Monday, November 18, 2013

Real talk: Candidacy Exams (reply)


This afternoon I walked into a small room at Ohio State, talked about my passion to three people and another person on a screen, and then turned in a sheet of paper to a much bigger room. I just sat down to write this after coming home, and at this time the experience seems so small that it could be trivial. But that impression may be deceptive.

This is a partial response to my friend Kate's blog, "Real Talk." I'm writing this for her, for you, and for me. Even though the oral exam seems so small at this moment, its size may be hidden by its depth. So I'll take Kate's outline and plug in my own experience.

Opacity (and Foxes).


As Kate says, there's no certain methods for exam prep. I tried many. This may be a difference of personality. Alan Palmer says that academics are either hedgehoxes or foxes; they either persist, like hedgehogs, or they rely on trickiness, like foxes. I am a fox, and I tried to outfox the exam with methods including:

  1. Detailed notes on every source, ranging from textual production and historical context to structure and critique.
  2. Flash cards on fundamental facts, such as character names and year of production, for each source.
  3. Frequent meetings with the committee members.
  4. A reading group.
  5. Synthetic drawings, comics, and diagrams.
  6. Teaching the material, or sitting in on classes.
  7. Mnemonics and memory palaces.
  8. Frantic cramming in the hours before the exam.

Honestly, they all worked. Every one of these preparation methods facilitated a different kind of answer. Putting them together facilitated many kinds of answers. I didn't apply all of these to all texts. In fact, I think that I changed methods because my thoughts about big issues were changing.

I understand that this kind of change can be scary, especially when the test is so opaque. Kate wrote,
"The fact that I had no way of checking whether I was preparing sufficiently and correctly–that I didn’t know what others meant by ‘reading’ a work and they didn’t know exactly what I meant by it–was the hardest part of the whole exam process."
If you're like Kate, meaning if you're anxious about your mode of preparation, I encourage you to try something else. Switch it up. There are many ways to read a text, so try a bunch of different things. Then again, that's a fox speaking.

Nobody reads it all (but you ought to remember it).

Imagine an old-fashioned English professor. Imagine that professor scowling as he reads about my preparation methods. "Drawing comics?" he scoffs. "That's not reading!" Whatever, Professor Oldface. There are a lot of things I didn't close-read studiously in a leather-bound chair with a glass of scotch, but I did read everything in some fashion. Even better, I remembered it.

I prepared for this exam with two key beliefs about memory.

  1. Imagination is a relative of memory. I tried the many methods above to make everything meaningful to me in some way. Sometimes that meant memorizing the spoken word of Milton, and sometimes that meant drawing a comic for the Faerie Queene. To wit: Make, then remember.
  2. Repetition is memory. I am a complete convert to the notion of spaced repetition. It's a proven method, so I'll confine my remarks to my experience. In the candidacy exam, I used the program Mnemosyne to space the repetition of concepts, and I also allotted time to review material that I'd forgotten. I spent most of this morning reviewing things I'd already read, and I'm glad for it.

The else.


I haven't spoken yet about the emotional strain of the exam process. I've had a couple experiences like the exam, and each time I get really frustrated a week before. But one or two days before, I'm pretty damn beatific. A week out from the exam, I still had a broad range of preparations I could have chosen. It's a hard time to be a fox. But a day out, you've got to put your head down like a hedgehog. "Alea jacta erit" is a fun play on words I learned this semester: the die will have been cast. By the time that you're within striking range of the exam, you'll either be prepared or you won't. The die will have been cast.

Stress is not your enemy. Stress is your GPS: it can point you in a direction, but it isn't always right. Unless you have a diagnosed case of depression or anxiety, I believe the best solution is to journal or meditate on the causes of your stress, and try to apply that stress to your exam preparations. And most importantly, make sure that you evaluate your stress based on the best available facts, and that your evaluation reflects the values you truly hold.

Monday, June 3, 2013

The Shoemaker's Holiday by Thomas Dekker

PRIMARY SOURCETHE SHOMAKERS Holiday. OR The Gentle Craft. With the humorous life of Simon Eyre, shoomaker, and Lord Maior of London.
Context
  • Publication: Performed in 1599 by the Admiral's Men. Printed by Valentine Simmes in quarto for sale at the White Swan: publisher presumably Simmes. Reprinted in six more editions—five before the war. Printed with two prefatory "three-man songs" [A4r]. Held by the Wrights for 45 years. Transferred to William Gilbertson on my birthday!
  • Scholarship: Scholars are interested in Dekker's representation of the Dutch as an ethnic Dutchman. Citizen protagonists reveal something of class struggle in England, though they're easily resolved by the arrival of the King. The City.
  • Why I'm reading it: The canon, city comedy, butterboxes.

Content
  • Form: Play in five acts.
  • Genre: Comedy, city comedy.
  • Conceit: Shoemaker Simon Eyre takes as apprentice the aristocrat Rowland Lacy, disguised as a Dutchman. Lacy is escaping military service required to redeem his value as part of his marriage to the citizen's daughter Rose. The shoemaker Ralph fights in France, while the gentleman Hammon woos his wife, Jane. She consents to an eventual marriage when she sees false proof of Ralph's death. Ralph returns, searches for Jane, and refuses to sell her to Hammon on reunion.  Throughout, Eyre ascends to Sheriff, then Lord Mayor. Rose and Rowland marry. The King upholds both decisions and knights Rowland. At the end, Eyre creates a pancake-based celebration on Shrove Tuesday for the apprentices of London.
  • Other notes: Pancake holiday!

"Bishop's Bible Illustrations" by Margaret Aston

CITATION: Aston, Margaret. The Church and the Arts: Papers Read at the 1990 Summer Meeting and the 1991 Winter Meeting of the Ecclesiastical History Society. Ed. Diana Wood. Oxford, UK: Published for the Ecclesiastical History Society by Blackwell Publishers, 1992. Print.
Understanding

  • Question: How did the Elizabethan Church and Continental artists develop the illustrations in the Bishops' Bible?
  • Answer: Archbishop Parker suffered frequent delay in the production of the '68 and '72 editions due to the Continental circulation of borrowed woodcuts; only after significant delay in '72 did Parker commission new illustrations.
  • Method: Aston essentially composes a narrative covering the majority of editions between 1565 and 1576. Archivally, Aston connects the '68 and '72 editions to the Biblische Figuren des Alten und Newen Testaments, gantz künstlich gerissen by Virgil Solis.
  • Assumptions:
  • Sententiae: In the first place we might wonder whether the change of illustrations resulted from puritanical censorship. We know the view of some of the censors, for the Second Admonition to Parliament in 1572 included an acid comment on pictures in the 15688 Bishops' Bible. ... namely, when the Lord spoke from the fire in Mount Horeb, 'ye sawe no maner of image'; to which Bishop Alley's note read: 'Meaning that plagues hang over them that wold make any image to represent God by'. (271-2)

Overstanding

  • Assessment: Aston's detailed examination of the illustrations is commendable--particularly for crossing language lines and investigating Virgil Solis' printed legacy.
  • Synthesis: I haven't yet read much on the Bishops' Bible, but Aston's description of the interaction between English publishers and Continental toolmakers generally anticipates with the description outlined by Darnton in "What is the History of the Book? Revisited."
  • Application: The application is pretty profound: the Established church is clearly involved with print ornamentation at the highest levels, and the relevant executives were willing to "play ball" with secular Continental books, even on a loaned basis. The arrangement seems to indicate a naive understanding of the Continental book trade. English authorities would be unlikely to make a similar deal after the Buckingham cartoons caricatured an English authority in the Continental print.

Sunday, June 2, 2013

Edward II by Christopher Marlowe

PRIMARY SOURCEThe troublesome raigne and lamentable death of Edward the second, King of England: with the tragicall fall of proud Mortimer: Written by Chri. Marlow Gent
Context
  • Publication:
    Published by bookseller William Jones (2) and printed by Robert Robinson in 1594. Registered to Jones in 1593, though later transferred to Barnes, Bell, and Haviland & Wright: four editions with a different publisher or printer each time. Printed in a quarto format that dropped from 48 leaves to about 40 in later editions. Performed by Pembroke's Men in 1591-2, though Greg lists Queen Anne's Men and the Red Bull theater.
    • "As it was sundrie times publiquely acted in the honourable citie of London, by the right honourable the Earle of Pembrooke his seruants."
    • "Imprinted at London for William Iones, dwelling neere Holbourne conduit, at the signe of the Gunne. 1594."
    • EEBO link.
  • Scholarship: This is Marlowe's historical drama, drawing exact phrases from Holinshed. Formally, scholars appreciate the play's clarity and consistent characterization. Stylistically, there is less strutting and ranting than in Marlowe's antihero plays. The central homoerotic relationship exemplifies DiGangi's contention that transgressive class relations, rather than homoerotics, were seen as disruptive in early modern England. Despite Edward's failures as a king, he still draws significant sympathy in captivity.
  • Why I'm reading it: The Canon

Content
  • Form: Tragic History in 5 acts. 
  • Genre: History (annals), tragedy.
  • Summary:

      1. Gaveston returns to England against the objections of the lords. Though they threaten rebellion, Edward loves Gaveston. A priest threatens to drive Gaveston back to France.
      2. The bishop is in the Tower & Queen Isabella leaves for the forest. The lords decide to eject Gaveston and thus provoke Edward into civil war.
      3. Gaveston marks his enemies at Lambeth.
      4. The conspirators seize Gaveston from the king's side. They take him away and plan to rebel. Instead of overthrowing the king outright, they plan either assassination or popular rebellion.

      1. Spenser aligns himself with Gaveston.
      2. Edward obsesses over Gaveston's return rather than French invasion. Mortimer wounds Gaveston. Edward bans Mortimer from court and so begins the rebellion. Just then, Mortimer learns that the Scots are holding his uncle for ransom, a ransom that only the king could pay. Spenser becomes Edward's minion.
      3. The conspirators plan to ambush the king.
      4. The king's company flees the ambush. Edward overlooks Queen Isabella, who commends Mortimer to slay Gaveston.
      5. The conspirators refuse to return Gaveston to Edward.

      1. Warwick takes Gaveston back.
      2. Edward makes Spenser his new favorite. France retakes Normandy. Edward hears that Warwick killed Gaveston and swears vengeance. The lords request that Spenser be banned.
      3. They fight.
      4. Mortimer and Kent are captured.

      1. Kent and Mortimer leave for Queen Isabella in France.
      2. Kent and Mortimer meet Queen Isabella.  The French promise aid but the young prince believes Edward will win.
      3. Edward's spy reports the events of the last act.
      4. Queen Isabella and Mortimer give speeches for invasion.
      5. The King's party flees for the Queen Isabella.
      6. Queen Isabella captures Kent and Spenser's father.
      7. Queen Isabella's men capture the last of the King's party, e.g. Spenser.

      1. Edward is imprisoned and laments haughtily. He refuses to resign, then relents.
      2. Mortimer sidles up to Queen Isabella's authority. He installs a puppet as successor. The prince knows they're liars. Mortimer orders his seizure, and so loses both Queen Isabella  and the Prince as his allies.
      3. Captors torture Edward. The Prince is seized.
      4. Mortimer gloats. He orders Kent murdered.
      5. Edward endures imprisonment. He fears for his life. Lightborn kills him and Gurney kills Lightborn.
      6. Edward III swears vengeance on Queen Isabella and Mortimer. He orders a lord to kill Mortimer and sends Queen Isabella to the Tower.
  • Other notes:

“The Reformation of Images and Some Jacobean Writers on Art” by Karl Josef Holten

CITATION: Holten, Karl Josef. “The Reformation of Images and Some Jacobean Writers on Art.” Functions of Literature: Essays Presented to Erwin Wolff on His Sixtieth Birthday. Ed. Ulrich Broich. Tübingen: Niemeyer, 1984. Print.
Understanding
  • Question: How did Jacobean art writing bridge the needs of a culture and the development of a culture's institutions of knowledge (funktiongeshichte)?
  • Answer: After the royal iconography of the Elizabethan era, Jacobean writers of art defended aristocratic art using Italo-philic/-phobic discourses and Tertullian's writings on church art.
  • Method: Functionalism. As stated above, funktiongeschichte seeks to explain literary genre as a bridge between the needs of a culture and the developments of a culture's philosophy and institutions of knowledge. Erwin Wolff and Rudiger Ahrens think this is what Sidney developed in his apology.
  • Assumptions: Obviously, the entire functionalist agenda relies on two atomistic poles of "the needs of a culture" and "a culture's philosophy." I expect that New Historicism struck functionalism like a ton of bricks.
  • Sententiae: "To have a story painted, for memory's sake, we hold it not to be unlawful." (146)
Overstanding
  • Assessment: An unusual essay from a field of research unfamiliar to me. It presents an opportunity for perspective to me, a person who values formal approaches to literature, to reconsider my formalist assumptions and their relevance in the aftermath of New Historicism.
  • Synthesis: At least another contributor, Rudiger Ahrens, indicated that functionalism has a novel reading of Sidney's Defense. That is, Sidney bridged early modernity England's needs for poetry with the humanistic developments of the Renaissance.
  • Application: I can't say I find much use in functionalism, but the article introduced me to several interesting details, such as a story about Elizabeth's crucifix disappearing from her chapter at intervals, or Peacham's defense of aristocratic drawing based on Tertullian.

Back from hiatus

I'm back and I'll stop posting silly things, I promise.

Sunday, April 14, 2013

Art in the Age of Greasy Surfaces, Pt. 3

This is part of a three-part series relating contemporary aesthetic philosophy to early modern print culture. I freely admit that I have never taken a class in philosophy, art history, or multimodal composition. Please excuse my amateurish attempts at all three.

3. Everything New is Old Again

The medium is the message, right? In McLuhan's thought, media have certain agentic qualities that I'd like to relate to the preceding two blog posts.

I have a few propositions. First, the digital era is a subset of the alphabetical era. This comes from my limited understanding of McLuhan. Second and subsequently, digital networks are a subset of ontological networks. This comes from Harman. Third, networked ontologies--in the sense of Harman's OOO--express their depth through their inexhaustibility. Inexhaustible ontologies imply that technical collaborations are not unique to digital "collaborators," as Sterling proposes.

Let me explain.

The California job case, above, resembles the typecases used by early printers like Aldus or de Worde. These printers represented knowledge in a significantly different way than what had come before in European society--disconnected from either a time or an acoustic space (as in the bardic transmission of information), or a particular, identifiable scribal hand (as in the secretarial transmission of information)--and our contemporary digital technologies amplify print modes of signification--again, across time and space, and distinct from personal allographs (the same differences, as it were).The digital turn promotes the digits 0 and 1 to represent the rest of the case, provided sufficient encoding. That encoding provides the illusion of Sterling's "virtual buddies," but only because machines can "read" certain kinds of alphabets and digits. Yet I contend that this is a narrow view of both reading and human-machine interaction. "Translation" is Bruno Latour's term for any interaction between actants, which Whitehead might otherwise call "prehension."

Digital networks, touch-sensitive screens, internetworked computer systems--these strike contemporary first-worlders as technologies apart and above technologies like the printing press, yet none of these are infused with any magical, vital phlebotinum. Computers operate in meatspace, even though humans can't normally sense the electronic exchanges that occur in microprocessors. Microprocessors made of processed metals and plastics that come from conflict-ravaged resource-rich countries. Your iPhone connects you to Foxconn as materially as fox.com.

Both digital texts and print texts are, after all, inexhaustible. Humans can perceive them in a handful of ways (digital texts can be perceived in a few more, since they might interfere with the relay of interior sensory information: eg, a pacemaker interacts with pulmonary stretch receptors through electronic pulses), but we can also discover our own ignorance through the progress of technology. Radiography, for example, revealed elements of printed texts only visible as high-frequency light or magnetic topology--translated by our technologies into lower-energy light for ocular input. These modes of perception display interactions between texts and other objects not designed for functional purposes. If we impute agency to things whose interactions exceed our designs, and if we discover that the material print--just like Sterling's virtual buddies--exceeds our designed interactions, then we ought impute agency to the material print. Just as the depth, alienation, and inexhaustibility of digital texts led Bruce Sterling to treat them as "collaborators," so too can print technologies be understood as such.

What's the pay-off for this high-fallutin' argument that can be mis-read to say that books are people? First and most flippantly, this provides us a presentist sympathy to the early moderns who discussed printed books as people with souls, voices, etc. They were not cavemen, unprepared for their own technological creations. Second and more seriously, the theories discussed provide us a consistent materialist account of the interrelation between political or economic history and literary history, via bibliography. Third and most seriously, these posts suggest that we treat persons in the circuit of early modern book production and survival not only as collaborators with other humans, but also with materials. The archivalist cuts deals with paper: if the archivalist provides suitable climates, the paper will slow its acidification. Paper shows its agency in its depth of material interactions, namely, its oxidization in certain climates. Likewise, the printer collaborates with his greasy surfaces. A bad batch of paper can ruin an edition, and that paper can show its agency with high or low pliability, or overly smooth felting, or several other characteristics that only illustrate the inexhaustibilty of paper's being.

To copy-change Sterling,

The real issue now is this intimate participation of machinery in cultural production. Practically everything we did in the early modern era that was novel, and different, and challenging, had some kind of material flavor.Forms of creative practice have arisen that are co-discovery with matter. They’re brain-bibliography mashups and hybrids.