Critical Studies’ end products will be tribes of dependent, interchangeable, obedient, compliant manqués, ever-ready to do the State’s bidding.
As you leave your Critical Literary Studies class to trudge wearily down the hall to your Critical Legal Studies class, your head may be spinning with a kaleidoscope of disconnected images, feelings, huge swathes of “text,” and memory of the agony of trying to second-guess your instructor about what anything means.
You were particularly confused about why the instructor claimed that there was no question that Nick Carraway’s obsession with Jay Gatsby was actually a disguised and coded homosexual fascination with the millionaire in F. Scott Fitzgerald’s The Great Gatsby. Carraway’s affair with Jordan Baker, the female golfer character, was merely a substitute proxy relationship. The air-headed Daisy Buchanan served as a convenient transition point and a “false focal nexus,” as did Myrtle Wilson, the local garage owner’s cuckolding wife. All the signifiers and signifieds in the “text” say so. Your homework assignment is to pinpoint and discuss seven of them in a paper due by the end of the week.