:29:02
-He's chubby, but he's quite street.
-All right. Come on. Let's go.
:29:07
-Nat sounds happy, doesn't he?
-Good.
:29:13
I wish something exciting
would happen.
:29:15
Are my eyelashes still on?
:29:31
Rimbaud, Baudelaire, Verlaine...
:29:34
...nothing that a good course
of antidepressants couldn't cure...
:29:39
...or maybe 25 years in psychoanalysis.
:29:42
"Why should we be subjected...
:29:44
...to their mother-fixated
outpourings?" you ask.
:29:48
"We get enough of that
from our boyfriends." Right?
:29:51
Remember now, it's just as relevant...
:29:53
...to talk about Lou Reed
or Adam Ant in your essay.
:29:58
Precisely what Barthes said in the '50s
and what Baudrillard is saying now.
:30:02
So questions?
:30:05
Yes. The young lady
in the green sweater.
:30:07
Yes.
:30:10
Do you think that a deconstructive
approach to literary criticism...
:30:13
...that it leads to a cooler,
less emotional response in the reader?
:30:17
Good. That's an interesting one, isn't it?
:30:20
That is the question.
What's your name?
:30:22
-Holly Rossman.
-Holly. Holly, very good.
:30:25
The thing about critical theory
that is important to remember...
:30:29
-Holly. Holly Rossman.
-...the role the unconscious plays in it.
:30:36
Socialist Worker.
:30:38
-Holly.
-Stuart, not now.
:30:40
We've got to go do
some work with our tutor.
:30:42
Holly, come on.
:30:46
Socialist Worker.
:30:48
You know I was kidding about
Adam Ant, right? Don't do that to me.
:30:51
Right, but it is so important
to have a visceral reaction to the text.
:30:56
-But that's so reductive.
-Oh, absolutely.
:30:58
No, it's not. It's the emotion
expressed that really matters.