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| art ought to be interpreted or judged in reference to the life of its creator |
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| art ought to be interpreted or judged in reference to the stated/implied intent of its creator (supposed to be scary, but people are laughing) |
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| art ought to be interpreted or judged in reference to the feelings it evokes |
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| art ought to be interpreted or judged in reference to its genealogical “descent” that the precedent from which it derives (movie was based on cartoon, but it had nothing to do with the cartoon) |
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| no purpose other than being a work of art or a text – a work of art is timeless, self sufficient, and irreproducible (no matter how many romeo and juliet’s are produced, they are each autotelic. |
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| a combination of parts (in a complex and ordered way); look at things as the big picture |
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| the notion that [art] work can’t simply be reduced to a description of the subject matter, will never be sufficient unless you get the full picture (the narwaal and the unicorn) |
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| chronicle the correlation of texts formal elements to its theme. Answer the “how, what when, where and why’s” |
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| of that pertaining to books |
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| the part of the mind containing psychic material that is only rarely accessible to awareness but that has a profound influence on behavior. |
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| psychological attempt by an individual to repel its own desires and impulses |
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| the process of investment of mental or emotional energy in a person, object, or idea |
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| The id acts according to the "pleasure principle," seeking to avoid pain or seek pleasure |
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| based on reality (defer instant gratification) |
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| morality – seeks to control id |
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| the concept of marrying you mother and kill your father for boys (Oedipus complex) and vice versa for girls (Electra complex) |
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| latent ideas linked with repressed emotions and drives - within the unconscious mind |
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| underlying content of the dream |
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| includes the actual images, thoughts and content contained within the dream |
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| a core pattern of emotions, memories, perceptions, and wishes in the personal unconscious organized around a common theme, such as power or status |
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| describes how the structure of the psyche autonomously organizes experiences |
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| refers to all indirect and figurative representations of unconscious desire (symptoms, dreams, slips of the tongue etc.) |
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| an original model of a person, ideal example, or a prototype upon which others are copied, patterned, or emulated (anima, animus, and shadow) |
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| expression as a feminine inner personality of a male |
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| masculine inner personality of the unconscious of the female |
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| part of the unconscious mind consisting of repressed weaknesses, shortcomings, and instincts. |
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| a class of functional mental disorders involving distress but neither delusions nor hallucinations, whereby behavior is not outside socially acceptable norms |
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| that the superabundance of any force inevitably produces its opposite |
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| The young child's identification with his own image ( the primordial recognition of one’s self as “I” |
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| The fundamental narcissism by which the human subject creates fantasy images of both himself and his ideal object of desire |
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| The social world of communication, interpersonal relations, knowledge of moral agreements, and the acceptance of the law |
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| stands for the unattainable object of desire |
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| In the name of the father |
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| The laws and restrictions that control both your desire and the rules of communication |
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| The state of nature from which we have been forever severed by our entrance into language |
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| denotes a standard of books, music and art, that has been the most influential in shaping Western culture |
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| the first concerted movement working for the reform of women's social and legal inequalities |
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| the increase in feminist activity which occurred in America, Britain, and Europe from the late sixties onwards (rose out of the Civil Rights and anti-war movements in which women contended discrimination) |
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| A philosophical tradition anticipating modern feminist concepts before their arrival |
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| an ideology that assigns greater mearning to masculine perspective and authority |
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| set of social and behavioral norms that are considered to be socially appropriate for individuals of a specific sex in the context of a specific culture |
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sex – biologically determined
-gender – culturally determined |
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| playing to a part (what a man or woman should do) |
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| reflecting the experience, prejudices, or orientations of one sex more than the other |
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| the belief that we are "how we are" because of our genetic makeup |
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| privileging of the masculine |
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| classification of sex and gender into two distinct and disconnected forms of masculine and feminine |
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| process by which an abstract concept is treated as if it is a concrete thing or physical object |
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| women are treated into two different categories, the ones who give sex and the ones you marry |
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| being a mother as a vocation, womens time is less valuable than a man’s time, women were treated like objects |
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| man is already in power, giving women a barrier to entry into the culture |
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| dimensions of language – intangible – tone or rhythm |
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| a society can be understood by its economic activity as ways members produce necessities of life |
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| base is economic foundation (farms, mining, etc.) – or mode of production Superstructure institutions arising from base that shapes the base (schools, churches, media) |
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| Rich people owning businesses (own means of production) |
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| is the transformation of goods and services into commodities |
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| set of ideas that feel natural but are actually products of cultural conditioning (conditions of the bourgeoisie i.e. gas prices) |
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| political, economic, ideological or culturalpower exerted by a dominant group over other groups. |
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| is a social and economic order that is based on the systematic creation and fostering of a desire to purchase goods and services |
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| biased or discriminatory attitude based on distinctions made between social or economic classes |
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| what we can get for them (cash?) |
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| what the good implies (prada vs. old navy, cars big tvs) |
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