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Note: This essay was published in the Brock Review Volume 2 Number 1, 1993 pp. 90-
106, which publication holds the copyright. The article addresses contemporary theory in
its more post-structural mode, and were I to rewrite it today I would put more emphasis
on the cultural studies model, on the growth of gender studies, and on New Historicism,
than I do here. I believe however that what I have to say here is still relevant and
describes the fundamental paradigm shift which has altered the direction and mandate of
literary study.
July 2001
There are a number of ideas central to the interpretive turn: the idea
that an observer is inevitably a participant in what is observed, and
that the receiver of a message is a component of the message; the
idea that information is only information insofar as it is contextualized;
the idea that individuals are cultural constructs whose conceptual
worlds are composed of a variety of discursive structures, or ways of
talking about and imagining the world; the idea that the world of
individuals is not only multiple and diverse but is constructed by and
through interacting fields of culturally lived symbols, through language
in particular; the related idea that all cultures are networks of
signifying practices; the idea that therefore all interpretation is
conditioned by cultural perspective and is mediated by symbols and
practice; and the idea that texts entail sub-texts, or the often
disguised or submerged origins and structuring forces of the
messages.
success, they get the message. And the message is, surely, the point.
It is at this juncture however that this simple communication model
runs into trouble. An author writes a text. But the author wrote the
text in at least four kinds of context (note the presence of the text),
not all of which contexts the author is or can be fully aware of. There
are, first, aesthetic contexts the contexts of art generally, of its
perceived role in culture, of the medium of the text, of the genre of the
text, of the particular aesthetic traditions the artist chooses and
inherits, of the period-style in which she writes. Second, there are the
cultural and economic conditions of the production and the reception of
texts how the 'world of art' articulates to the rest of the social
world, how the work is produced, how it is defined, how it is
distributed, who the audience is, how they pay, what it means to
consume art, how art is socially categorized. Third, there is the artist's
own personal [end page 94] history and the cultural interpretation of
that personal history and meaning for her as an individual and an
artist. Lastly and most essentially, there are the larger meanings and
methods of the culture and of various sub-cultural, class, ethnic,
regional and gender groups all of them culturally formed, and
marked (or created) by various expressions and distinctions of
attitude, thought, perception, and symbols. These include how the
world is viewed and talked about, the conception and distribution of
power, what is seen as essential and as valuable, what the grounds
and warrants of value are, how the relations among individuals and
groups are conceptualized.
Structuralism/Poststructuralism
This looks like a clear moral point: lust is bad stuff. There is, however,
more to 'read' in these lines. As there was no standardized spelling in
Shakespeare's time, the spelling of "waste" is an editorial decision. It
could have been spelled "waist;" the force of the pun is inevitably
present. A "waist of shame" is a female waist, particularly when "spirit"
is expended there, as "spirit" was a euphemism both for semen and for
(as "sprit") the penis. So we have here lust in action indeed, genital
intercourse. But notice the valuation of the sexes. The male is
associated with the spirit with the 'good', with non-material value;
the woman is associated with the lowest of material being, waste. He
is 'above' her in every sense. As in modern advertising, the male is
coded for action, the woman is coded as body parts. It is to the
woman, not to the man, that shame is attached; woman is the
waist/waste of shame. There is in the line as well a metaphysical
discrimination, as the world of 'spirit' is valued over the world of the
body; it is not to the spirit but to the body that waste and shame are
attached. There is an economic ideology here, as the sexual act is an
economic transaction "expense" and "waste" with the male
having the power of the purse, economic, moral, sexual power tied
together. This economic language not only again privileges men, but
places the imagination of the poem within the bourgeois mercantile
culture. Shakespeare's lines can be analyzed to reveal not, or not only,
a lucid and moving moral perspective, but an ideological construction
which privileges male over female and spirit over matter, which uses
moral terms in an oppressive manner, and which in the end shares and
shows bad faith in many ways. The very language of the line
undermines the certainty and centrality of the moral perspective the
poem is claiming.
famous coinage diffrence, which includes both [end page 99] differing
and deferring, catches something of the operation, although Derrida's
concept penetrates to the very structure of being, to the differing and
deferring without which space and time are impossible and which are
thus fundamental to 'being' itself.
One might ask, does the word "admit" mean "confess" or "allow to
enter?" Is "impediment" a legal or a conceptual term here, or a term
from the world of physical manipulation, a stumbling block? An
impediment is something that gets in the way of pedes, the foot, and
while the word "impediment" as a moral or social hindrance is taken
from the marriage ceremony, that explanation does not [end page
Contemporary Literary Theory John Lye page 12
There is another impediment that the poem admits from the very
beginning: "Let me not ....." Who is to let or not let the speaker admit
impediments? (A "let" was, incidentally, a hindrance, an impediment).
There is someone who can stop him from not admitting impediments,
otherwise he would not have said "Let me not:" a world of power and
restriction peeks forth, qualifying the apparent freedom the line
claims. As well, "Let me not," with its implicit emotional appeal, takes
us back psychically to the world of restriction, prohibition, [end page
101] forbidding, and in its colloquial force and its imperative,
demanding tone to the two-year-old's universe, its evocation therefore
Contemporary Literary Theory John Lye page 13
with, say, the development of the (false) identity of the inviolate 'self'
in the western capitalist regime. It might also want to look at the
conditions of production and consumption of the line who wrote it
for whom, under what conditions, with what social implications and
class exclusions, for what kind of payment and reward, and how those
things shape and are subtly present in the line itself. This form of
poetry was written for the leisure class, the world which had power
over the bodies and discourses of others, by the leisure class or those
who wished to profit by them, and was circulated to privileged
individuals in manuscript form, not (basely, popularly) published. A
psychoanalytic approach might well head straight for the narcissistic
demand and assumptions of the first words, on the currents of
projection, denial and pre-symbolic conflicts that swirl through the
line, and on the issues of subjectivity, identity (or loss of identity) and
displacement that the line suggests. A reader-response reading would
concentrate on how the line structures our responses, and on the
larger issues of how our horizons of meaning can coincide with those
of the author, writing in a different time with different preconceptions.
A cultural criticism or new historicist reading might want to work hard
to see how the linguistic, ideological, cultural constructs present in the
line tied in with those of other texts and with the cultural practices of
the time, and to thus articulate the sentence in its culturally embedded
implications, meanings and conflicts. It would be most interested in
the lines of power that the sentence suggests and how they reflect the
social structures of the time, and in the power of the discourses
themselves (the areas of for instance personal demand, philosophy of
love, judicial and confessional legislation and experience, social
institutions) and how they work with and against each other.
What these approaches would not do is merely affirm that the lines
support the ideals of the freedom and independence of love and the
wonder of the human spirit, although most would grant the presence
and power of these meanings in the line. These approaches would not
seek closure, trying to resolve into a neat package the various conflicts
and centrifugal tendencies of the line (a "reader response" reading
would include the natural human demand for closure as part of its
reading and therefore as part of the way the line 'makes' its meaning).
Most of these readings would focus in some way on the disparities in
our imaginations and our practices that the line reveals, the
contingency of our lives, the hidden exercises of social power that the
line finally confesses. They might well think that the line means more,
humanly speaking, than the humanistic reading would suggest. [end
page 103]
I Theorists mentioned
Foucault, Michel. 1984. Foucault Reader, ed. Paul Rabinow. New York:
Pantheon.
Kristeva, Julia. 1986. A Kristeva Reader ed. Toril Mol, New York:
Columbia University Press.