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in theory

theory ecologies and their desires, intentions, relationships, & effects (w/ examples!).

bonnie lenore kyburz

on 13 September 2012

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Transcript of in theory

critical in theory fun theory trading cards at:
http://theorycards.org.uk/main.htm lexicon meaning has require (textual) evidence context ... claims with dr. bonnie lenore kyburz dr. kyburz is a rhetorician,
trained in the study of language
use and the teaching of writing.
her interests include aesthetics,
digitalculture(s), composition,
design, (DIY) film & filmmaking,
film-composition, rhetorics of
the personal, rhetorics of science,
and visual rhetorics. rhetoric
is, as you might imagine, an
interdisciplinary enterprise. i suppose it could be read as arrogance, placing my own image
here. But there's more: a.) i have used a digitally animated version, merely gesturing after my attributes, and those attributes are critically related to the course introduction ... because, b.) we read attributes and make assumptions (assumptions that evolve into "meanings") based upon those assumptions, and, crucial to your understanding of the nature of this course and its work, c.) how we see shapes how we read. Also, importantly, d.) how we are ABLE to see becomes especially important for work in Literary Studies (especially as students).

Kenneth Burke would talk about all of this with the language of "symbolicity" (28) or "terministic screens" (44-62). Clearly related, then, the language (rhetoric) of "lenses" will be critical to your emerging scholarly practices.

-- from Burke, Kenneth. Language as Symbolic Action: Essays on Life, Literature, and Method. Berkeley: U of California P, 1966. what is a lens? stanford on critical theory
http://plato.stanford.edu/entries/critical-theory purdue on critical theory
http://www.cla.purdue.edu/academic/engl/theory/index.html Wimsatt & Beardsley's The Intentional Fallacy
http://faculty.smu.edu/nschwart/seminar/Fallacy.htm intertextuality
intentional fallacy
"always already"
allegory of reading
new criticism
reader response criticism
affective fallacy
subjective criticism
interpretive community
contrapuntal reading
monuments marxist
new critical
reader response
postmodern jentery sayer's
designing literature course http://www.jenterysayers.com/designingliterature/?page_id=40 professor john lye's "courses & sources"
http://www.brocku.ca/english/jlye/literary-theory.php dr. kyburz'
motivation remember: you found a lyric from a poem you were studying in class within the lyrics to a song you knew from a beloved band. for dr. kyburz', sharing this "find" was met with indifference. alternatively, our map of affective intensities wants to honor these associations. "always already" "origins" nodes new media literacies "standards" Lumiere brothers' La Sortie de l'Usine Lumiere a Lyon" (Workers Leaving the Lumiere Factory, 1895)
http://www.youtube.com/watch?v=HI63PUXnVMw Vertigo (Hitchcock 1958)
http://www.imdb.com/video/screenplay/vi1593180953/ Memento (Nolan 2000)
http://www.imdb.com/video/screenplay/vi1368785177/ "metafiction" is postmodernism new? submitted by kate dimick i am a feminist submitted by julia posey the speaker is ravi zacharias, a "christian apologist."
what does this mean? is he a reliable speaker on postmodernism? is this a valid question, given postmodernism's deconstructive nature?

rhetorically speaking,how does it feel to recognize zacharias' mission? does it change your views on his talk? how? why? why not?

if postmodern deconstruction resists grand narratives, like "religion," what can we make of zacharais' ethos as a speaker on postmodernism?

finally, i wonder: how was this video shot and edited. wonder with me, for example, about the following: 1.) the shots of the academic institution,
2.) the one (fairly isolated) audience member who asks a question, 3.) the shots of zacharias onstage, absent any visual glimpse of other audience members, and 4.) *did* this take place at an academic institution, as the opening series of jump cuts wants us to believe that it did? if not, what is gained by posturing as though it did? the following text submitted by dr.kyburz the "real thing" ... here is a link to shelley's poem, 'The Mask of Anarchy': http://www.artofeurope.com/shelley/she5.htm

"i would post an analysis, but i believe that less is more in this case. any analyses i have read have done gross injustice to the poem and the symbolism contained therein."

Will continues, "other good resources to understand marxism is a website by kristi siegel @ http://www.kristisiegel.com/theory.htm
[it] is found one of the best, most concise definitions of marxism i have found to date. other philosophical ideas are also explored" [sic]. will denam's
shelleyan dream ... meaning is arbitrary w/in institutional
discourses, ... but so institutionally speaking,
and relevant to your english
studies id, these (@ right) are
some of the critical lenses you
will use to think about lit. and
you will, and it will be fab ...

but what else? ... so there are your literary texts, and there are the texts that comprise your lenses, depending upon the extent to which you can ID w/ and ethically (that is, w/ rhetorical validity) "use" that lens. (hint: see the perimeter) ... difference ...
... différance ... http://www.stanford.edu/class/history34q/readings/Derrida/Differance.html http://www.brocku.ca/english/courses/4F70/diffr.php http://web.utk.edu/~misty/Derrida376.html moving pictures remix
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