DWill wrote:I always think of Emerson's dictum when it comes to reading criticism: Never read a book about a book. I certainly don't mean that I follow that (and I don't know that even Emerson himself really read only the primary sources), but I just like to fool around with perspectives on the matter. I suppose I'm also a bit Romantic in that I like to imagine a reading culture that was almost entirely non-academic at one time, when reading was the biggest form of entertainment going, instead of just one item on a huge menu; when people would have had lively discussions just for fun about what they were reading, and when they'd crowd public events at which writers were speaking. That brings me to my conviction about how to study literature--just talk a lot about it, as well as listen to it being talked about. Teachers of literature might recommend more formal methods of analysis, but they instinctively know that it's engagement through talking that means that we're really involved in literature. That's why the most rewarding part, by far, of a literature teacher's job is when he or she succeeds in getting students to talk to each other about books, poems, plays.
Is that true for you, geo?
Yes, talking about stories, poems, or plays is the most rewarding aspect of a literature class, both for students and for the teacher. I see it as brainstorming, sharing ideas and learning from one another. The student has to eventually write about the story, poem, or play sooner or later, and if they can learn to think about a work and come up with their own interpretation and communicate those ideas in writing, they're doing pretty well, and probably will enjoy the class too.
Unfortunately, many if not most students don't bother to read a work at all. Or if they do read it, they do a half-assed job of it. Dealing with those students—who are immature or have an attitude that the class is bullshit—is the most difficult part of this job. In fact, I'm taking the semester off, and I'm not sure at this point if I'll go back.
There's a lot of wisdom in what Emerson says. We shouldn't approach a work of literature as primarily a laboratory specimen, something to be studied. However, in college, we do have to analyze a work as academics and be able to communicate our ideas effectively in an academic tone. The old school critic looked at a work's
intrinsic elements—POV, style, structure, tone, imagery, etc.—those that are found within the text. We are now expected to look at a work's
extrinsic elements such as gender bias, historical, psychological, biographical, Marxist, and deconstructionist (which I've never really grasped very well) etc. Some works do lend themselves very well to a feminist analysis. I also think the historical context is essential for many texts such as those by Shakespeare and Milton, but I do warn students about taking some of this stuff too far or too seriously. First and foremost, read and enjoy the work.
I find Bloom to be very helpful, especially with Shakespeare. For example, I was surprised to read Bloom's take of Bottom's character in
A Midsummer Night's Dream. Bloom sees Bottom as central to the themes of the play and possibly one of Shakespeare's most important characters ever. So re-reading the play, I tend to pay more attention to Bottom and understand the relevance of the character which I might have otherwise missed. But then, I am a total geek when it comes to this stuff. I do occasionally buy books about books.
Here's a scene from The Sopranos where AJ is having a difficult time with Robert Frost's
Stopping By Woods On A Snowy Evening. He approaches the poem only as something to be analyzed. His sister comes in and offers the solution to a problem which is how she looks at it too. "It's about death," she says. This is an unfortunate consequence of studying literature in the classroom. We forget that first and foremost, a poem should be read and enjoyed.
http://www.youtube.com/watch?v=Fk_ddfiF ... Q&index=21