[the] ENGLISH-BLOG [.com]

Sarah Tatko
Dr. Hobbs
Eng-435
11 February 2009
Structuralist Questions
Discussion:
Q – According to Tyson, how does structuralism define the word “structure”?
A – “They are conceptual frameworks that we use to organize and understand physical entities.” However, a structure needs to be composed of three properties: wholeness, transformation, and self-regulation. The structure needs to function as a whole unit and not individual parts, it cannot be static, and the transformations it undergoes cannot stray from the original system of the structure.
Reading Check:
Q – Name three of the five components that Culler has identified with the structural system.
A – The convention of distance and impersonality, naturalization, the rule of significance, the rule of metaphorical coherence, the rule of thematic unity.

Cecilia B
Dr. Hobbs
ENG 435
11th February 2009
1. In structuralism, to what do structuralists refer when mentioning surface phenomena?
- Surface phenomena envelopes the visible world consisting of innumerable events, objects, behaviors, and activities which humans participate in, interact with, and observe (Tyson 210). Surface phenomena are also subject to its underlying structures which arise from the human consciousness, and though these phenomena have innumerable possibilities, they are restricted to a limited number of structures.
2. What are the three properties of a structure (conceptual framework)?
Wholeness, transformation, and self-regulation are parts which make up the conceptual system of a structure. With wholeness, the system functions as a sole entity rather than a compilation of individual things because these things together create something new (Tyson 211). Transformation states that the structure is not a fixed system but is “capable of change” (Tyson 211). However, despite these transformations, the structure is self regulating because it cannot go beyond the limits of its own system (Tyson 211).

Works Cited
Tyson, Lois. Critical Theory Today: A User Friendly Guide. 2nd Ed. New York:
Routledge, 2006

Explain parole and langue.

Describe language in regards to structuralism. What are the pieces of the system that illustrate struckturalism?

Why might semiotics be good for examining popular culture?

Tyson, Lois. Critical Theory Today: A User Friendly Guide. 2nd Ed. New York:
Routledge, 2006.

Liz Hardy
Dr. Hobbs
ENG 435
February 10, 2009
Reading/Discussion Questions

1. How do the Structuralists define “structure”?

2. In Genette’s work, what three levels are important to the concept of Tense?

Discussion Question

1. What kind of plot type, narratology, can you see in one of our assigned texts?

Jessica P.
Dr. Hobbs
ENG 435
2/10/09

Discussion:
Q: Structure is a conceptual system that is comprised of three properties. Name and explain these elements.

A: 1. Wholeness. Basically, it simply means that the system works as a complete unit.
2. Transformation. This property allows the system to be capable of change, where its basic components can be transformed into new structural elements.
3. Self-regulation. This property keeps the transformations under control by making sure the new elements belong in the system and obey its rules.

Short Answer:
Q: Frye uses a method called archetypal criticism. What does the word archetype refer to in this term?

A: Archetype is a term that refers to any recurring image, character type, plot formula, or pattern of action.

Travis Rathbone
Dr. Hobbs
ENG 435
10 February 2009

Quiz Questions

1. When discussing Cultural Anthropology, what Greek myth did Levi-Strauss use as an example of the knowledge that we are born of sexual union and that (as believed among many cultures) we are born of the earth.
-Oedipus Rex

2. According to the Tyson text, in Semiotics, what is a Sign System?

-A linguistic or nonlinguistic object or behavior that can be analyzed as if it were a specialized language.

Ava L.
Dr. Hobbs
ENG 435
14 February 2009
Stephen Lynn and Designs Meant for Destruction
According to Stephen Lynn, chapter five “Opening up the Text” in his book Text and Contexts: Writing about Literature 5th Ed., “Structuralism shares similar assumptions of reader-response criticism of how meaning is made, but instead of focusing on the response itself, structuralism seeks to expose the system of the meaning that inspired the response” (Lynn 110). Structuralism originated during 1913 to 1915 as a result of a series of lectures delivered by Ferdinand de Saussure. Saussure attempted to examine the “the relationships of all the parts of a language at any given moment” (Lynn 109), rather than focusing on the history of a particular language. Saussure attempted to distinguish the surface elements of the language (parole) and the way an individual understands the language (langue). Saussure’s “structural approach to linguistics exposed the arbitrary relationship between the signifier (a word, an image) and the signified (the concept that the signifier is pointing to)” (Lynn 109). Saussure’s approach was a hugely influential because it emphasized the need to “find the underlying commonalities and distinguishing differences applying a scientific approach to language” (Lynn 109). Lynn asserts that in order to understand deconstruction, one must first understand structuralism. Deconstruction attempts to “expose the gaps and inconsistency that exist in the structure of the language” (Lynn 111). The approach known as Post-Structuralism, which “attempts to reveal the failure of the system” (Lynn 110), are the “assumptions and ideas that make deconstruction possible” (Lynn 111).
Jacques Derrida, who is considered to be the “most important figure for deconstruction” (Lynn 110) believed that the signifier and the signified worked independently from each other. Derrida believed that the “signifier and the signified were not unified, but rather contained an arbitrary and constantly shifting relationship” (Lynn 112). Derrida’s assumptions were a very important part of understanding the way deconstruction works. Applying a deconstructive theory may be beneficial to the reader for many reasons. A deconstructive approach allows the reader to “see what is being excluded or suppressed in the text, encourages an acute alertness to rhetorical strategies, and helps to anticipate some of the ways that even simple text can be misread” (Lynn 113-15). All of which can be a very effective tool in analyzing the text being read. A deconstructionist would first, “identify the unity, and then dispel and divide it” (Lynn 118). Deconstruction is sometimes referred to as “dangerous and disturbing” (Lynn 122), however there are many deconstructionists that would argue this claim asserting that “nothing really changes except our awareness of the complexity and “otherness” and openness of our discourse” (Lynn122).

Work Cited
Lynn, Stephen. “Opening Up the Text:Structuralism and Deconstruction”. Texts and Contexts: Writing About Literature 5th Ed. New York: Pearson, 2008. 109-22.

Cecilia B
Dr. Lee Hobbs
ENG 435
16th February 2009
Précis of Michel Foucault’s “The Archaeology of Knowledge”
In the vein of structuralist theory, Michel Foucault sets out to explain the true description and intent of discourses which do more than “use signs to designate things” (96) and place a value on a work. Foremost, Foucault describes discourse as an enterprise consisting of ideas, themes, and statements which follow a set of rules and conventions governed by tradition; for example, science, philosophy, history even more precise groups such as psychopathology are discourses (91). With this explanation, Foucault has readily affirmed that discourses have become flawed structures because of the misconceived notions which people apply to them. Ultimately, Foucault argues, one should not treat discourse as a “group of signs” which signify a reality but as a “practice which systematically forms the object of which it speaks” (96). Foucault terms this “discursive formation” (94), and it theoretically boils down to the idea that a book, as Foucault uses for an example, is a unity which can be absorbed into a variety of different discourses making the material book itself “variable and relative” (92). This idea also leads Foucault to reason that one cannot determine which discourse or even value a book belongs based on its relation to other books already recognized within that discourse. Rather the principles that have become recognized as part of the structure of a specific discourse will determine this since again each book “originates with its own individuality” (93) which is then subject to different applications of any one discourse.
Work Cited
Foucault, Michel. “The Archaeology of Knowledge.” Literary Theory: An
Anthology. Eds. Julie Rivkin and Michael Ryan. New York: Blackwell
Pub., 1998. 90-96.

Ava L.
Dr. Hobbs
ENG 435
13 February 2009
Reader Response Questions for Structuralist Criticism
1.Name one of the three properties of the conceptual system and explain what purpose it serves.
A.Wholeness- working together to create something new within the text.
B.Transformation- text is capable of change.
C.Self-regulation- never permitted to leave the limits of its own structure.
2.Define signifier and signified and explain how why they are important to structuralism.
A.Signifier is the actual word or object being used and signified is the concept of the word or object being used.
B.Both are important to structuralism because they influence the interpretation of the text or word.
3.Northrop Frye states that there are four mythos in structuralism. Name two of them.
A.Romance, Irony, Comedy, and Tragedy
Tyson, Lois. Critical Theory Today 2nd Ed. New York: Routledge, 2006.

Ava L.
Dr. Hobbs
ENG 435
15 February 2009

Reading Check Questions on Structuralism Module 5
1.Two of Northrop Frye’s mythos exists in “Gatsby”. They are Romance and Irony. Identify each mythos with the character and the season that they belong to.
A.Nick Carraway is associated with the winter mythos (Irony, complexity of reality) (Tyson 239).
B.Gatsby is associated with the summer mythos (Romance, the successful guest) (Tyson 239).

2.Define the term “unidealized existence”.
A.The term “unidealized existence” refers to everyday, flawed human beings and not the world of heroes (Tyson 241).

3.Who is the hero in Gatsby and why?
A.Gatsby is the hero in this novel because he is the one on the romantic quest. He is attempting to recapture the Golden Age that existed pre-war. He wants to reincarnate his life with Daisy as if nothing has changed (Tyson 239).

Work Cited
Tyson, Lois. “Structuralist Criticism”. Critical Theory Today 2nd Ed. New York: Routledge, 2006. 234-243.

Wesley Johnson
Hobbs
Eng 435
15 February 2009
Précis: “Morphology of the Folk-tale”
Vladimir Propp’s article “Morphology of the Folk-tale” is very short. But, it seeks to illuminate the structure inherent within Folk-tales (Propp 72). However, before an overview of the article can be given, it bears noting that this article is incomplete. It is clearly pulled from a longer work of Propp’s and this is problematic for reasons of coherence and reference explanation. But, that said, this short piece of work does describe some interesting elements that unify Folk-tales. And, even though Propp is focused on Russian Folk-tales, these connections exist in virtually all Folk-tales.
Basically, morphology is an exposition of a Folk-tale according the pieces that combine and create it. A few times, Propp lines up examples of Folk-tale story lines and shows how they are similar. In doing this, one of his major themes is exposed. Propp refers to characters within stories as dramatis personae; and, he writes that these persons abound in stories. But, aside from the multitudinous names, these persons serve only a few simple purposes (Propp 72). However, the number or variation of these functions are not explored in this portion of the article (I assume that he explores this notion in later parts of his work).
Propp continues to describe that if the functions of characters are figured out, one can understand the structure that persists in tales. Again, Propp lists examples of plots that are similar, varying only in character names and small details. The uniformity of plot
and structure that connects tales is the strongest part of this article. By setting up examples side by side, Propp’s point of unity is very obvious. But, this is also one of the least explained portions of the article.
Although, Propp’s article seeks to describe the structure of Folk-tales, the article serves to describe virtually any work. That said, a problem does arise when comparing post-modern work with Propp’s description of morphology. Because Propp calls for a specific order of narration within tales (one could also discuss this in regard to short stories and other fiction), if a narrative is stream of conscious, or even unreliable, Propp’s morphological structure will be inadequate.

Work Cited
Propp, Vladimir. “Morphology of the Folk-tale” Literary Theory: An Anthology. 2nd ed. Eds. Julie Rivkin and Michael Ryan. Malden, MA: Blackwell, 2004. 72-75.

Sarah Tatko
Dr. Hobbs
Eng-435
16 February 2009
Structuralism Compared to Social and Cultural Phenomena
In 1975, Jonathan Culler wrote a piece titled Structuralist Poetics. One portion of this work, “The Linguistic Foundation”, explores how social and cultural phenomena are similar to the structuralist idea on the operation of language. Culler uses culture as a tool to describe the rules and norms of linguistics.
To begin, Culler defines the formation of meaning. Meaning is created through a system of symbols that uses a network of relations. An example of this is the study of semiology, the study of signs and symbols. Society and culture are full of symbols and signs that form a relation to the people of that culture which in turn creates meaning for them. Culler uses the sport of football to illustrate. If a person from a culture without football came to see the sport they would know the rules but they would not understand the meaning of the game because they do not have a relationship with the system (Culler 56). The same is true for the English language. It is composed of signs and symbols that allow the people to make meaning out of the sounds.
The Prague Linguistic Circle, which included Jakobson and Trubetzkoy, established the “phonological revolution” (Culler 57). This is the distinction between phonetics, the study of speech sounds, and phonology, the function of speech sounds in language. Phonology is especially important to sturcutralists because it signifies how a basic phenomenon (such as phonetics) can create relations to form meanings (such as phonology).
Two terms that are important to linguistics, and equally important to structuralism, are langue and parole. Langue is an institution or “a set of interpersonal rules and norms” (Culler 57). Parole is how it is manifested into speech and writing. The rules between the two are debated continuously but Culler gives the example that to learn English is to master a system of rules and norms and not a memorization of utterances. A linguist does not want to learn utterances but wants to understand them in order to master the English language. In other words, structuralists find the distinction between rules and behaviors because the rule itself has no meaning, rather, it is the space between the rule and the behavior that creates the meaning (Culler 58).

Work Cited
Culler, Jonathan. “The Linguistic Foundation.” Literary Theory: An Anthology. 2nd ed. Eds. Julie Rivkin and Michael Ryan. Malden, MA: Blackwell, 2004. 56-58.

Kristin Brittain

Dr. Hobbs

ENG 435

2/13/08

Précis of “Mythologies”

Roland Barthes showed a new analysis of signs in the essay, “Mythologies” that constructed many accepted universal myths. He argued that a myth is “tri-dimensional pattern” that describes the “signifier, signified, and the sign” and it is a “second-order semiological system” (81). Once the materials of “mythical speech” (the signs; writing, pictures, art, etc.) become a signified function and are transformed into myth; the unity becomes a language (81). The signs are referred to as “language-object” and the myth is called “metalanguage” (82). The metalanguage is the accepted “global-sign” that speaks about the language-object and they constitute each other and have the same signifying function in creation of the myth.
Barthes gives two prime examples of mythical speech using the linguistic system and the mythical system. First there is meaning, then concept, and both of these gives signification. For example, a picture of a black French soldier saluting is the meaning of the picture; it signifies French greatness and equality, and thus gave signification.
The Roman’s in Films, Soap-powders and Detergents, The Blue Guide, and The Great Family of Man are all mini essay on myths that Barthes probes within “Mythologies.” Most of the essays exemplify the control of the bourgeois society. For example, in The Roman’s in Films Barthes explores the use of hair and sweat in movies, such as Julius Caesar, as signs to portray today’s conception of Roman ethnicity inside a classical setting. Barthes claimed it was “duplicity which is peculiar to bourgeois art” (84).

Work Cited

Barthes, Roland. “Mythologies.” Literary Theory: An Anthology 2nd Ed. Ed. Julie Rivkin andMichael Ryan. Massachusetts: Blackwell Publishing Ltd, 1998. 81-89.

Jessica P.
Dr. Hobbs
ENG 435
2/16/09

Précis: Two Aspects of Language

According to Structuralism, there are two types of discourse—metaphoric way and metonymic way. Jakobson claims that preference is given to one of these ways based on cultural influence and personality. However, in aphasia one of these two discourse types becomes completely blocked, a situation that scientists find useful to study.

The metaphoric way of discourse is associated with poetry and romantic expression as it uses signs to express emotions and ideas. In contrast, metonymy is often categorized with prose as it uses concrete language to convey concepts.

Jakobson states in his article, Two Aspects of Language, that an individual expresses his personal style of discourse by using two types of speech, similarity and contiguity, in both of their aspects—positional and semantic. For example, in Russian lyrical songs metaphoric dialogue is primarily predominate while in heroic epics the metonymic way is more often used.

It is interesting to examine the different cases of aphasia and how this disorder affects and influences the symbolization of objects, people, and ideas. In aphasia, sometimes the predominance of one discourse becomes so overwhelmingly oppressive that the idea being tried to convey was lost. Further, the structure of dreams can be analyzed to see if the symbols are based on contiguity or on similarity.


Works Cited

Jakobson, Roman. “Two Aspects of Language”. Literary Theory: An Anthology. 2nd ed. Ed. Julie Rivkin and Michael Ryan. Malden, MA: Blackwell, 2004.76-79.

Travis Rathbone
DR. Hobbs
ENG 435
16 February 2009

Speech Act Theory and Authorial Modes: Two Aspects of Narrative Transmission

In his essay “The Structure of Narrative Transmission,” Seymour Chatman defines and analyzes key terms and modes of narration. Chatman’s key issue (a theory originated by John Austin) is what he calls “speech act” theory. Chatman introduces speech act theory by stating that a sentence can be divided into three parts: illocution, locution, and perlocution. A sentence’s purpose and intention is dubbed illocution; the sentence’s syntactical/grammatical makeup is its locution; finally, the effect the sentence has on the recipient is its perlocution. Initially, when one verbalizes a sentence, he formulates the sentence in accordance with the grammatical rules of language. Second, he states (or performs) the sentence (an act that can also be non-lingual). Lastly, if he succeeds in persuading the listener by his statement, he executes perlocution. Chatman notes that perlocution can take place whether or not the sentence is verbalized.

Chatman also spends some time on narrator authority and what he calls the “author-narrator” and the “implied author.” The author-narrator is separate from the narrator and should never be considered to hold the same moral viewpoint as that of the “author” of the written work, for they are not the same person unless explicitly stated. The Dickens who narrates his stories is not the same person as the Dickens who wrote the stories. The implied author is a reader construct and is also not the narrator; He is the image of the author (but, again, not the actual author) that the reader creates in order to better understand who created the characters and events that transpire in the novel.

Work Cited
Chatman, Seymour. "The Structure of Narrative Transmission." Literary Theory: An Anthology, 2nd Ed.
Eds. Julie Rivkin and Michael Ryan. Malden, MA: Blackwell, 2004. 97 - 124.

Liz Hardy

Dr. Hobbs

ENG 435

February 16, 2009

Précis of Course in General Linguistics
Ferdinand de Saussure

In Ferdinand de Saussure’s article, “Course in General Linguistics” (1916), he delves into the topic of language as it relates to all aspects of life, literary and otherwise.
Saussure seeks to explain the concept of language in everyday terms and by integrating terms into our everyday vocabulary, language becomes something accessible on a scientific level.

Already familiar with the concept of the sign, signifier, and signified, Saussure goes deeper to explain the primal elements of language. A heady concept introduced by Saussure is the reality of differences within a language. Differences, according to Saussure, make up a language, and “the bond between the signifier and the signified is arbitrary” (Saussure 62). These differences transform our ability to communicate, and it is what makes us human. At a basic level, humans must be able to communicate, but the complexity of communication comes in when one realizes that there could be seven different ways to express a thought because of word choice. Most importantly, when it comes to understanding Saussure is the reality that “language is form and not a substance” (71). Language is capable of manipulation to fit our needs, but it relies on a basic structure.

This concept is especially important in relation to Structuralism through its emphasis on underlying principles that make up language. Saussure seeks to understand why language is important, not just the reality that humans communicate. By focusing on language as if it has a formula and structure, Saussure succeeds in Structuralism.

Works Cited
De Saussure, Ferdinand. "Course in General Linguistics." Literary Theory : An
Anthology. Ed. Julie Rivkin and Michael Ryan. Grand Rapids: Blackwell Limited, 2008. 59-71.

Ava L.
Dr. Hobbs
ENG 435
14 February 2009

Stephen Lynn and Designs Meant for Destruction
According to Stephen Lynn, chapter five “Opening up the Text” in his book Text and Contexts: Writing about Literature 5th Ed., “Structuralism shares similar assumptions of reader-response criticism of how meaning is made, but instead of focusing on the response itself, structuralism seeks to expose the system of the meaning that inspired the response” (Lynn 110). Structuralism originated during 1913 to 1915 as a result of a series of lectures delivered by Ferdinand de Saussure. Saussure attempted to examine the “the relationships of all the parts of a language at any given moment” (Lynn 109), rather than focusing on the history of a particular language. Saussure attempted to distinguish the surface elements of the language (parole) and the way an individual understands the language (langue). Saussure’s “structural approach to linguistics exposed the arbitrary relationship between the signifier (a word, an image) and the signified (the concept that the signifier is pointing to)” (Lynn 109). Saussure’s approach was a hugely influential because it emphasized the need to “find the underlying commonalities and distinguishing differences applying a scientific approach to language” (Lynn 109). Lynn implies that in order to understand deconstruction, one must first understand structuralism. Deconstruction attempts to “expose the gaps and inconsistency that exist in the structure of the language” (Lynn 111). The approach known as Post-Structuralism, which “attempts to reveal the failure of the system” (Lynn 110), are the “assumptions and ideas that make deconstruction possible” (Lynn 111).
Jacques Derrida, who is considered to be the “most important figure for deconstruction” (Lynn 110) believed that the signifier and the signified worked independently from each other. Derrida believed that the “signifier and the signified were not unified, but rather contained an arbitrary and constantly shifting relationship” (Lynn 112). Derrida’s assumptions were a very important part of understanding the way deconstruction works. Applying a deconstructive theory may be beneficial to the reader for many reasons. A deconstructive approach allows the reader to “see what is being excluded or suppressed in the text, encourages an acute alertness to rhetorical strategies, and helps to anticipate some of the ways that even simple text can be misread” (Lynn 113-15). All of which can be a very effective tool in analyzing the text being read. A deconstructionist would first, “identify the unity, and then dispel and divide it” (Lynn 118). Deconstruction is sometimes referred to as “dangerous and disturbing” (Lynn 122), however there are many deconstructionists that would argue this claim asserting that “nothing really changes except our awareness of the complexity and “otherness” and openness of our discourse” (Lynn122).

Work Cited
Lynn, Stephen. “Opening Up the Text: Structuralism and Deconstruction”. Texts and Contexts: Writing About Literature 5th Ed. New York: Pearson, 2008. 109-22.

Ava L.
Dr. Hobbs
ENG 435
17 February 2009

Reading Check Questions on Deconstruction
1.Nonreferential language from a Structuralist perspective refers to the concepts that an individual places on a word or object. In what way does this perspective differ from a Deconstructionist perspective?

A.Deconstructionists believe that the nonreferential language does not refer to worldly things or the concepts that an individual places on them. Instead of placing emphasis on the object or the concept it shifts the emphasis to “the play of signifiers of which the language itself consists” (Tyson 252).

2.Jacques Derrida states that there are two important characteristics of language. Describe each one.

A.Signifiers continually defer and postpone meaning.

B.Meanings are the results of the way we differentiate and distinguish one signifier from another.

3.Discuss a Deconstructionist approach of human identity.

A.The language that human beings use is unstable and as a result “we are unstable and ambiguous force-fields of competing ideologies” (Tyson 257). Tyson implies that because we each have our own desires, fear, dreams, hopes, and so-on, that no individual can have an identity. The word identity refers to a singular unit and since we all differ in our beliefs we can possess an identity.

Work Cited
Tyson, Lois. “Deconstructive Criticism.” Critical Theory Today: A User Friendly Guide 2nd ed. New York: Routledge, 2006. 252-57.

Wesley Johnson
Hobbs
Eng 435
18 February 2009
Folk-tale morphology and Joyce’s Portrait
Vladimir Propp’s article “Morphology of the Folk-tale” illuminates the unifying structure inherent within folk-tales. Specifically, he notes that components of tales change; Propp cites character names and some details of plot as examples of these changing characteristics. But, the ultimate point (Propp refers to these as themes) of a folk-tale falls into a few stock types (Propp 71). So, to apply this article to another work of literature, one need only examine the unifying properties of a text.
Applying Propp’s Folk-tale morphology to James Joyce’s A Portrait of the Artist as a Young Man presents a few problems. The most obvious is that Joyce’s work is not actually a Folk-tale. But, if one uses Propp’s theory as a theoretical framework, Joyce provides an interesting forum in which to maneuver. Before exploring the actual text of Portrait, its place in literature may be of some interest. Portrait is canonized as a bildungsroman. This classification serves as a morphological theme in that it specifically attributes certain elements to Joyce’s work. That is, upon learning of the novel’s morphological frame, a reader can automatically assume that the novel will possess the psychological, and potentially physical, growth of a protagonist.
On another level, Joyce infuses his novel of growth with mythological references. The character name of Stephen Dedalus is an obvious reference to the Icarus and Daedalus myth. While it’s not specified why this allusion is drawn, if one uses Propp’s morphological applications, mythological references provide another characterizing trait of the novel. If a reader knows the myth, he or she will be able to apply the background of Daedalus as an inventor and captive in a maze to Stephen. From this, readers can examine Joyce’s novel as it exemplifies the mythology’s plot. Also, ironically enough, mythology itself is a unified subject. Many mythologies are cross cultural and have similar ideas or messages. Therefore, within Portrait, the Icarus reference serves as a guide to the reader’s expectations for the characters within it.
Also, in light of this guiding mythological morphology, one can understand the dramatic end of the novel, “ I go to encounter for the millionth time the reality of experience and to forge in the smithy of my soul the uncreated conscience of my race,” where Stephen escapes to France (Joyce 224). This escape can be seen as a direct reference to the escape of Daedalus in the mythical story. And, continuing with the structure of the myth, because Icarus fails in his escape, a reader may be left with the idea that Stephen’s escape to France will end in disaster. However, because Stephen’s father in Portrait is such an economic failure, the roles of the father in son seem to have switched from the Daedalus myth. So, perhaps Stephen will be successful in France and his father’s failure is the disappointment that connects to the mythological allusion.
Ultimately, A Portrait of the Artist as a Young Man contains multiple underlying themes that connect it popular literature and connect it to the bildungsroman genre. Of course, one could even go further and examine the novel as it presents characteristics of the artist’s growth or künstlerroman. That said, James Joyce’s Portrait provides an intricate field in which to examine morphological themes that unify it and other literature of the same ilk.
Works Cited
Joyce, James. The Portrait of the Artist as a Young Man: Case Studies in Contemporary Criticism. 1916. Ed. R. B. Kershner. 2nd ed. New York: Bedford, 2005.
Propp, Vladimir. “Morphology of the Folk-tale” Literary Theory: An Anthology. 2nd ed. Eds. Julie Rivkin and Michael Ryan. Malden, MA: Blackwell, 2004. 72-75.

Liz H

Dr. Hobbs

ENG 435

February 18, 2009

Structuralism and the text of The Great Gatsby

In F. Scott Fitzgerald’s work, The Great Gatsby, one can see an extreme sense of social stratification through the reality of the fact that different classes do exist. However, when it comes to applying the work of Saussure to Fitzgerald’s book, it is particularly important to analyze the emphasis on language and its underlying relationship with the text itself.

Within the world of Jay Gatsby, Nick Carraway must contend with learning a new set of phrases and jargon specific to the area of Long Island that he lives in. Nick Carraway speaks differently than the hired help of Jay Gatsby or even the lower social standings of various characters. His education affords him the right to converse freely with whomever he desires. As Saussure points out “language is form and not a substance” (71). It can be freely manipulated to meet Nick’s needs.

However, one interesting point that The Great Gatsby’s world does bring up is the idea of being able to change one’s social standing and class. If one does succeed at moving up the social ladder, would it help or harm his or her ability to communicate? For Structuralists, communication is key on such a basic level. Is the world of Jay Gatsby mindful of this communication always? I would allege that they are not, especially since Jay Gatsby is eventually murdered because of one man’s conclusions based on circumstantial events.

Works Cited

De Saussure, Ferdinand. "Course in General Linguistics." Literary Theory : An
Anthology. Ed. Julie Rivkin and Michael Ryan. Grand Rapids: Blackwell Limited, 2008. 59-71.

Fitzgerald, F. Scott. The Great Gatsby. 1925. New York: Scribner, 1999