Using of banana peelings in burger making, Environmental


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Using of banana peelings in burger making

Using of banana peelings in burger making What makes you write this . . . graph? I just made up this little ditty for no reason whatsoever. One needs an interruption every now and then. (If you can't beat them join them, right?) In any case, we were talking about some defect (original, to boot) in some truth. A truly fascinating subject. I was reading this article in a recent issue of PMLA the other day, and I encountered the following intriguing statement: "The plot is distributed through five principal images: apple, wilderness, temple, body, and seeds" (Teskey 14). This issue is so significant (it is so fraught with a kind of highly problematic [non]sense) that it deserves a new par/a/graph. We were (I hope you still remember this) speaking of some original defect of truth. This is important. The reason is not difficult to find. You see, the images in the quotation from Teskey remind me of some very genetic things. The apple. Could this be the pro/verbial fruit (forbidden, to boot) that Adam and Eve (ladies first?) consumed in the Garden of Eden? Wow! "Wilderness, temple, body, and seeds" suddenly form a con/text fraught with sign/if/icance (please notice the "if" in the middle of that marvelous word). What is (was) outside the Garden is (was), of course, wilderness. Temple. How should I take this? Of course, one's body is, in a sense, the temple of one's soul (which may well raise another question: which is the "meta" in the metaphor, the temple as body, or the temple as church? Never mind), in which case "seeds" are not necessarily apple seeds but spermatozoa. The "seminal" in seminal fluid (which carries the semen [seeds, lit.]) is, of course, related to such words as "seminar" and "seminary" (this last place is where young men study for the priesthood, for example - which would make the young men in question "seeds" or "seedlings" of sorts - never mind). You may wonder (wonder, wonder, wonder) how all this relates to the question we are considering here, the question concerning some original defect in some truth. I shall tell you in due course. Right now I want you to consider another "questioning" sort of quotation. Here it comes: "Here the 'godless' becomes the 'blameless'; the man whose 'conduct' is an 'eloquent sermon' makes the 'professional preachers' seem odds-on favorites to be 'narrow-minded and bigoted'" (Regan 223). In another context (once again, I shall invoke The Scarlet Letter) we encounter passages such as this one: "thus, the scarlet letter had the effect of the cross on a nun's bosom. It imparted to the wearer a kind of sacredness which enabled her to walk securely amid all peril" (157). What begins to loom large here (and is, consequently, writ large here, too) is something in the nature of a paradox (para + doxa = aside/beside itself + opinion). To spell this out more clearly, I might say as follows: from two radically unrelated con/texts we seem to be getting the message that the good are really bad whereas the bad are really good. No comment. That's a lie (I mean the "no comment" above, of course). The truth is that perhaps the truth itself is always already a lie. This does not work vice versa. In other words, lies are not therefore truths, except of course the ones that let you know that that's what they are from the beginning (works of fiction, for example - which would make "works of fact" [factually "true" works] really lies, which is [and I kid you not, in a sense] what they really are. So there). Here's cryptic proof for this (nothing is too good for Uncle Steve's students): Culler exclaims, explaining a point in Derrida, that "[m]eaning is context-bound, but context is boundless" (123). This leads Culler to consider that "structural openness of context" which is "essential to all disciplines; the scientist discovers that factors previously disregarded are relevant to the behavior of certain objects; the historian brings new or reinterpreted data to bear on a particular event; the critic relates a passage or a text to a context that makes it appear in a new light" (124). I hope you are beginning to see the way in which my "funny" argument is beginning to make alarming sense: since the human condition originates in a fall from divine grace, all human truths are subsequently tainted by lies reminiscent of the first one (in my hopefully soon forthcoming book [an referene to my Pious Impostures and Unproven Words which has been published more than 10 years ago by now] I call this the "lie about a lie that was not a lie"). Which should bring me (around) to my conclusion. This paper is intended to exemplify the fictitious term paper. As usual, it fails. That is, though is was meant to be entirely spurious, irrational, and parodic, it has (I don't exactly know where I took the wrong turn) almost become "serious." I know from past experience that you will experience something not unlike the experience I have just experienced. Let me nevertheless lay this down as a "law": your paper must not make sense. This isn't, of course, an absolute law. Nor could I enforce it, even if it were. So do the best you can. But have fun, in any case. I think I shall have written this in a later handout for this course (which you may or may not receive in this one), so let me "prepeat" (the opposite of "repeat") it here: what is no fun to write, is no fun to read. In other words, no fun for the writer, no fun for the reader. In other other words, without fun there is no fun. Or words to that effect. Are you still with me? Good, because if what I have been saying here is a true lie, then the fictitious term paper you are about to write will have been the truest thing you shall ever have written in your life to date. Makes you think, does it not? And wonder, too. Bibliography: Works Cited Culler, Jonathan. On Deconstruction: Theory and Criticism After Structuralism. Ithaca: Cornell UP, 1982. Derrida, Jacques. Of Grammatology. Trans. Gayatri Chakravorty Spivak. Baltimore: Johns Hopkins UP, 1976. Fish, Stanley E. "Literature in the Reader: Affective Stylistics." Reader-Response Criticism: From Formalism to Post-Structuralism. Ed. Jane P. Tompkins. Baltimore: Johns Hopkins UP, 1980. 70-100. Hawthorne, Nathaniel. The Scarlet Letter. Ed. Leo Marx. New York: Signet-NAL, 1959. Regan, Robert. "The Reprobate Elect in The Innocents Abroad." American Literature54 (1982): 240-57. Scheer, Steven C. "Unfixing 'The Fixation of Belief': Can Peirce Be Deconstructed?" Semiotics 1984. Ed. John Deely. Lanham: UP of America, 1985. 333-340. Teskey, Gordon. "From Allegory to Dialectic: Imagining Error in Spenser and Milton." PMLA 101 (1986): 9-23.

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