Gatsby, Tess and Rapture Critics - AO3

  • Created by: ellie98
  • Created on: 13-04-16 17:04
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  • Critics - AO3
    • Gatsby
    • Tess
    • Rapture
  • Tony Tanner
    • "By systematic deletion Fitzgerald makes Gatsby a far more shadowy, less knowable, more ultimately elusive figure"
    • "Gatsby's concern with time - its arrest-ability, recuperability, repeatability - is equally obsessive"
      • He has given us an El Greco-ish version - heightened, enlarged, excitably glorified - of Gatsby"
    • "The green light offers Gatsby a suitably inaccessible focus for his yearning"
    • "Nick who transcribes these accounts; how much he may be re-quoting his sources and how much translating them - transforming, embellished, amplifying, rewording - we can never know"
  • "About 4% of the book is in Gatsby's own words"
  • "Daisy tells Gatsby he reminds her of an advertisement. This statement confirms that Daisy does not like Gatsby for himself but a superficial illusion he represents"
    • Frederick C Millet
      • "green is the colour of the promise, hope and renewal"
  • [TJ Eckleburg] "reminded that God has been replaced by fading signs of American materialism"
    • Bryant Mangum
      • "The green light which carries meaning at every level of the story - as Gatsby's go ahead sign, money, as the breast of the green world"
  • Barbara Will
    • "He is for most of the novel a force if corruption: a criminal, a bootlegger and an adulterer"
    • "What matters to Gatsby matters to us; Gatsby's story is out story, his fate and the fate of the nation entwined"
  • Hardy cannot clarify this because he doesn't present Tess as "as a desiring or speaking subject"
    • "Ultimately, the meaning of purity hinges on the relation between seduction and ****"
      • Ellen Rooney
        • on overpowering temptress who ravishes men"
        • "victim of her own sexuality"
          • "purity depends on passivity"
        • Seduction = "less pure speace of complicity, desire and reasing"
        • **** = "the unambiguous violence that would guarantee Tess' purity"
        • Tess = "radically unreadable"
        • Hardy's "unflinching inscription of the inexorable forces that produced her as the seductive object of the discourses of man"
  • Nancy Barrineau
    • "Tess was 'seduced' - that is, led astray, not violated or forced into sexual intercourse against her will."
    • "Alex is not a ****** and, although her innocence makes her vulnerable Tess must take some small responsibility for what happens in the Chase."
  • "the case for seduction decisively outweighs the case for ****"
    • James A. W. Heffernan
  • "feminist  distinction between **** and intercourse...lies instead in the meaning of the act from the women's point of view"
    • Catherine MacKinnon
      • "objective" definitions cant distinguish between **** and intercourse which is "subjective"
      • "perhaps one reason she seduces casual attention is that she never courts it"
  • Tess has been born and nurtured in a village so remote and insular that it does not even feature on the map of Wessex"
    • Rob Worrall
  • Ian Gregory
    • It is both a seduction and a ****
  • Kate Kellaway
    • "Rapture is intimiate as a dairy - except that it is free of particularity, of not identifying characteristics about the lover, who could be anyone but is not quite everyone"
    • This is an elemental love - it could belong to any time were it not for the occasional contemporary accessories"
    • The poems are combination of intimate and teasingly anonymous. Pain has more character than the person who has inflicted it."
  • Xan Brooks
    • Cliché is overturned"
  • "These poems are intent as an obsessed lover upon their subject"
    • Frances Leviston
  • Margaret Reynolds
    • "It draws on tradition, but is very up to date"
  • Ruth Padel
    • "The form that dominate Rapture is the sonnet, the magical shape so suited to reflections of love"
  • "she often has a conversational tone of voice - she draws into her poems everyday idioms, cliches that she subverts and the voices of ordinary people with a humorous, jokey slant that makes the reader think afresh"
    • Barbara Bleiman
      • "challenging the conventional ways"
      • "Duffy is unconventional in thinking, vocabulary and intent, but not always in terms of the shape and structure of her poems"
      • "For Duffy, the personal and the political are deeply intertwined"


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