Categories
Moravia

Agostino: A woman doesn’t pay attention to me anymore? I guess I’m just a loser.

The opening scene of “Agostino” sets the tone of the text: toxic male jealousy. As a 13-year-0ld boy, Agostino loves the attention of his mother. Whether or not this was incestious, it demonstrates how important his mother is to him, and when she gives attention to other men, Agostino gets marvelously jealous. This “jealousy” fades he learns what acts lovers do (pg. 40). I noticed within the opening scene, “his” mother is transitioned into “the” mother, and I wonder if this symbolizes how Agostino separates their familial relation into another (p. 4). Another example on page 6: after a young man had asked his mother for a ride, Agostino suddenly describes her as “the woman” walking behind the man, “meekly, with her usual languid and majestic serenity.” I’d like to talk about this use of pronouns more in class.

This toxic masculinity seems to stem from his obsession with being better than other men. In other words, he cares more about what men think of him than women do, yet he uses women to get validation from other men. He describes his interactions with his mom on the beach as if others would be watching with jealousy (p. 1), or dancing with “a female cousin” at an event until she received another offer from another man (p. 7). His insecurities come from rejection because the women in his life tend to look for “better” men; yet, he comes off narcissistic to hide those insecurities (p.78).

At the same time, Agostino’s mother is comfortable flirting with Renzo in front of him, of which a 13-year-0ld boy (or any aged son) may be uncomfortable with. He notices how his mother’s demeanor changes from strong and graceful to a “feminine clumsiness” so she could gain attention from Renzo accompanying them (p. 11). At times, he often feels like his mother is choosing another man over spending time with him, like when she goes into the water with Renzo instead of rowing with Agostino (p. 13). When he sarcastically brought up how they weren’t going into the ocean because the Renzo didn’t show, she softly slapped his cheek at the comment (p. 14). All of this reinforces Agostino’s idea that he isn’t enough for women, and that all men are better than him. Insecure, yes, and his mom has the right to spend time with a romantic interest, but maybe not in the way she is doing it directly in front of him.

I was reminded of a study done with monkeys, trying to answer the question: “Does testosterone make men inherently violent?” Testosterone predicts dominance, social status, and aggression only when necessary to maintain that status; hence the boy fights between Agostino and the other boys (p. 25). Using women as a way to maintain status seems to cause toxic masculinity that harms both genders, which is why it’s important for everyone to have healthy social circles and good friends. Agostino doesn’t seem to have many friends, very reliant on his mother for attention, and thus is thirsty for validation from the boys on the beach.

My question: is Agostino really attracted to his mother, or is she the closest person to him and isn’t aware of her sexually until he learns what sex is?

Sarah

Categories
Bombal

Bombal: Ana Maria as a Mirror Reflecting Life as a Woman in the 20th Century

I loved reading a piece of literature from the 20th century that emphasizes the life and experiences of a woman, written by a woman. Many romance novels centering woman written by men tend to focus on women’s bodies more, seeming to objectify them, and the conflict in the stories tend to centre men. In “The Shrouded Woman,” we got to experience the woman’s life more, particularly her family, class, and gender dynamics.

I liked how Bombal explored what happens after death while still able to have senses and thoughts. She introduced Ana Maria as a dead body, but in a way that makes her very much alive and conscious, so she seems more human with access to the living and memories. While she is still a subject to the gaze of others, she reminds me of a mirror, a reflection into her life where she can gaze upon her past experiences.

While I describe Ana Maria as a mirror, I also acknowledge the title of the book: the shrouded woman. This suggests she’s ready to be buried and concealed from view, much like the image of a mirror with a cloth covering it. Why cover her? Perhaps it’s a custom, but I like to think about it in a more poetic way: she reflects the truth, particularly about how women are treated at this time, and some people can’t face it. Covering her up may be easier.

A Metaphor: Ana Maria as a mirror, reflecting her past. However, the cloth making the shrouded mirror may suggest the truth is hidden and covered up, even in death.

I first found it puzzling the way Ana Maria’s love interests were introduced, and then I realized they may reflect her resources. As a teenager, she fell in love with Ricardo (her first love), who eventually abandoned her and their unborn child. This shows how men can drop a woman at anytime to chase after their dreams, while Ana Maria couldn’t – her dream was to be with Ricardo, suggesting women. Then she marries Antonio, who tolerates her, though she had to marry in order to gain status even if love wasn’t always involved. Fernando seems more like a friend if anything, where she experiences respect, but no love.

I didn’t love the second person POV (“you”) because I was confused about if Ana Maria was talking to me or another character.

I would love to talk more about the elements of nature in class, particularly the rain she hears in her coffin. My question: is this a metaphor for weeping? Though Ana Maria finds comfort in the sound it seems.

Sarah D

Categories
Breton Nadja

Breton and Nadja: Two peas in a pod?

I really enjoyed Nadja and how it included photos and drawings. Right at the start of the book, I noticed the question, “Who am I?” can correlate well with the themes of surrealism and the unconscious. Breton follows this question by suggesting parts of him “haunts” others. He clarifies that he doesn’t view himself undead, but alive, playing a ghostly part. I think this emphasizes how disconnected he feels towards others; we see how he seems to observe more than act, particularly when it comes to Nadja. He seems to accept people for who they are, coming off more passive than active in their lives. In this way, I resonate with Breton.

I like how we meet Nadja in the second half of the book alongside Breton. He describes meeting her on the boulevard in Paris randomly and spontaneously, being drawn toward her based on her vibes. Her eyes seemed important to him, too. The two converse on the boulevard where we learn she is self conscious about her status, seemingly poor (though we learn she is poor in the sense of mental health), and she tells Breton her name of which she came up with herself: Nadja. Russian for the beginning of the word “hope.”

It’s interesting how Breton ties this part of the story back to the opening question: “Just then she thinks of asking who I am (in the most limited sense of these words). I tell her.” (pg. 61). I like the lack of detail on his own introduction because it emphasizes how Nadja overwhelms and dominates the conversation, often talking about herself. The less detail about Breton is also nice because we heard so much about him in the first half of the book, and it’s a slight call back to his feelings of “haunting” others. I got the sense that he feels that he doesn’t seem to — or want to —  impact a lot of people, but Nadja seemed to impact him a lot. (Particularly when she was institutionalized and he distanced himself…)

I didn’t enjoy the lack of chapter breaks. I found it hard to choose when to stop reading because I felt no closure or sense of “end.” However, my own choice to pause felt spontaneous at times – which I think Breton would like. It’s puzzling though why he didn’t include any breaks.

I would love to talk about the last line of the book more in class: “Beauty will be CONVULSIVE or will not be at all.” I interpret it as beauty should be shocking, otherwise it’s non-existent. How else could be it interpreted?

It seems as though Nadja haunts Breton. Maybe he felt like he had to write about her to make her as tangible as she once was, especially since he doesn’t see her anymore. Perhaps he’s questioning whether or not she was real in the first place… hence my question: does Nadja feel real to him, or does he use her existence as prominent personification and metaphor of his unconscious?

 

Categories
Proust

The Most Influential Author of the 20th Century: Combray

Why is Proust considered by critics and writers to be one of the most influential authors of the 20th century? I would like to talk more about this in class, and the themes of Combray. While at times I couldn’t understand what was being said, I could still get a sense of it. For example: “Sometimes, as Eve was born from one of Adam’s ribs, a woman was born during my sleep from a cramped position of my thigh. Formed from the pleasure I was on the point of enjoying, she, I imagined, was the one offering it to me” (pg. 4). I thought, “Wow, that’s beautiful,” but I couldn’t decide on what it meant. More questions than understanding formed, but I soon realized this was going to be the case, reading forward.

I didn’t like, and found it puzzling, how many characters there were. In some ways, it’s realistic to include many people, especially family members, but I found it hard to keep track of who was who and why they were important to remember. The long sentences were evil to my brain too.

I liked the use of metaphors and personifications. I felt as though I was weaving in and out of a subconscious and conscious mind, or from something subjective to objective. The lecture video posed a question: What do you look for in a novel? Personally, I look for sensory detail. What does the character see? Touch? Taste? Smell? Hear? Additionally, feel emotionally? 

I noticed Combray had all of this, specifically with the use of metaphors and personifications. From explaining the meaning of a kiss from his mother to how intimidated he felt by his father, a complicated relationship is displayed within his family through interactions with them, all containing sensory detail. For example, after Marcel went to bed without his mother’s kiss, he described the staircase leading to his room releasing an “odor of varnish that had in some sense absorbed, fixated, the particular sort of sorrow I felt every evening.” With the staircase’s odor personified, “absorbing” his sorrow, it seems like Marcel emphasized how deep memories can sit associated with scent, alongside addressing the negative feeling he associates with going to bed. A man of routine, his mother’s kiss may soothe him to the point of falling asleep; I assume he hates sleeping so much because of vivid dreams and insomnia, particularly because of this sense of weaving in and out of a subconscious and conscious mind.

I found it interesting how Marcel’s family talked about Swann so much. I understand he is a close family friend, but I also think it has to do with his seemingly higher status in society (emphasized by sending Asti wine to Marcel’s family (pg. 22)). I think this also emphasizes gossip (especially since Swann was on the cover of Figaro) and how the idea of drama stands the test of time. It makes things more entertaining!

Categories
Introduction

Introduction: Literature itself as a Language

Hello RMST 202, my name is Sarah and I’m a fourth year psychology major here at UBC; however, I will be doing 5 years since I love being a student! While I’m taking this course for a literature requirement, I chose this course over others because I heard how fun the content is to read and learn about. How cool is it that we get to pick our grades on the basis of knowing how much reading we have to do? I appreciate this so much since it will help me manage my time as a full-time student and a part-time worker.

Some fun facts about me: I’m from Vancouver Island and moved to Vancouver to attend UBC. I enjoy hiking, playing field hockey, and playing video games like Minecraft and The Sims 4. I’ve recently entered the dog sitting business and I love spending time with animals. I also know nothing about romance studies, but I do love romance!

Anywho, I have some thoughts after listening to the lecture “Inventing Romance Studies” and the conversation video that goes with it, specifically responding to the question, “Where is the romance world?” My first thought was very broad and basic: everywhere. Inspired by Professor Jon’s prodding questions from our introduction class, I feel encouraged to dive deeper and think more critically. So, what does a romance world being everywhere mean? This made me think of the popular Christmas movie (which I watched over the holidays) called “Love Actually.” Its famous line narrated by Hugh Grant came to mind: “If you look for it, I’ve got a sneaky feeling you’ll find that love actually is all around.” Cue the infamous montage of people reuniting in an airport. How romantic, and sweet! Friends, family, and romantic partners find each other again after some time away from each other. Love seems to be ingrained in all systems. Like International airports, which will have many people speaking different languages…

…Which is a great segway into the course’s preliminary definition of literature: a form of writing that forces us to pay particular attention to how language works and the mechanisms of representation. As Tim said in the conversation video, interacting with a new language can create new constellations. This phrase is even romantic, talking about the stars in a metaphorical way. As such, it seems as though literature itself is a kind of language: a way for self-expression and connection. Hopefully, comparing novels will allow me to understand perspectives outside of the Western world. As a psych major, I’ve learned this pseudonym to describe samples of people: WEIRD. Western, Educated, Industrialized, Rich, and Democratic. A very large percentage of participants in psychology research studies consist of WEIRD people, limiting the generalizability of a study to universal populations, because believe it or not, most of the world is not WEIRD. Please, less WEIRDness! I’m looking forward to recognizing any overlap between my psychology classes and the information I learn in this course.

With love,

A romantic fanatic.

Categories
Introduction

From a Romance Studies Student to You

My name is Sarah and I’m a fourth year student at UBC. I know nothing about Romance Studies, so read my blog posts to learn alongside me!

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