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Group 6
Jun 7, 2008 17:05:15 GMT -5
Post by group6 on Jun 7, 2008 17:05:15 GMT -5
Jean-Francois Lyotard, a scholar on postmodernism, once defined postmodernism as “presenting the unpresentable in presentation itself.” Postmodernism followed the period of literary modernism before World War II. While American authors from the period of literary modernism examined the meaning of life, authors from the postmodern period began to examine the fragility of society and began to reject the idea that there was a possibility of meaning at all. White Noise, by Don DeLillo, is a good example of a postmodern work. The novel parodies the quest for the meaning of life through the main character, Jack Gladney. In the course of the novel, DeLillo exposes the fragility of the human psyche through Gladney’s constant battle with the fear of death. Although Gladney goes to extended measures to fight it, the novel ultimately shows that “all plots tend to move deathward,” and there is little that he can do in a world that is simply a shuttle to his grave. This is the “unpresentable” that Lyotard speaks of, the very idea that there is no meaning to life, yet DeLillo presents it in Gladney’s search for meaning. To further illustrate this point, Delillo begins his novel with 20 chapters with virtually no structure, no plot. He shows the effect that chaotic events have on society, by beginning the novel's plotline at that event. Simply, the postmodern work refutes the idea of meaning by presenting a fruitless search for it. The futility of Gladney’s search also illustrates the postmodern concept that the chaos in society cannot be overcome. This pessimistic thought is in contrast with the older transcendental and literary modernistic ideas that give a more powerful role to the individual. In White Noise, the chaos is not overcome by the individual; rather, the characters succumb to the numbing effect of the media as well as the control that it holds over them. When the symptoms for Nyodene Derivative were being broadcast over the radio, Babette exclaims, “Let’s keep the radio turned off. So the girls can’t hear. They haven’t gotten beyond déjà vu. I want to keep it that way.” She openly acknowledges that the media can penetrate even their deepest feelings and emotions, but this does not seem to alarm her. She has surrendered to the chaos of society by ceasing to actively fight it; reflecting the postmodern idea of the feeble individual. One of the strongest connections between White Noise and modern society is the obsession with chemical cures for unwanted feelings. Dylar, a test pill that supposedly prevents the fear of death that both Jack and Babette “suffer” from, becomes a central topic as the book examines society’s chemical dependence. DeLillo aptly shows that as society tends towards consumerism, instant gratification by chemical means can reduce all of life and human emotion to a fabricated experience. In Gladney’s conversation with Willie Mink, the producer of Dylar, Mink claims, “This stuff [will] fix you up.” Gladney retorts that even with the pill he will still die, and to that, Mink responds, “But it won’t matter, which comes to the same thing.” The chemical cure of Dylar is thought of as interchangeable with a genuine sensory experience. Before the postmodern era and the mass introduction of chemical cures, emotions could not be eradicated as effortlessly as shown in White Noise and in modern society. Prescription drug use is on the rise, and people demand a quick cure for all ailments. However, many do not acknowledge that the drugs are only treating the symptoms of the problem and not its causes, much like the “death-defying” Dylar. DeLillo’s insinuated disgust for our medicated society offers a strong connection with a legitimate contemporary issue that will only be exacerbated by new technological breakthroughs allowing for humans’ greater chemical dependence.
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Group 6
Jun 7, 2008 17:10:53 GMT -5
Post by Group 6 on Jun 7, 2008 17:10:53 GMT -5
Okay, I started off the postmodern ideas and the connection to society, so just continue to expand and add new concepts to both of these topics. Chris, hopefully you can add some ideas tonight. Greg, on Sunday, and Mike on Monday. Then we can pull it together on Tuesday for the Wednesday due date. As far as the presentation is concerned, we are meeting at my house tomorrow at 11. See you all then.
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Group 6
Jun 7, 2008 18:25:08 GMT -5
Post by group6 on Jun 7, 2008 18:25:08 GMT -5
Hey guys it's Chris, I just modified the post, making a few changes here and there, and added some new concepts. I also have a few things that I think would strengthen our post but I dont know where to add them. The first is the quote from chapter 30 about the postmodern sunset that Jack sees while visiting Winnie.
"Upon it lay the sun, going down like a ship in a burning sea. Another postmodern sunset, rich in romantic imagery. Why try to describe it? It's enough to say that everything in our field of vision seemed to exist in order to gather the light of this event. Not that this was one of the stronger sunsets. There had been more dynamic colors, a deeper sense of narrative sweep.
Also, I thought we might be able to use Orest or Vernon, but of which do not appear to fear death. They might be interesting to analyze to strengthen our point while presenting opposing ones.
These were two things that I didn't know where to put into the original post which was excellent by Alan.
Hope it turns our well.
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Group 6
Jun 7, 2008 22:22:43 GMT -5
Post by Group 6 on Jun 7, 2008 22:22:43 GMT -5
I like Chris's ideas. The quote he gives definitely can go in the essay, it seems relevant, but I think that we need a new paragraph with a new connection to postmodernism, and Chris's quote can be the essential driving force of the paragraph. Chris, feel free to do this or anyone else can as well. You dont have to add only at the specific times, I just want to make sure that everyone gets what they want into the essay. It seems to be shaping up well, we can discuss it more tomorrow. Also, a general connection with the modern world would also be nice as another paragraph.
Let's keep it up.
-Alan
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Group 6
Jun 10, 2008 15:34:29 GMT -5
Post by group6 on Jun 10, 2008 15:34:29 GMT -5
Jean-Francois Lyotard, a scholar on postmodernism, once defined postmodernism as “presenting the unpresentable in presentation itself.” Postmodernism followed the period of literary modernism before World War II. While American authors from the period of literary modernism examined the meaning of life, authors from the postmodern period began to examine the fragility of society and began to reject the idea that there was a possibility of meaning at all. White Noise, by Don DeLillo, is a good example of a postmodern work. The novel parodies the quest for the meaning of life through the main character, Jack Gladney. In the course of the novel, DeLillo exposes the fragility of the human psyche through Gladney’s constant battle with the fear of death. Although Gladney goes to extended measures to fight it, the novel ultimately shows that “all plots tend to move deathward,” and there is little that he can do in a world that is simply a shuttle to his grave. This is the “unpresentable” that Lyotard speaks of, the very idea that there is no meaning to life, yet DeLillo presents it in Gladney’s search for meaning. To further illustrate this point, Delillo begins his novel with 20 chapters with virtually no structure, no plot. He shows the effect that chaotic events have on society, by beginning the novel's plotline at that event. Simply, the postmodern work refutes the idea of meaning by presenting a fruitless search for it. The futility of Gladney’s search also illustrates the postmodern concept that the chaos in society cannot be overcome. This pessimistic thought is in contrast with the older transcendental and literary modernistic ideas that give a more powerful role to the individual. In White Noise, the chaos is not overcome by the individual; rather, the characters succumb to the numbing effect of the media as well as the control that it holds over them. When the symptoms for Nyodene Derivative were being broadcast over the radio, Babette exclaims, “Let’s keep the radio turned off. So the girls can’t hear. They haven’t gotten beyond déjà vu. I want to keep it that way.” She openly acknowledges that the media can penetrate even their deepest feelings and emotions, but this does not seem to alarm her. She has surrendered to the chaos of society by ceasing to actively fight it; reflecting the postmodern idea of the feeble individual.
One of the strongest connections between White Noise and modern society is the obsession with chemical cures for unwanted feelings. Dylar, a test pill that supposedly prevents the fear of death that both Jack and Babette “suffer” from, becomes a central topic as the book examines society’s chemical dependence. DeLillo aptly shows that as society tends towards consumerism, instant gratification by chemical means can reduce all of life and human emotion to a fabricated experience. In Gladney’s conversation with Willie Mink, the producer of Dylar, Mink claims, “This stuff [will] fix you up.” Gladney retorts that even with the pill he will still die, and to that, Mink responds, “But it won’t matter, which comes to the same thing.” The chemical cure of Dylar is thought of as interchangeable with a genuine sensory experience. Before the postmodern era and the mass introduction of chemical cures, emotions could not be eradicated as effortlessly as shown in White Noise and in modern society. Prescription drug use is on the rise, and people demand a quick cure for all ailments. However, many do not acknowledge that the drugs are only treating the symptoms of the problem and not its causes, much like the “death-defying” Dylar. DeLillo’s insinuated disgust for our medicated society offers a strong connection with a legitimate contemporary issue that will only be exacerbated by new technological breakthroughs allowing for humans’ greater chemical dependence. Another comparison between the novel and modern society is the extensive control the media has over people. Delillo expands on this idea through the experiences of Heinrich, Steffie, and Denise. For example, when Heinrich and Gladney are discussing the weather forecast Delillo makes it evident that “ the true facts are whatever other people say they are” and that “no one’s knowledge is less secure than your own” (118). When Gladney tells Heinrich it is raining, Heinrich says, “the radio said tonight [it will rain]” (24). Because he has become so dependent on the information broadcast over the radio, Heinrich only goes by what he hears, even if there is overwhelming evidence against it. For Heinrich, what the media says has precedence over reality. Like Heinrich, Steffie and Denise also exhibit how the media controls what they think and feel, especially during the airborne toxic event. Gladney says, “[My wife] immediately began talking to the girls while I turned the volume down to keep them from learning what they might imagine what was in store for them” (118). When the girls would hear the newscaster describing different signs of exposure to the Nyodene Derivative, they would aquire the symptoms. Like Heinrich, they have become so reliant on the media that they feel whatever they hear is one hundred percent true. Delillo shows how people have been hypnotized by the media and that if society keeps constantly relying on it for information, we could all be turned into homogenous automatons like Heinrich.
Tell me if the last sentence makes sense.... -greg
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Group 6
Jun 10, 2008 18:36:17 GMT -5
Post by group6 on Jun 10, 2008 18:36:17 GMT -5
Another comparison between the novel and modern society is the extensive control the media has over people. Delillo expands on this idea through the experiences of Heinrich, Steffie, and Denise. For example, when Heinrich and Gladney are discussing the weather forecast Delillo makes it evident that “ the true facts are whatever other people say they are” and that “no one’s knowledge is less secure than your own” (118). When Gladney tells Heinrich it is raining, Heinrich says, “the radio said tonight [it will rain]” (24). Because he has become so dependent on the information broadcast over the radio, Heinrich only goes by what he hears, even if there is overwhelming evidence against it. For Heinrich, what the media says has precedence over reality. Like Heinrich, Steffie and Denise also exhibit how the media controls what they think and feel, especially during the airborne toxic event. Gladney says, “[My wife] immediately began talking to the girls while I turned the volume down to keep them from learning what they might imagine what was in store for them” (118). When the girls would hear the newscaster describing different signs of exposure to the Nyodene Derivative, they would aquire the symptoms. Like Heinrich, they have become so reliant on the media that they feel whatever they hear is one hundred percent true. Delillo shows how people have been hypnotized by the media and that if people keep constantly relying on it for information, our society could be transformed into a homogenous society made up of automatons like Heinrich. An interesting concept that springs from the idea of a media controlled society is that of the irony that occurs with those who do not conform, like Jack Gladney. Irony in post modern literature is a reoccurring theme, seen in ironic quotation marks and taken as tongue-in-cheek. Gladney is set from the start to maintain a different sense of being, admitting at the beginning to deliberately changing his appearance to suggest a greater authority. He is truly “the false character that follows the name around” (17). He also studies Hitler, and he is truly different from the majority by coming up with his own study subject. However, he cannot even speak German, an irony in comparison with his line of work. Jack is seen as an ironic character again when he tells his students that “All plots tend to move deathward (26)” and then wonders “Is this true? Why did I say it? What does it mean?” (26). Often times in postmodern literature, irony is used to develop a sense of foolishness for leaving the majority. Jack looks a bit idiotic to the audience because they know he is a fake. However, the author is also revealing how idiotic the society that Jack is leaving through examples such as Simuvac and his friend Murray. When both sides of society seem dumb and foolish, it intentionally leads the reader to believe in no purpose for joining either of them. This draws back to the main idea of postmodernism, which is that there is no center of society at all.
-Mike
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Group 6
Jun 11, 2008 11:53:45 GMT -5
Post by group6 on Jun 11, 2008 11:53:45 GMT -5
Final Essay: (1,143 words)
Jean-Francois Lyotard, a scholar on postmodernism, once defined postmodernism as “presenting the unpresentable in presentation itself.” Postmodernism followed the period of literary modernism before World War II. While American authors from the period of literary modernism examined the meaning of life, authors from the postmodern period began to examine the fragility of society and began to reject the idea that there was a possibility of meaning at all. White Noise, by Don DeLillo, is a good example of a postmodern work. The novel parodies the quest for the meaning of life through the main character, Jack Gladney. In the course of the novel, DeLillo exposes the fragility of the human psyche through Gladney’s constant battle with the fear of death. Although Gladney goes to extended measures to fight it, the novel ultimately shows that “all plots tend to move deathward,” and there is little that he can do in a world that is simply a shuttle to his grave (26). This is the “unpresentable” that Lyotard speaks of, the very idea that there is no meaning to life, yet DeLillo presents it in Gladney’s search for meaning. To further illustrate this point, DeLillo begins his novel with 20 chapters with virtually no structure, no plot. He shows the effect that chaotic events have on society, by beginning the novel's plotline at that event. Simply, the postmodern work refutes the idea of meaning by presenting a fruitless search for it. The futility of Gladney’s search also illustrates the postmodern concept that the chaos in society cannot be overcome. This pessimistic thought is in contrast with the older transcendental and literary modernistic ideas that give a more powerful role to the individual. In White Noise, the chaos is not overcome by the individual; rather, the characters succumb to the numbing effect of the media as well as the control that it holds over them. When the symptoms for Nyodene Derivative were being broadcast over the radio, Babette exclaims, “Let’s keep the radio turned off. So the girls can’t hear. They haven’t gotten beyond déjà vu. I want to keep it that way” (129). She openly acknowledges that the media can penetrate even their deepest feelings and emotions, but this does not seem to alarm her. She has surrendered to the chaos of society by ceasing to actively fight it; reflecting the postmodern idea of the feeble individual.
One of the strongest connections between White Noise and modern society is the obsession with chemical cures for unwanted feelings. Dylar, a test pill that supposedly prevents the fear of death that both Jack and Babette “suffer” from, becomes a central topic as the book examines society’s chemical dependence. DeLillo aptly shows that as society tends towards consumerism, instant gratification by chemical means can reduce all of life and human emotion to a fabricated experience. In Gladney’s conversation with Willie Mink, the producer of Dylar, Mink claims, “This stuff [will] fix you up” (296). Gladney retorts that even with the pill he will still die, and to that, Mink responds, “But it won’t matter, which comes to the same thing” (296). The chemical cure of Dylar is thought of as interchangeable with a genuine sensory experience. Before the postmodern era and the mass introduction of chemical cures, emotions could not be eradicated as effortlessly as shown in White Noise and in modern society. Prescription drug use is on the rise, and people demand a quick cure for all ailments. However, many do not acknowledge that the drugs are only treating the symptoms of the problem and not its causes, much like the “death-defying” Dylar. DeLillo’s insinuated disgust for our medicated society offers a strong connection with a legitimate contemporary issue that will only be exacerbated by new technological breakthroughs allowing for humans’ greater chemical dependence.
Another comparison between the novel and modern society is the extensive control that the media has over people. DeLillo expands on this idea through the experiences of Heinrich, Steffie, and Denise. For example, when Heinrich and Gladney are discussing the weather forecast, DeLillo makes it evident that “ the true facts are whatever other people say they are” and that “no one’s knowledge is less secure than your own” (118). When Gladney tells Heinrich it is raining, Heinrich says, “the radio said tonight [it will rain]” (24). Because he has become so dependent on the information broadcast over the radio, Heinrich only goes by what he hears, even if there is overwhelming evidence against it. For Heinrich, things said by the media take precedence over reality. Like Heinrich, Steffie and Denise also exhibit how the media controls what they think and feel, especially during the airborne toxic event. Gladney says, “[My wife] immediately began talking to the girls while I turned the volume down to keep them from learning what they might imagine was in store for them” (118). When the girls would hear the newscaster describing different signs of exposure to the Nyodene Derivative, they would acquire the symptoms. Like Heinrich, they have become so reliant on the media that they feel whatever they hear is one hundred percent true. DeLillo shows how people have been hypnotized by the media and that if people keep constantly relying on it for information, our society could be transformed into a homogenous society made up of Heinrich-like automatons.
An interesting concept that springs from the idea of a media controlled society is that irony occurs with those who do not conform, like Jack Gladney. Irony in post modern literature is a recurring theme, seen in ironic quotation marks and taken as tongue-in-cheek. Gladney is set from the start to maintain a different sense of being, admitting at the beginning to deliberately changing his appearance to suggest a greater authority. He is truly “the false character that follows the name around” (17). He also studies Hitler, and he is truly different from the majority by coming up with his own study subject. However, he cannot even speak German, an irony in comparison with his line of work. Jack is seen as an ironic character again when he tells his students that “All plots tend to move deathward (26)” and then wonders “Is this true? Why did I say it? What does it mean?” (26). Often times in postmodern literature, irony is used to develop a sense of foolishness for leaving the majority. Jack looks a bit idiotic to the audience because they know he is a fake. However, DeLillo is also revealing that the society that Jack is leaving is also irrational, through examples such as Simuvac and his friend Murray. When both sides of society seem dumb and foolish, it intentionally leads the reader to believe that there is no purpose for joining either of them. This draws back to the main idea of postmodernism; that there is no center of society at all.
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