than to work for nothing. In mercantile and manufacturing towns, where the inferior ranks of people are chiefly maintained by the employment of capital, they are in general industrious, sober, and thriving; as in many English, and in most Dutch towns. In those towns which are principally supported by the constant or occasional residence of a court, and in which the inferior ranks of people are chiefly maintained by the spending of revenue, they are in general idle, dissolute, and poor; as at Rome, Versailles, Compeigne, and Fontainbleau. " Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: how are england and france difference?

Adam Smith The Wealth of Nations 1776 USA England and netherlands are prosperous France and italy aren't Because populations are more industrious because structure of economy determine this You aren't inherently industrious or idle. Economic structure programmed behavior and set norms

Passage: "THERE IS ONE SORT OF LABOUR which adds to the value of the subject upon which it is bestowed; there is another which has no such effect. The former as it produces a value, may be called productive, the latter, unproductive labour. {Some French authors of great learning and ingenuity have used those words in a different sense. In the last chapter of the fourth book, I shall endeavour to shew that their sense is an improper one.} Thus the labour of a manufacturer adds generally to the value of the materials which he works upon, that of his own maintenance, and of his master's profit. The labour of a menial servant, on the contrary, adds to the value of nothing. Though the manufacturer has his wages advanced to him by his master, he in reality costs him no expense, the value of those wages being generally restored, together with a profit, in the improved value of the subject upon which his labour is bestowed. But the maintenance of a menial servant never is restored. A man grows rich by employing a multitude of manufacturers; he grows poor by maintaining a multitude or menial servants. The labour of the latter, however, has its value, and deserves its reward as well as that of the former. But the labour of the manufacturer fixes and realizes itself in some particular subject or vendible commodity, which lasts for some time at least after that labour is past. It is, as it were, a certain quantity of labour stocked and stored up, to be employed, if necessary, upon some other occasion. That subject, or, what is the same thing, the price of that subject, can afterwards, if necessary, put into motion a quantity of labour equal to that which had originally produced it. The labour of the menial servant, on the contrary, does not fix or realize itself in any particular subject or vendible commodity. His services generally per- ish in the very instant of their performance, and seldom leave any trace of value behind them, for which an equal quantity of service could afterwards be procured. The labour of some of the most respectable orders in the society is, like that of menial servants, unproductive of any value, and does not fix or realize itself in any permanent subject, or vendible commodity, which endures after that labour is past, and for which an equal quantity of labour could afterwards be procured. The sovereign, for example, with all the officers both of justice and war who serve under him, the whole army and navy, are unproductive labourers. They are the servants of the public, and are maintained by a part of the annual produce of the industry of other people.Their service, how honourable, how useful, or how necessary soever, produces nothing for which an equal quantity of service can afterwards be procured. The protection, security, and defence, of the commonwealth, the effect of their labour this year, will not purchase its protection, security, and defence, for the year to come. In the same class must be ranked, some both of the gravest and most important, and some of the most frivolous professions; church- men, lawyers, physicians, men of letters of all kinds; players, buffoons, musicians, opera-singers, opera-dancers, etc. The labour of the meanest of these has a certain value, regulated by the very same principles which regulate that of every other sort of labour; and that of the noblest and most useful, produces nothing which could afterwards purchase or procure an equal quantity of labour. Like the declamation of the actor, the harangue of the orator, or the tune of the musician, the work of all of them perishes in the very instant of its production." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: how do we know how much things are worth?

Adam Smith The Wealth of Nations 1776 USA How do we know how much things are worth? Amount of work it took you to make it= value labor theory of value Labor sometimes produces value, sometimes doesn't Surplus value= workers add value and it makes profit Workers are free Menial servant= no product, services only Productive labor= a physical product made. Labor stored in product and has value. Durable commodities. Can accumulate value by stored labor in product Unproductive labor= services. Example. Make bed, they don't last,can't accumulate wealth Smith revaluing entire society. Everyone but manufacturers are unproductive, norm of economy extended into society Productivity as general social norm Do you add value?

Passage: "Whatever part of his stock a man employs as a capital, he always expects it to be replaced to him with a profit. He employs it, therefore, in maintaining productive hands only; and after having served in the function of a capital to him, it constitutes a revenue to them. Whenever he employs any part of it in maintaining unproductive hands of any kind, that part is from that moment with- drawn from his capital, and placed in his stock reserved for immediate consumption." "The rent of land and the profits of stock are everywhere, therefore, the principal sources from which unproductive hands derive their subsistence. These are the two sorts of revenue of which the owners have generally most to spare. They might both maintain indifferently, either productive or unproductive hands. They seem, however, to have some predilection for the latter. The expense of a great lord feeds generally more idle than industrious people The rich merchant, though with his capital he maintains industrious people only, yet by his expense, that is, by the employment of his revenue, he feeds commonly the very same sort as the great lord. Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: what is the difference between productive and unproductive work?

Adam Smith The Wealth of Nations 1776 USA Productive > unproductive Manufacturer > medical Mechant > lord Reinvest productivity into system > not How you got wealth influences how you spend it

Passage: RACHEL: No, Toni! I am sick of you undermining me! Now, I am sorry that Derek left you and I'm sorry that the child you think of as a "****-up" now wants nothing more to do with you and I'm sorry that for whatever reason you seem to be resentful or jealous of me because I'm not someone who raises ****-ups--- I raise winners!--- but I am not going to sit here and let you tell me anything about anything having to do with my kids, when you've got these two monsters you've raised staring you in the face. So, you want some truth, Toni? Here you go! Here's your proof! You may have Bo too scared to tell you, but the answer is yes-- you are a crappy mother and a poisonous person and a life-ruiner--- so why don't you give it a rest (Toni looks at Bo, betrayed) BO: Rachel? RACHEL: What, Bo? I'm not in this family anymore! I can whatever the **** I want! (A silence, in which Toni just glowers at Rachel---like a long, deep ocean of a silence that pours through the walls and fills up the entire space and takes forever to drain away, before----) TONI: Alright, Rachel...I'm sorry (---Suddenly, viciously Toni grabs Rachel by the hair, which sends everyone into calamity only after a moment of being like, "Wait, is what I am watching really happening?!" By the point folks are mobilized, Toni is halfway to the front door. Rachel shouts, twists, screams, squeals, terrified, trips, and stumbles the entire time she is being dragged. Meanwhile, Bo is on the way save his wife----) BO: NO! (--And, without thinking, he grabs his sister by the arm and basically throws her across the room. Rhys sees this and immediately throws her across the room. Rhys sees this and immediately throws himself into the scuffle---) RHYS: What are you doing?! (--grappling with Bo. Toni recovers, pulls herself up up, starts shouting at Bo, and trying to half-pull bo and Rhys apart, but also fighting off Rachel, who, by now, is getting her own licks in. Franz jumps in trying to pull people apart---) FRANZ: Hey! HEY! HEY! HEY! (---But he gets sort of dragged into the fight and starts sort of defending himself. There is the commotion of people screaming and fighting with each other. River, hearing all this, comes back into the room, joins in, trying to defend Franz, but also pulling people apart---) RIVER: Stop! Stop! Stop hitting him! (It is pretty vicious and goes on for a substantial amount of time, everyone blurring the line between offense and defense, working their issues out on everyone else, tapping into whatever crazy lizard thing exists inside of us that comes out only when there's a brawl, but then: A child's cry---confused and scared--- pierces through the air from upstairs. Everyone sort of stops and looks up at the top of the stairs, remembering Ainsley, who comes slowly down the stairs, wailing. Over his head is a pointed white hood---an old pillowcase with two eye holes. Everyone watches him cry and cry, dead silent, mortified. Blackout, cicadas.) Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: what are the two stories?

Branden Jacobs-Jenkins Appropriate 2013 USA Dramatic event interrupted and people didn't know what to do Reveal 2nd story underneath dominant story. violence/effort to suppress 2nd story. Dominant imposed on 2nd.

Passage: Prologue: Light abandons us and a darkness replaces it. Instantly, a billion cicadas begin trilling in the dense, velvety void--- loudly, insistently, without pause--- before hopefully, at some point, becoming the void. The insects song fills and sweeps the theater in pulsing pitch-black waves, over and beyond the stage---washing itself over the walls and the floors, baptizing the aisles and the seats, forcing itself into every inch of space, every nook, every pocket, hiding place, and pore until this incessant chatter is touching you. It is touching you. This goes on and on and on and on until the same thought occurs in every head: "Is this it?" "Is this the whole show?" Ending in cicadas too Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: purpose of cicadas?

Branden Jacobs-Jenkins Appropriate 2013 USA There is more than what see in american family drama See how limited genre is

Passage: Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question:

Frantz Fanon Black Skin, White Masks 1952 France

Passage: "All the same, the Jew can be unknown in his Jewishness...He is a white man, and, apart from some rather debatable characteristics, he can sometimes go unnoticed....Granted, the Jews are harassed—what am I thinking of?.....But in my case everything takes on a new guise. I am given no chance. I am overdetermined from without. I am the slave not of the "idea" that others have of me but of my own appearance.And already I am being dissected under white eyes, the only real eyes. I am fixed. Having adjusted their microtomes, they objectively cut away slices of my reality. I am laid bare. I feel, I see in those white faces that it is notanewmanwhohascomein,butanewkindofman,anew genus. Why, it's a Negro! I slip into corners, and my long antennae pick up the catch- phrases strewn over the surface of things—n****** underwear smells of n******—n****** teeth are white—n****** feet are big—the n******'s barrel chest—I slip into corners, I remain silent, I strive for anonymity, for invisibility. Look, I will accept the lot, as long as no one notices me!" "The psychoanalysts say that nothing is more traumatizing for the outlook should be related to that of the Negrophobe. It was my young child than his encounters with what is rational. I would philosophy professor, a native of the Antilles, who recalled the personally say that for a man whose only weapon is reason therefact to me one day: "Whenever you hear anyone abuse the Jews, is nothing more neurotic than contact with unreason." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: Why mention the "Jew"

Frantz Fanon Black Skin, White Masks 1952 France "Jew" appears in this and in Passing. "Jew" 3rd term in binary white and black Think of whiteness and blackness in terms of looking and being looked at and language Power to look is white and being looked at is being oppressed. He is skin (2D) One who looks is subject and one who is looked at is object Taxonomize scientific type Made into an object less than human Doesn't have the privilege of being invisible "Unmarked" but its physicalized, made hyper-visible--- can't hide

Passage: "Similarly, I can subscribe to that part of M. Mannoni's work that tends to present the pathology of the conflict—that is, to show that the white colonial is motivated only by his desire to put an end to a feeling of unsatisfaction, on the level of Adlerian overcompensation. At the same time, I find myself opposing him when I read a sentence like this: "The fact that when an adult Malagasy is isolated in a different environment he can become susceptible to the classical type of inferiority complex proves almost beyond doubt that the germ of the complex was latent in him from childhood."1 In reading this one feels something turn upside down, and the author's "objectivity" threatens to lead one into error. Nevertheless, I have tried zealously to retrace his line of orientation, the fundamental theme of his book: "The central idea is that the confrontation of 'civilized' and 'primitive' men creates a special situation—the colonial situation—and brings about the emergence of a mass of illusions and misunderstandings that only a psychological analysis can place and define." "What M. Mannoni has forgotten is that the Malagasy alone no longer exists; he has forgotten that the Malagasy exists with the European. The arrival of the white man in Madagascar shattered not only its horizons but its psychological mechanisms. As everyone has pointed out, alterity for the black man is not the black but the white man. An island like Madagascar, invaded overnight by "pioneers of civilization," even if those pioneers conducted themselves as well as they knew how, suffered the loss of its basic structure." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: What is the colonized doing and how does this relate to Freud?

Frantz Fanon Black Skin, White Masks 1952 France All neurosis begin childhood-- Freud metaphor of childhood put onto full countries to justify colonization. Colonies are underdeveloped and colonizer must develop them. alterity= "otherness"

Passage: "The Negro is a toy in the white man's hands; so, in order to shatter the hellish cycle, he explodes. I cannot go to a film without seeing myself. I wait for me. In the interval, just before the film starts, I wait for me. The people in the theater are watching me, examining me, waiting for me. A Negro groom is going to appear. My heart makes my head swim. The crippled veteran of the Pacific war says to my brother, Resign yourself to your color the way I got used to my stump; we're both victims." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: What is he saying about representation, and what is important about the word Negro?

Frantz Fanon Black Skin, White Masks 1952 France Cultural representation Black representation is to support white person. Auxiliary. Fanon is interpellated in the colonizer's language (French), as "a Negro," thus forming him as a subject, or in this case, a petrified object, a mere exterior without subjectivity

Passage: ""Look how handsome that Negro is! . . .""Kiss the handsome Negro's ass, madame!" Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: significance of this scene?

Frantz Fanon Black Skin, White Masks 1952 France Fetishism of black man It is not a coincidence that he is labeled by a child, who has nonetheless already been socialized enough to recognize and shout a racial epithet about him. At the same time, the child may be expressing an idea about him that also occurs to the adults, who, due to decorum, don't feel comfortable saying it aloud. How we think about ourselves is relational, influenced by how others see (and address) us. We see ourselves being seen. This image is then internalized and reverberated (think about the number of times he repeats "Look, a Negro!"). How might this relate to Medea? Through the one-way (non-reciprocal recognition) white gaze, Fanon saw himself as marked, turned into a mere object (objectified), burdened with a host of assumptions, forced to re-assemble and revise his identity after having it shattered. No "explanation" is given

Passage: "the glances of the other fixed me there, in the sense in which a chemical solution is fixed by a dye. I was indignant; I demanded an explanation. Nothing happened. I burst apart. Now the fragments have been put together again by another self." "by the other, the white man, who had woven me out of a thousand details, anecdotes, stories." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: What does language do

Frantz Fanon Black Skin, White Masks 1952 France Language providence of white man. White man's control over the story of the black man

Passage: "Indeed, I believe that only a psychoanalytical interpretation of the black problem can lay bare the anomalies of affect that are responsible for the structure of the complex." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: How should we interpret the problem?

Frantz Fanon Black Skin, White Masks 1952 France Psychological interpretation is not enough without social and economic perspectives Fanon has different perspectives--- took from these but is critical of them Psychological (psychoanalysis, phenomenology, existentialism) Social Economic Colonial and postcolonial

Passage: "I existed triply...I was responsible at the same time for my body, for my race, for my ancestors. I subjected myself to an objective examination, I discovered my blackness, my ethnic characteristics; and I was battered down by tom-toms, cannibalism, intellectual deficiency,fetichism,racialdefects,slave-ships,andaboveallelse,aboveall: "Sho' good eatin'." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: How does the author exist 3 times

Frantz Fanon Black Skin, White Masks 1952 France Racial responsibility and expectations. A host of stereotypes. Essentialism derived from the skin. His body, his race, and his ancestors=== supposed to represent all three

Passage: "I had rationalized the world and the world had rejected me on the basis of color prejudice. Since no agreement was possible on the level of reason, I threw myself back toward unreason. It was up to the white man to be more irrational than I. Out of the necessities of my struggle I had chosen the method of regression, but the fact remained that it was an unfamiliar weapon; " "Thus my unreason was countered with reason, my reason with "real reason." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: Who does reason belong to?

Frantz Fanon Black Skin, White Masks 1952 France Reason seems to be providence of white man and it's an irrational response to him being an educated black man

Passage: "The analysis that I am undertaking is psychological. In spite of this it is apparent to me that the effective disalienation of the black man entails an immediate recognition of social and economic realities. If there is an inferiority complex, it is the outcome of a double process:—primarily, economic;—subsequently, the internalization—or, better, the epidermalization—of this inferiority.Reacting against the constitutionalist tendency of the late nineteenth century, Freud insisted that the individual factor be taken into account through psychoanalysis. He substituted for a phylogenetic theory the ontogenetic perspective. It will be seen that the black man's alienation is not an individual question. Beside phylogeny and ontogeny stands sociogeny. In one sense, conforming to the view of Leconte and Damey,1 let us say that this is a question of a sociodiagnostic.What is the prognosis?But society, unlike biochemical processes, cannot escape human influences. Man is what brings society into being. The prognosis is in the hands of those who are willing to get rid of the worm- eaten roots of the structure.The black man must wage his war on both levels: Since historically they influence each other, any unilateral liberation is incomplete, and the gravest mistake would be to believe in their automatic interdependence. Besides, such a systematic tendency is contrary to the facts. This will be proved." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: What word did the author make up here?

Frantz Fanon Black Skin, White Masks 1952 France Sociogeny--- social development of the individual

Passage: "However painful it may be for me to accept this conclusion, I am obliged to state it: For the black man there is only one destiny. And it is white." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: What is the author admitting here?

Frantz Fanon Black Skin, White Masks 1952 France The idea of race is created upon conquest/colonization Colonialism justified as a process of "civiling" the colonized Colonialism becomes internalized by the colonized An inferiority complex is inculcated Through the mechanism of racism, black people end up emulating their oppressors, "the standard" ("Normal") and "superior" culture "Becoming white" is an attempt at being recognized as human But the black man wearing a white mask is denied a real identity

Passage: "Concern with the elimination of a vicious circle has been the only guide-line for my efforts. There is a fact: White men consider themselves superior to black men. There is another fact: Black men want to prove to white men, at all costs, the richness of their thought, the equal value of their intellect." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: What does the author suggest about the relationship between white and black men?

Frantz Fanon Black Skin, White Masks 1952 France The relationship between the black man and the white is bound up in an uneven power structure Often, when Fanon says something about the black man, he follows it with something about the white man. Ultimately, he says this is dehumanizing for everyone (the white man is a slave to his superiority, narcissism), although of course more for the colonized black man.

Passage: "I embrace the world! I am the world! The white man has never understood this magic substitution. The white man wants the world; he wants it for himself alone. He finds himself predestined master of this world. He enslaves it. An acquisitive relation is established between the world and him. But there exist other values that fit only my forms. Like a magician, I robbed the white man of "a certain world," forever after lost to him and his. When that happened, the white man must have been rocked backward by a force that he could not identify, so little used as he is to such reactions. Somewhere beyond the objective world of farms and banana trees and rubber trees, I had subtly brought the real world into being. The essence of the world was my fortune. Between the world and me a relation of coexistence was established. I had discovered the primeval One. My "speaking hands" tore at the hysterical throat of the world. The white man had the anguished feeling that I was escaping from him and that I was taking something with me. He went through my pockets. He thrust probes into the least circumvolution of my brain. Everywhere he found only the obvious. So it was obvious that I had a secret. I was interrogated; turning away with an air of mystery, " Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: What is the thesis and antithesis here?

Frantz Fanon Black Skin, White Masks 1952 France Thesis: white man sees the world separately from himself and wants to own it enslave it acquisition Antithesis: black man is the world equation

Passage: "For several years certain laboratories have been trying to produce a serum for "denegrification"; with all the earnestness in the world, laboratories have sterilized their test tubes, checked their scales, and embarked on researches that might make it possible for the miserable Negro to whiten himself and thus to throw off the burden of that corporeal malediction" Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: what is the norm discussed here

Frantz Fanon Black Skin, White Masks 1952 France Whiteness as the norm the world must conform to (this also happens evidently on the level of language) White and black type of human. White is normal race, unmarked Reality does not exist autonomously, it is apprehended through language. In this case, Fanon is spoken about as if absent.

Passage: "There is a zone of nonbeing, an extraordinarily sterile and arid region, an utterly naked declivity where an authentic upheaval can be born. In most cases, the black man lacks the advantage of being able to accomplish this descent into a real hell. Man is not merely a possibility of recapture or of negation. If it is true that consciousness is a process of transcendence, we have to see too that this transcendence is haunted by the problems of love and understanding. Man is a yes that vibrates to cosmic harmonies. Uprooted, pursued, baffled, doomed to watch the dissolution of the truths that he has worked out for himself one after another, he has to give up projecting onto the world an antinomy that coexists with him.The black is a black man; that is, as the result of a series of aberrations of affect, he is rooted at the core of a universe from which he must be extricated." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: How does the black man exist in the white world?

Frantz Fanon Black Skin, White Masks 1952 France Black man has no position in white world. Want to create a separate black philosophy without white terms.

Passage: "At the risk of arousing the resentment of my colored brothers,I will say that the black is not a man." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: What is the author doing here by making this distinction?

Frantz Fanon Black Skin, White Masks 1952 France Distinguishes himself from race. The black is not a man in white eyes. Whiteness as socially normal, black is deviation from norm

Passage: "When I try to understand this dream, to analyze it, knowing that my friend has had problems in his career, I conclude that this dream fulfills an unconscious wish. But when, outside my psychoanalytic office, I have to incorporate my conclusions into the context of the world, I will assert: 1. My patient is suffering from an inferiority complex. His psychic structure is in danger of disintegration. What has to be done is to save him from this and, little by little, to rid him of this unconscious desire. 2. If he is overwhelmed to such a degree by the wish to be white, it is because he lives in a society that makes his inferiority complex possible, in a society that derives its stability from the perpetuation of this complex, in a society that proclaims the superiority of one race; to the identical degree to which that society creates difficulties for him, he will find himself thrust into a neurotic situation. What emerges then is the need for combined action on the individual and on the group. As a psychoanalyst, I should help my patient to become conscious of his unconscious and abandon his attempts at a hallucinatory whitening, but also to act in the direction of a change in the social structure." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: summarize

Frantz Fanon Black Skin, White Masks 1952 France Dream black person thinks they white

Passage: "Here again we encounter the same misapprehension. It is of course obvious that the Malagasy can perfectly well tolerate the fact of not being a white man. A Malagasy is a Malagasy; or, rather, no, not he is a Malagasy but, rather, in an absolute sense he "lives" his Malagasyhood. If he is a Malagasy, it is because the white man has come, and if at a certain stage he has been led to ask himself whether he is indeed a man, it is because his reality as a man has been challenged. In other words, I begin to suffer from not being a white man to the degree that the white man imposes discrimination on me, makes me a colonized native, robs me of all worth, all individuality, tells me that I am a parasite on the world, that I must bring myself as quickly as possible into step with the white world, "that I am a brute beast, that my people and I are like a walking dung-heap that disgustingly fertilizes sweet sugar cane and silky cotton, that I have no use in the world."25Then I will quite simply try to make myself white: that is, I will compel the white man to acknowledge that I am human. But, M. Mannoni will counter, you cannot do it, because in your depths there is a dependency complex." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: what complex do black people have

Frantz Fanon Black Skin, White Masks 1952 France inferiority complex because of the oppressors

Passage: "What miserable friendlessness and loneliness are here revealed! His poverty is great; but his solitude, how horrible! Think of it. Of a Sunday, Wall-street is deserted as Petra; and every night of every day it is an emptiness. This building too, which of week-days hums with industry and life, at nightfall echoes with sheer vacancy, and all through Sunday is forlorn. And here Bartleby makes his home; sole spectator of a solitude which he has seen all populous—a sort of innocent and transformed Marius brooding among the ruins of Carthage! For the first time in my life a feeling of overpowering stinging melancholy seized me. Before, I had never experienced aught but a not-unpleasing sadness. The bond of a common humanity now drew me irresistibly to gloom. A fraternal melancholy! For both I and Bartleby were sons of Adam. I remembered the bright silks and sparkling faces I had seen that day, in gala trim, swan-like sailing down the Mississippi of Broadway; and I contrasted them with the pallid copyist, and thought to myself, Ah, happiness courts the light, so we deem the world is gay; but misery hides aloof, so we deem that misery there is none. These sad fancyings—chimeras, doubtless, of a sick and silly brain—led on to other and more special thoughts, concerning the eccentricities of Bartleby. Presentiments of strange discoveries hovered round me. The scrivener's pale form appeared to me laid out, among uncaring strangers, in its shivering winding sheet." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: describe space of wall street in terms of emptiness

Herman Melville Bartleby the Scrivener 1853 New York - Align Wall St with these famous ruins. Hints at what capitalism could become. - Space of Wall St. - Emptiness a gap between week bustle and meaning manifestation of alienation - Emptiness- can sense void in meaning - Not humoral theory anymore but maybe religion can explain Bartleby - Normal way of things:happiness because misery is hiding. Bartleby weird because he is miserable. -Happiness is a facade

Passage: "The report was this: that Bartleby had been a subordinate clerk in the Dead Letter Office at Washington, from which he had been suddenly removed by a change in the administration. When I think over this rumor, I cannot adequately express the emotions which seize me. Dead letters! does it not sound like dead men? Conceive a man by nature and misfortune prone to a pallid hopelessness, can any business seem more fitted to heighten it than that of continually handling these dead letters, and assorting them for the flames? For by the cart-load they are annually burned. Sometimes from out the folded paper the pale clerk takes a ring:—the finger it was meant for, perhaps, moulders in the grave; a bank-note sent in swiftest charity:—he whom it would relieve, nor eats nor hungers any more; pardon for those who died despairing; hope for those who died unhoping; good tidings for those who died stifled by unrelieved calamities. On errands of life, these letters speed to death. Ah Bartleby! Ah humanity!" Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: Significance of dead letters

Herman Melville Bartleby the Scrivener 1853 New York Dead letters like Bartleby. No origin or destination. Capitalism defines you. So when narrator tries to find out why he is-- he looks at employment history. He is his work.

Passage: "I sat awhile in perfect silence, rallying my stunned faculties. Immediately it occurred to me that my ears had deceived me, or Bartleby had entirely misunderstood my meaning. I repeated my request in the clearest tone I could assume. But in quite as clear a one came the previous reply, "I would prefer not to." "Prefer not to," echoed I, rising in high excitement, and crossing the room with a stride. "What do you mean? Are you moonstruck? I want you to help me compare this sheet here—take it," and I thrust it towards him. Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: sig of disobey system? and what is up with the word prefer?

Herman Melville Bartleby the Scrivener 1853 New York First time Disobey system - Passive resistance is aggravating - Bartleby is resistant against norms of greed and this causes narrator to fall apart - Bartleby doesn't ask for help.System takes care of problems for him-- jail (The Tombs) where Bartleby dies. - Bartleby's lack of motion sends others into frenzied motion. Through his death have understanding of how capitalism works. - prefer Becomes strange in how Bartleby uses it Favouring a course of action without dismissing others

Passage: "My mind then ran on in reveries concerning the probable effects upon the human constitution of living entirely on ginger-nuts. Ginger- nuts are so called because they contain ginger as one of their peculiar constituents, and the final flavoring one. Now what was ginger? A hot, spicy thing. Was Bartleby hot and spicy? Not at all. Ginger, then, had no effect upon Bartleby. Probably he preferred it should have none." "Aside from higher considerations, charity often operates as a vastly wise and prudent principle—a great safeguard to its possessor. Men have committed murder for jealousy's sake, and anger's sake, and hatred's sake, and selfishness' sake, and spiritual pride's sake; but no man that ever I heard of, ever committed a diabolical murder for sweet charity's sake. Mere self-interest, then, if no better motive can be enlisted, should, especially with high-tempered men, prompt all beings to charity and philanthropy." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: How is narrator trying to explain weirdness

Herman Melville Bartleby the Scrivener 1853 New York Narrator tries to explain humoral theory maybe I should help for higher purposes

Passage: "Somehow, of late I had got into the way of involuntarily using this word "prefer" upon all sorts of not exactly suitable occasions. And I trembled to think that my contact with the scrivener had already and seriously affected me in a mental way. And what further and deeper aberration might it not yet produce?" Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: what change has occurred

Herman Melville Bartleby the Scrivener 1853 New York Observer becomes actor

Passage: Queerness is a structuring and educated mode of desiring that al- lows us to see and feel beyond the quagmire of the present. The here and now is a prison house. We must strive, in the face of the here and now's total- izing rendering of reality, to think and feel a then and there. Some will say that all we have are the pleasures of this moment, but we must never settle for that minimal transport; we must dream and enact new and better pleasures, other ways of being in the world, and ultimately new worlds. Queerness is a longing that propels us onward, beyond romances of the negative and toiling in the present. Queerness is that thing that lets us feel that this world is not enough, that indeed something is missing. Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: What is the fundamental task?

Jose Esteban Munoz Cruising Utopia 2009 USA Fundamental task= keep alive sense of possibility of different world can't do that if we think world now is natural

Passage: Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question:

Kathi Weeks The Problem with Work 2011 USA

Passage: "In general, it is not the police or the threat of violence that force us to work, but rather a social system that ensures that working is the only way that most of us can meet our basic needs. In this way, as Moishe Postone notes, the specific mechanism by which goods and services are distributed in a capitalist society appears to be grounded not in social convention and political power but in human need. The social role of waged work has been so naturalized as to seem necessary and inevitable, something that might be tinkered with but never escaped." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: What assumption does author challenge?

Kathi Weeks The Problem with Work 2011 USA Kathi challenges assumption that valuing work as we do is natural. Work plays such a defining role how do we escape that. Naturalized.... To seem necessary and inevitable

Passage: "What is perplexing is less the acceptance of the present reality that one must work to live than the willingness to live for work. By the same token, it is easy to appreciate why work is held in such high esteem, but considerably less obvious why it seems to be valued more than other pastimes and practices." "The fact that at present one must work to "earn a living" is taken as part of the natural order rather than as a social convention" "The normative expectation of waged work as an individual responsibility has more to do with the socially mediating role of work than its strictly productive function. Work is the primary means by which individuals are integrated not only into the economic system, but also into social, political, and familial modes of cooperation. That individuals should work is fundamental to the basic social contract; indeed, working is part of what is supposed to transform subjects into the independent individuals of the liberal imaginary, and for that reason, is treated as a basic obligation of citizenship. (The fact that the economy's health is dependent on a permanent margin of unemployment is only one of the more notorious problems with this convention.) Dreams of individual accomplishment and desires to contribute to the common good become firmly attached to waged work, where they can be hijacked to rather different ends: to produce neither individual riches nor social wealth, but privately appropriated surplus value. Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: What does the author question

Kathi Weeks The Problem with Work 2011 USA What we do is fundamental to our identity, but why do we do this?

Passage: Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question:

Nella Larsen Passing 1929 Harlem, New York

Passage: "At that Gertrude shrieked with laughter. ^'Claude Jones!" and launched into the story of how he was no longer a Negro or a Christian but had become a Jew. "A Jew!" Clare exclaimed, "Yes, a Jew. A black Jew, he calls himself. He won't eat ham and goes to the synagogue on Saturday. He's got a beard now as well as a moustache. You'd die laughing if you saw him. He's really too funny for words. Fred says he's crazy and I guess he Is. Oh, he's a scream all right, a regular scream!" And she shrieked again. Clare's laugh tinkled out. "It certainly sounds funny enough. Still, it's his own business.If he gets along better by turning—" Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: why bring up "Jew"

Nella Larsen Passing 1929 Harlem, New York can serve as analogy for black

Passage: "Yes, it would die, as long ago she had made up her mind that it should. But in the meantime, while it was still living and still had the power to flare up and alarm her, it would have to be banked, smothered, and something offered in Its stead." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: How does Clare save Ben?

Nella Larsen Passing 1929 Harlem, New York "thing"= knowing of his desire Clare salvages his sexuality, returns it to normal hetero, she replaces Brazil (queerness)

Passage: "A feeling of uneasiness stole upon herat the inconceivable suspicion that she might have been wrong in her estimate of her husband's character. But she squirmed away from it. Impossible ! She couldn't have been wrong. Everything proved that she had been right.More than right, if such a thing could be. Andall, she assured herself, because she understood him so well, because she had, actually, a special talent for understanding him. It was, as she saw it, the one thing that had been the basis of the success which she had made of a marriage that had threatened to fail. She knew him as well as he knew himself, or better. Then why worry? The thing, this dis-content which had exploded into words, would surely die, flicker out, at last." "Was she never to be free of it,that fear which crouched, always, deep down within her, stealing away the sense of security,the feeling of permanence, from the life which she had so admirably arranged for them all,and desired so ardently to have remain as it was? That strange, and to her fantastic, notion of Brian's of going off to Brazil, which, though unmentioned, yet lived within him; how it frightened her, and—yes, angered her I" Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: Why does Brazil bother her?

Nella Larsen Passing 1929 Harlem, New York Attention drawn to Brian's unsettling desire that threatens marriage

Passage: "And though conscious that if she didn't hurry away,she was going to be late to dinner, she still lingered. It was as if the woman sitting on the other side of the table, a girl that she had known, who had done this rather dangerous and, to Irene Redfield, abhorrent thing success- fully and had announced herself well satisfied,had for her a fascination, strange and compelling. Clare Kendry was still leaning back in the tall chair, her sloping shoulders against the carved top. She sat with an air of indifferent assurance, as if arranged for, desired." "". . . For I am, so lonely . . .cannot help longing to be with you again, as I have never longed for anything before; and I have wanted many things in my life. . . . You can't know how in this pale life of mine I am all the time seeing the bright pictures of that other that I once thought I was glad to be free of. . . . It's like an ache, a pain that never ceases. . . ." Sheets upon thin sheets of it.And ending finally with, "and it's your fault,'Rene dear. At least partly. For I wouldn't now, perhaps, have this terrible, this wild desire if I hadn't seen you that time in Chicago. . . ." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: Clare and Desire

Nella Larsen Passing 1929 Harlem, New York Clare defined by intensity of her own desire Clare made out of desire Everyone loves her and wants to be with her A figure of desire--- lives her own desire DESIRE TO SEE YOU

Passage: "Irene's lips trembled almost uncontrollably, but she made a desperate effort to fightback her disastrous desire to laugh again, and succeeded. Carefully selecting a cigarette from the lacquered box on the tea-table before her, she turned an oblique look on Clare and encountered her peculiar eyes fixed on her with an expression so dark and deep and unfathomable that she had for a short moment the sensation of gazing into the eyes of some creature utterly strange and apart. A faint sense of danger brushed her, like the breath of a cold fog." "She wished to find out about this hazardous business of "passing," this breaking away from all that was familiar and friendly to take one's chance in another environment, not entirely strange, perhaps, but certainly not entirely friendly." "Her brows came together in a tiny frown. The frown, however,was more from perplexity than from annoyance; though there was in her thoughts an element of both. She was wholly unable to comprehend such an attitude towards danger as she was sure the letter's contents would reveal; and she disliked the idea of opening and reading it." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: What danger?

Nella Larsen Passing 1929 Harlem, New York Danger Economical Passing Social Disgrace of passing Dangerous because it spreads. Clare breaks rules No danger present. But seed planted for us to figure out what is danger

Passage: "She dropped Clare out of her mind and turned to her thoughts, to her own affairs. Tohome, to the boys, to Brian. Brian, who in the morning would be waiting for her in the great clamourous station. She hoped that he had been omfortable and not too lonely without her and the boys. Not so lonely that that old, queer, un-happy restlessness had begun again within him;that craving for some place strange and different, which at the beginning of her marriage she had had to make such strenuous efforts to repress, and which yet faintly alarmed her,though it now sprang up at gradually lessening intervals." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: what is the significance of the word repress

Nella Larsen Passing 1929 Harlem, New York Freud repress= sexual connotation Kind of desire? It's a threat to her marriage

Passage: "Stepping out of the elevator that had brought her to the roof, she was led to a table just In front of a long window whose gently moving curtains suggested a cool breeze. It was, she thought, like being wafted upward ona magic carpet to another world, pleasant,quiet, and strangely remote from the sizzling one that she had left below. The tea, when it came, was all that she had desired and expected. In fact, so much was it what she had desired and expected that after the first deep cooling drink she was able to forget It, only now and then sipping, a little absently, from the tall green glass, while she surveyed the room about her or looked out over some lower buildings at the bright unStirred blue of the lake reaching away to an undetected horizon." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: looking and race

Nella Larsen Passing 1929 Harlem, New York Irene sitting at hotel before seeing Clare. Race not explicitly stated here Beautiful space but still built upon racial segregation and white supremacy actively operating to sustain space

Passage: "What if Clare was not dead? She felt nauseated, as much at the idea of the glorious body mutilated as from fear." "For Clare had come softly into the room without knocking, and before Irene could greet her, had dropped a kiss on her dark Curls. Looking at the woman before her, Irene Redfield had a sudden inexplicable onrush of affectionate feeling. Reaching out, she grasped Clare's two hand in her own and cried with something like awe in her voice: "Dear God!But aren't you lovely, Clare!" Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: What is special about this reaction?

Nella Larsen Passing 1929 Harlem, New York Physical reaction Ejaculation of desire

Passage: ""Just the same you're not to talk to them about the race problem. I won't have It." They glared at each other. "I tell you, Irene, they've got to know these things, and it might as well be now as later." "They do not!" she insisted, forcing back the tears of anger that were threatening to fall." ""Now you are talking nonsense." "But it's true, 'Rene. Can't you realize that I'm not like you a bit? Why, to get the things I want badly enough, I'd do anything, hurt anybody, throw anything away. Really, 'Rene, I'm not safe." Her voice as well as the look on her face had a beseeching earnestness that made Irene vaguely uncomfortable." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: What does Irene have to do with her face?

Nella Larsen Passing 1929 Harlem, New York Police her own face

Passage: "Nonetheless, I request the following from them: revenge yourselves on my sons, when they have grown, gentlemen, by giving them the same trouble I gave you, if they seem to prioritize money or anything else ahead of virtue or if they think themselves to be something that they are not. Reproach them as I reproached you, that they do not care about what they ought to and that they think they are something special when they are worth nothing. If you would do this, I will have been served justice by you, and my sons, too." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: why does socrates suggest this punishment

Plato Apology 400 BCE Ancient Greece because he feel he did nothing wrong

Passage: "An attractive-looking woman, was Irene's opinion, with those dark, almost black,eyes and that wide mouth like a scarlet flower against the Ivory of her skin. Nice clothes too, just right for the weather, thin and cool without being mussy, as summer things were so apt to be. A waiter was taking her order. Irene saw her smile up at him as she murmured something--- thanks, maybe. It was an odd sort of smile. Irene couldn't quite define it, but she was sure that she would have classed it, coming from another woman, as being just a shade too provocative for a waiter. About this one, however, there was something that made her hesitate to name it that. A certain impression of assurance, perhaps. The waiter came back with the order.Irene watched her spread out her napkin, saw the silver spoon in the white hand slit the dull gold of the melon. Then, conscious that she had been staring, she looked quickly away. Her mind returned to her own affairs.She had settled, definitely, the problem of the proper one of two frocks for the bridge party that night, In rooms whose atmosphere would be so thick and hot that every breath would be like breathing soup. The dress decided, her thoughts had gone back to the snag of Ted's book, her unseeing eyes far away on the lake,when by some sixth sense she was acutely aware that someone was watching her. Very slowly she looked around, and into the dark eyes of the woman In the green frock at the next table. But she evidently failed to realize that such intense interest as she was showing might be embarrassing, and continued to stare. Her demeanour was that of one who with utmost singleness of mind and purpose was determined to impress firmly and accurately each detail of Irene's features upon her memory for all time, nor showed the slightest trace of disconcertment at having been detectedin her steady scrutiny. Instead, it was Irene who was put out.Feeling her colour heighten under the continued Inspection, she slid her eyes down. What, she wondered, could be the reason for such persistent attention? Had she. In her haste In the taxi, put her hat on backwards? Guardedly she felt at it. No. Perhaps there was a streak of powder somewhere on her face. She made a quick pass over it with her handkerchief. Something wrong with her dress? She shot a glance over it. Perfectly all right. What was it? Again she looked up, and for a moment her brown eyes politely returned the stare of the other's black ones, which neverfor an instant fell or wavered. Irene made alittle mental shrug. Oh well, let her look! She tried to treat the woman and her watching with indifference, but she couldn't. All her efforts to ignore her, it, were futile. She stole another glance. Still looking. What strange languorous eyes she had! And gradually there rose in Irene asmall inner disturbance, odious and hatefully familiar. She laughed softly, but her eyes flashed. Did that woman, could that woman, somehow know that here before her very eyes on the roof of the Drayton sat a Negro? Absurd! Impossible! White people were SO stupid about such things for all that they usually asserted that they were able to tell; and by the most ridiculous means, fingernails,palms of hands, shapes of ears, teeth, and other equally silly rot. They always took her for an Italian, a Spaniard, a Mexican, or agipsy. Never, when she was alone, had they even remotely seemed to suspect that she was a Negro. No, the woman sitting there staring ather couldn't possibly know. Nevertheless, Irene felt, in turn, anger,scorn, and fear slide over her. It wasn't that she was ashamed of being a Negro, or even of having it declared. It was the idea of being ejected from any place, even in the polite and tactful way in which the Drayton would probably do it, that disturbed her." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: Discuss seeing and looking

Nella Larsen Passing 1929 Harlem, New York Skin cooler seen, wealth seen, class status seen, approving look Looking continues takes an evaluative/judging view Moral and sexual judgement Judge sexual behaviors Figurative language-- just a shade.... 1. Race 2. Sex 3. Class. See skin Realize look can be returned Looking an exchange, a reciprocal action Possibly of dissociation, looking can be detached Difference between two women Gauge difference by how you look and how you actively look at others Looking increases race Only though intensifying looks Looking leads to marking of color Race declared explicitly addressed Characterization of whiteness What are white people like? Stupid, Arrogance of assuming you can guess people, Superficial, Having a particular stupid way of looking at others. Bad readers. Can't read race. Whiteness is also power. Irene is in white space Race constituted through eyes and skin Race in terms of being looked/ looking at Race is lived through visual experience, I come to recognize my own racial self. Visuality itself is racializing experience Experience between the races

Passage: "For she would not go to Brazil. She belonged In this land of rising towers. She was an American. She grew from this soil, and she would not be uprooted. Not even because of Clare Kendry, or a hundred Clare Kendrys. Brian, too, belonged here. His duty was to her and to his boys. Strange, that she couldn't now be sure that she had ever truly known love. Not even for Brian. He was her husband and the father of her sons. But was he anything more? Had she ever wanted or tried for more ? In that hour she thought not. Nevertheless, she meant to keep him. Her freshly painted lips narrowed to a thin straight line. True, she had left off trying to believe that he and Clare loved and yet did not love, but she still intended to hold fast to the outer shell of her marriage, to keep her life fixed, certain. Brought to the edge of distasteful reality, her fastidious nature did not recoil." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: What does it mean to be American

Nella Larsen Passing 1929 Harlem, New York Startling appearance of national identity What does it mean to be american? Not Brazil (Brazil represents social/sexual impropriety) a wild desire and threat to marriage)

Passage: "It was. Irene, thought, unbelievable and astonishing that four people could sit so unruffled, so ostensibly friendly, while they were In reality seething with anger, mortification, shame. But no, on second thought she was forced to amend her opinion. John Bellew, most certainly, was as undisturbed within as without." "In Irene, rage had not retreated, but was held by some dam of caution and allegiance to Clare. So, in the best casual voice she could muster, she agreed with Bellew. Though, she reminded him, it was exactly what Chicagoans were apt to say of their city. And all the while she was speaking, she was thinking how amazing it was that her voice did not tremble, that outwardly, she was calm. Only her hands shook slightly. She drew them inward from their rest in her lap and pressed the tips of her fingers together to still them." "John Bellew came Into the room. The first thing that Irene noticed about him was that he was not the man that she had seenwith Clare Kendry on the Drayton roof. This man, Clare's husband, was a talllsh person, broadly made. His age she guessed to be somewhere between thirty-five and forty. His hair was dark brown and waving, and he had a soft mouth, somewhat womanish, set In an unhealthy-looking dough-coloured face. His steel-grey opaque eyes were very much alive, moving ceaselessly between thick bluish lids. But there was, Irene decided, nothing unusual about him,unless it was an Impression of latent physical power. *'Hello, Nig," was his greeting to Clare." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: How does whiteness relate to be being yourself?

Nella Larsen Passing 1929 Harlem, New York White guy only one whose in and out match. Whiteness- no self-division Irene performing passing for Bellow Don't have to pass if white Whites don't have self-division (inside and outside match) Immediately racist Extreme transparency Privilege to be transparant when white While irene has to self-police Hatred openness= white, can do it= privilege to express yourself right away

Passage: "At dinner Brian spoke bitterly of a lynching that he had been reading about in the evening paper. "Dad, why is it that they only lynch coloured people?" Ted asked. "Because they hate 'em, son." "Brian !" Irene's voice was a plea and a rebuke." "Just the same you're not to talk to them about the race problem. I won't have it." They glared at each other. "I tell you, Irene, they've got to know these things, and it might as well be now as later." "They do not!" she insisted, forcing back the tears of anger that were threatening to fall. Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: what is distressing

Nella Larsen Passing 1929 Harlem, New York lynching, a fact of black life

Passage: "You know Chairephon, I presume. He was a companion of mine from youth and a comrade of yours in the democracy and joined you in the recent exile and returned with you. And you know how Chairephonwas, how zealous he was about whatever he pursued, and so for example when he went to Delphi he was so bold as to ask this—and, as I say, don't interrupt, gentlemen—he asked if there was anyone wiser than me. The Pythian then replied that no one was wiser. And his brother here will bear witness to you about these things, since he himself has died." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: What is Socrates accused of and describe the culture of the time?

Plato Apology 400 BCE Ancient Greece - Accused of corrupting the youth and impiety. He feels he on trial because people annoyed with my constant questioning of things. Socrates feels he isn't wise philosophy is deadly - Culture of the court--- a Litigious society, where Jurors decide

Passage: "So: [...] Still, before Zeus, Meletos, tell us whether it is better to live among good citizens or wicked ones? ... Answer, my good man—I'm not asking anything difficult, you know. Don't the wicked always do something bad to those who are constantly closest to them, while the good do something good? Mel: Certainly. So: But is there anyone who wishes to be harmed by those he associates with more than he wishes to be helped? ... Keep answering, my good man, for the law also requires you to answer. Is there anyone who wants to be harmed? Mel: Of course not.So: Come then, do you bring me here on charges of intentionally or unintentionally corrupting the young and making them worse? Mel: Intentionally, I say. So: What then, Meletos? Are you so much wiser at your age than I am at mine that you know that the wicked always do something bad to those who are very close to them, and the good do good, while I, on the other hand, have fallen into such great ignorance that I don't also know this, that if I make one of my associates bad, I risk being harmed by him? And yet I would do this great evil intentionally, as you claim? I don't believe you, Meletos, and I think that no one else does... Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: what is the importance of dialogue here?

Plato Apology 400 BCE Ancient Greece Dialogue is fundamental to Socrates Kind of argumentation until find contradiction M: Socrates is corrupting youth on purpose S: but bad means injurious to those around them, why would I do that? Assumptions make no sense

Passage: Indeed, to fear death, gentlemen, is nothing other than to regard oneself as wise when one is not; for it is to regard oneself as knowing what one does not know and no one knows whether death is not the greatest of all the goods for man, but they fear it as if they knew it to be the greatest of evils. And indeed, how could this ignorance not be reproachable, the ignorance of believing one knows what one does not know? But I, gentlemen, am perhaps superior to the majority of men to this extent and in this regard, and if indeed I seem to be wiser in any way than anyone, it would be in this, that I am not so certain about how things are in Hades and I do not think that I know." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: why doesn't socrates beg for his life?

Plato Apology 400 BCE Ancient Greece I don't beg for life because I don't know what death is.... Philosophy breeds courage. Lets us be okay with not knowing. Courage has political stakes.

Passage: "I went to one of the people who are thought to be wise, hoping to refute the oracle there if anywhere, and reply to its response: "This man here is wiser than me, though you said I was." So, scrutinizing this fellow—there's no need to refer to him by name, he was one of the politicians with whom I experienced something of the following sort when examining him, men of Athens—in talking with him it seemed to me that while this man was considered to be wise both by many other people and especially by himself, he was not. And so I tried to show him that he took himself to be wise, but was not. As a result I became hated by this man and by many of those present." "And so, as I was going away, I was thinking to myself "I am at least wiser than this man. It's likely that neither of us knows anything worthwhile, but whereas he thinks he knows something when he doesn't know it, I, when I don't know something, don't think I know it either. It's likely, then, that by this I am indeed wiser than him in some small way, that I don't think myself to know what I don't know." Next, I went to another one of the people thought to be wiser than him and things seemed the same to me, and so I made an enemy of him as well as of many others." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: How does Socrates use philosophy?

Plato Apology 400 BCE Ancient Greece Philosophy to show people how stupid they are. Not showing new knowledge but help people see themselves and others differently. Socrates understands how limited we are

Passage: "And this most of all, men of Athens, I beg and request of you: if in these speeches you hear me defending myself in the words I also usually say in the marketplace by the tables, where many of you have heard me, as well as elsewhere, don't be surprised and don't make a disturbance because of it. Because this is exactly how it is: I have now come before the court for the first time, at seventy years of age. So I am simply a stranger to the manner of speech here. And so, just as you would certainly have sympathy for me if I actually happened to be a stranger and spoke in the accent and manner in which I had been raised, I now particularly ask you for this just request, at least as it seems to me, to disregard my manner of speech—maybe it's better, maybe it's worse—and to consider only the following and pay attention to it: whether I say just things or not." "One of you might be angry when he is reminded of his own conduct [when on trial]—if he begged and beseeched the judges with many tears when contesting a lesser charge than this one, bringing forth his children so that they would pity him even more, with other members of his family and many friends, whereas I will do none of this, even though I run, I might suppose, the ultimate risk...these people seem to bring shame upon the city, so that some stranger might think that the foremost of the Athenians in virtue, whom the Athenians nominate ahead of themselves for offices and other honors, they are no better than women." "Those of you who are thought to be something in any way whatsoever, men of Athens, should not do these things, and if we do them you should not permit it but be very clear about it, that you will more readily convict a person who puts on these miserable theatrics and makes a laughingstock of the city than one who holds his peace." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: what norms are broken?

Plato Apology 400 BCE Ancient Greece Please disregard the way I talk"but lowkey be aware of norms of trial speak Norms of self-presentation at trial are broken Breaking convention of begging judges Different than normal trial

Passage: "That's why, both then and now, I go around in accordance with the god, searching and making inquiries of anyone, citizen or stranger, whom I think is wise. And if I then think he isn't, I assist the god and show him that he is not wise. And because of this busyness I lack the time to participate in any public affairs worth mentioning or for private business, but I am in great poverty because of my service to the god." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: how is socrates apolitical?

Plato Apology 400 BCE Ancient Greece Socrates cares so much about truth. I am unproductive, I'm bad economic citizen because I care so much about God. Trying to destabilize norm of work as defining value Defamiliarizing legal form by questioning accuser

Passage: "What you felt, men of Athens, on account of my accusers, I do not know. But I, even me, I almost forgot who I was because of them, so persuasively did they speak. And yet they have said practically nothing true. I was especially amazed by one of the many lies they told, the one in which they said that you should take care not to be deceived by me because I am a skilled speaker.... ...from me you will hear the whole truth. Not, by Zeus, beautified speeches like theirs, men of Athens, and not ornamented with fine phrases and words, but you will hear me say the words that come to me at random..." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: what does socrates most want us to know

Plato Apology 400 BCE Ancient Greece Socrates most wants you to know is that he is not a great speaker

Passage: "After the politicians I went to the poets, including those of tragedies and those of dithyrambs* and others, so that there I would catch myself being more ignorant than them. Reading the works which I thought they had really labored over, I would ask them what they meant, so that at the same time I might also learn something from them. I am ashamed to tell you the truth, gentlemen, but nevertheless it must be told. Practically anybody present, so to speak, could have better explained what they had written." "So finally I went to the crafters, because I was aware that while I knew practically nothing, I knew that I would find that they knew many fine things. And in this I was not mistaken—they knew things I didn't and in this they were wiser than me. But, men of Athens, the noble crafters seemed to me to have the same flaw that the poets also had. Because each of them performed his craft well, he considered himself to be most wise about the greatest things—and this sour note of theirs overshadowed their wisdom." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: why are these people stupid?

Plato Apology 400 BCE Ancient Greece They don't even know what they write about. No well grounded sense of truth behind it.Think because good at one thing, have all wisdom under control Socrates realized he doesn't have wisdom. Carpenters think they know it all.

Passage: ...women, be confident you can very likely accede as well as men to the superior status of creation. But husbands too should quickly be reassured: their wives will not be taken away from them for all that, but remain no less a natural and available genitrix... Elle, says to women: you're worth just as much as men: and to men: your wives will never be anything but women. Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: how is the author speaking, what is genitrix, what is the assumption Elle is making?

Roland Barthes Mythologies 1957 France - Speaking as if Elle: Hey ladies, you can be anything but also like they will still make babies so don't worry, its natural that they want to make babies. - Made up the word genitrix. Defamiliarizes. Meant to convey women who produces babies. "Engender" and "-ix" have babies and women. - Desire to imagine femininity as naturally maternal. Elle feeds into that assumption. Don't worry women are still mothers. There is a specific history that makes it seem natural. An active history that limited options so seems natural.

Passage: "....confronted with this universe of faithful and complicated household objects, the child cannot constitute himself as anything but an owner, a user, never as a creator; he does not invent the world, he utilizes it; gestures are prepared for him without adventure, without surprise, and without joy. He is turned into a little stay-at-home household.... [unlike basic building blocks,] he French toy is usually a toy of imitation, meant to make child users, not creative children. Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: why does the author dislike toys?

Roland Barthes Mythologies 1957 France Children toys just are practicing for adult roles

Passage: in a word, I resented seeing Nature and History repeatedly confused in the description of our reality, and I wanted to expose in the decorative display of what-goes-without-saying the ideological abuse I believed was hidden there." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: what does natural mean?

Roland Barthes Mythologies 1957 France What seems to be: natural and common sense. Is in fact: historical and ideology. Natural implies politically neutral, the way things should and ever present however, naturalizing= political work. history/power that made what seems natural. Reading objects to reveal ideology. Recognizes that he himself has political bias.

Passage: "The starting point of these reflections was usually a feeling of impatience with the "naturalness" which common sense, the press, and the arts continually invoke to dress up a reality which, though the one we live in, is nonetheless quite historical Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: this a mode of??

Roland Barthes Mythologies 1957 France political protest--- call out problems in our society.

Passage: After we see an object several times, we begin to recognize it. The object is in front of us and we know about it, but we do not see it -hence we cannot say anything, significant about it. Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: difference/similarities between recognizing and seeing

Viktor Shklovsky Art as Technique 1917 Russia Art makes things visible again by making it strange. Recognizing is bad Recognize is not the same as seeing

Passage: "For example, in "Shame" Tolstoy "defamiliarizes" the idea of flogging in this way: "to strip people who have broken the law, to hurl them to the floor, and "to rap on their bottoms with switches," and, after a few lines, "to lash about on the naked buttocks." Then he remarks: Just why precisely this stupid, savage means of causing pain and not any other - why not prick the shoulders or any part of the body with needles, squeeze the hands or the feet in a vise, or anything like that? I apologize for this harsh example, but it is typical of Tolstoy's way of pricking the conscience. The familiar act of flogging is made unfamiliar both by the description and by the proposal to change its form without changing its nature. Tolstoy uses this technique of "defamiliarization", constantly." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: how does Tolstoy defamiliarize something?

Viktor Shklovsky Art as Technique 1917 Russia Describe phenomenon with harsh specificity. Make us more aware by making it vivid. Then creates an analogy with something. unfamiliar= how he defamiliarizes

Passage: Such habituation explains the principles by which, in ordinary speech, we leave phrases unfinished and words half expressed. In this process, ideally realized in algebra, things are replaced by symbols. Complete words are not expressed in rapid speech; their initial sounds are barely perceived Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: what happens with language?

Viktor Shklovsky Art as Technique 1917 Russia Happens with language. We algebrizing language (making it symbols. Ex. gifs, emoticons)

Passage: "Habitualization devours work, clothes, furniture, one's wife, and the fear of war." Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: what is habitualization?

Viktor Shklovsky Art as Technique 1917 Russia Opposite defamiliarization. everyday veers into stranger territory. Takes away people we love and we used to violence

Passage: If we start to examine the general laws of perception, we see that as perception becomes habitual, it becomes automatic. Thus, for example, all of our habits retreat into the area of the unconsciously automatic; if one remembers the sensations of holding a pen or of speaking in a foreign language for the first time and compares that with his feeling at performing the action for the ten thousandth time, he will agree with us. The object, perceived thus in the manner of prose perception, fades and does not leave even a first impression; ultimately even the essence of what it was is forgotten. And art exists that one may recover the sensation of life; it exists to make one feel things, to make the stone stony Author Name: Title of Work: When Work Published: Where (Written or its Setting): Question: what does art do and why?

Viktor Shklovsky Art as Technique 1917 Russia We let things become automatic and invisible. Art makes us remember and why we should defamiliarize. Art should defamiliarize, should show you real world There is a world inside the world Why defamiliarize, why does art do this? More life, more experience. Experience becomes an end in itself. A heightened mode of perception. We feel more. Everyday life prob= inhibit feelings