Prompt: Stylistic techniques (imagery, figurative language, sensory detail)
There's a plethora of stylistic techniques that Lorca uses throughout Blood Wedding. However, in this journal I will be going over the some of the colors that Lorca uses in his play.
Lorca begins the play with the color yellow. The color yellow is used to describe the Bridegroom's "painted room" in Act I. Lorca associates the Bridegroom with the color yellow throughout Blood Wedding. The color yellow can be concluded as something that symbolizes wealth because gold is tint of yellow. Yellow can also be used to demonstrate class because it is the color of wheat and butter, necessities that demonstrate luxury. *SPOILER ALERT* Yellow also symbolizes the Bridegroom's death because his lips turn yellow when he dies.
Pink is used to describe the Bride and Leonardo. The color pink/red is usually associated with hearts and roses, carrying connotations of a more positive color. The liveliness of the color pink is used to show the passion and vibrant feelings that the two feel for each other. This, however, can also be used to symbolize the blood that the two individuals' relationship eventually bring forth.
As the play progresses, the colors that Lorca uses become darker. The colors also become duller, from yellow through the full spectrum and ultimately back to yellow. It is interesting how one can generally predict the overall feeling and end result of the scene by knowing the color presented in the setting.
Thursday, May 26, 2011
Wednesday, May 25, 2011
Journal Comments
Taylor Farquhar - Oedipus 1
Good journal. When you say third person, do you mean omniscient or limited? You mention that the fact that "not having an audience" intensifies the conflicts between characters. However, doesn't the Chorus act as an outside "audience?" Similarly, wouldn't a first person account of a situation add more intensity than a third person's account, due to the fact that they are in the midst of the whole situation?
Kevin Li - Wild Duck 2
Good creative post Kevin.
I really enjoyed the first couple lines of the poem, where you compared Gregers to negative concepts like dirt, dark clouds and things that clog up one's lungs. I think that idea encompasses how Gina most probably feels by the end of the play; it's the idea that Gregers only brings pain and harms others. I also like how your interpretation of the end result is that of Gina seeking revenge on Gregers, whether it be physically or mentally
Omar Rahal-Arabi - Wild Duck 3
Hahah. I'm confused. So you have Gregers say that he can't tell his dad why he's departing, but earlier in the journal entry he says that he's leaving to tell Hjalmar about his dad's affair. Doesn't that provide a reason for him leaving? It's a good journal post though. It encompasses Gregers' motivation that propels the play onward and even allows your interpretation of Gregers' unwillingness to forgive his dad.
Good journal. When you say third person, do you mean omniscient or limited? You mention that the fact that "not having an audience" intensifies the conflicts between characters. However, doesn't the Chorus act as an outside "audience?" Similarly, wouldn't a first person account of a situation add more intensity than a third person's account, due to the fact that they are in the midst of the whole situation?
Kevin Li - Wild Duck 2
Good creative post Kevin.
I really enjoyed the first couple lines of the poem, where you compared Gregers to negative concepts like dirt, dark clouds and things that clog up one's lungs. I think that idea encompasses how Gina most probably feels by the end of the play; it's the idea that Gregers only brings pain and harms others. I also like how your interpretation of the end result is that of Gina seeking revenge on Gregers, whether it be physically or mentally
Omar Rahal-Arabi - Wild Duck 3
Hahah. I'm confused. So you have Gregers say that he can't tell his dad why he's departing, but earlier in the journal entry he says that he's leaving to tell Hjalmar about his dad's affair. Doesn't that provide a reason for him leaving? It's a good journal post though. It encompasses Gregers' motivation that propels the play onward and even allows your interpretation of Gregers' unwillingness to forgive his dad.
Ibsen - The Wild Duck: Journal #3
Prompt: Readers are attracted to moments of intensity in a writer's work. By what means and with what effect have writers in your study offered heightened emotional moments designed to arrest the reader's attention?
In both the plays Wild Duck and Oedipus, both Ibsen and Sophocles use similar techniques in order to draw the reader's attention during heightened emotional moments. Both authors use repetition of phrases to amplify the characters' feelings of despair. Gina says, "Hedvig! No, no, no!" and "Relling! Relling! Dr. Relling, come up as quick as you can!" to better show Gina's sense of panic and to provide a distinct reaction during this heightened emotional moment. (Ibsen 213-214) This anguish that Gina feels draws the reader's attention by establishing a connection or a sense of similarity with the reader.
Similarly, Sophocles has Oedipus repeat phrases to convey a similar message. Oedipus says "Oh, Ohh / the agony! I am agony / [...] where does all this agony hurl me?" and "No / don't take them away from me, not now! No no no!" as he finds out the truth about his life and as his daughters are taken away from him. Like Gina, Oedipus repeats specific words in order to better show the emotion that Oedipus is feeling. He feels pain and sorrow as he finds out about the truth, and in conjunction with the actor's movements, the dialogue provides a strong sense of emotion. Similarly, when he repeats the word "no," Oedipus shows his vehement desire to keep his children.
Both authors use repetition at least once in their plays to amplify the feeling of a character as they lose a child of theirs. This amplification affects the reader in the sense that they gain an idea of how society would have reacted to a certain situation; this also ties into our current society because people still act the same way if they lose their children.
In both the plays Wild Duck and Oedipus, both Ibsen and Sophocles use similar techniques in order to draw the reader's attention during heightened emotional moments. Both authors use repetition of phrases to amplify the characters' feelings of despair. Gina says, "Hedvig! No, no, no!" and "Relling! Relling! Dr. Relling, come up as quick as you can!" to better show Gina's sense of panic and to provide a distinct reaction during this heightened emotional moment. (Ibsen 213-214) This anguish that Gina feels draws the reader's attention by establishing a connection or a sense of similarity with the reader.
Similarly, Sophocles has Oedipus repeat phrases to convey a similar message. Oedipus says "Oh, Ohh / the agony! I am agony / [...] where does all this agony hurl me?" and "No / don't take them away from me, not now! No no no!" as he finds out the truth about his life and as his daughters are taken away from him. Like Gina, Oedipus repeats specific words in order to better show the emotion that Oedipus is feeling. He feels pain and sorrow as he finds out about the truth, and in conjunction with the actor's movements, the dialogue provides a strong sense of emotion. Similarly, when he repeats the word "no," Oedipus shows his vehement desire to keep his children.
Both authors use repetition at least once in their plays to amplify the feeling of a character as they lose a child of theirs. This amplification affects the reader in the sense that they gain an idea of how society would have reacted to a certain situation; this also ties into our current society because people still act the same way if they lose their children.
Ibsen - The Wild Duck: Journal #2
Prompt: What is a question that underlie at least two of the works that you have read and how have the authors sought to answer those questions?
1) What is the cultural significance of exile/isolation in both Oedipus and Wild Duck?
In the play Oedipus, author Sophocles demonstrates the cultural significance of one's exile through the character of Oedipus, Tiresias and Creon. Throughout Oedipus' journey to find the truth, he threatens to exile both Creon and Tiresias from his city-state because he believes that they are conspiring to remove him from power. This threat of exile and the characters' reactions show how being placed in exile is not only frowned upon in society, but it is also a loss of one's place of power in it. Sophocles further proves this point through the character of Oedipus. He concludes the play with Oedipus wanting to make himself suffer. Oedipus asks Creon to place him in exile because he knows that exile, rather than death, guarantees more prolonged suffering when compared to the quick suffering of death.
However, in the play Wild Duck, Ibsen uses exile and isolation in a way that provides a sense of escape for the character. On page 196, Hjalmar tells Hedvig that he must leave in order to get away from everything. He cannot handle the severity of the situation and Ibsen shows that when individuals run away from their problems, it ends up having negative repercussions. Ibsen also mentions on page 156 that exile/isolation are both "humiliating," showing that Ibsen believes, in the context of the society in Wild Duck, that isolation is a negative concept frowned upon by society.
1) What is the cultural significance of exile/isolation in both Oedipus and Wild Duck?
In the play Oedipus, author Sophocles demonstrates the cultural significance of one's exile through the character of Oedipus, Tiresias and Creon. Throughout Oedipus' journey to find the truth, he threatens to exile both Creon and Tiresias from his city-state because he believes that they are conspiring to remove him from power. This threat of exile and the characters' reactions show how being placed in exile is not only frowned upon in society, but it is also a loss of one's place of power in it. Sophocles further proves this point through the character of Oedipus. He concludes the play with Oedipus wanting to make himself suffer. Oedipus asks Creon to place him in exile because he knows that exile, rather than death, guarantees more prolonged suffering when compared to the quick suffering of death.
However, in the play Wild Duck, Ibsen uses exile and isolation in a way that provides a sense of escape for the character. On page 196, Hjalmar tells Hedvig that he must leave in order to get away from everything. He cannot handle the severity of the situation and Ibsen shows that when individuals run away from their problems, it ends up having negative repercussions. Ibsen also mentions on page 156 that exile/isolation are both "humiliating," showing that Ibsen believes, in the context of the society in Wild Duck, that isolation is a negative concept frowned upon by society.
Thursday, May 19, 2011
Ibsen - The Wild Duck: Journal #1
“Although doubt is not a pleasant condition, certainty is an absurd one.” In the light of this statement, explore the impressions of doubt and/or certainty conveyed in at least two works you have studied.
Having an irking feeling of not knowing something is one of the worst feelings someone can have. The feeling of not knowing claws at one's self until they are forced to find the truth in some way. However, is the end goal of answering that doubting feeling always worth it? If one finds something contrary to what they were hoping for, was it worth the journey?
This quote, which essentially speaks about the idea of knowledge, criticizes the idea that the search for truth should not always been one sought after by individuals. The author of the quote seems to believe that the uncertainty one might feel about a subject, and the unpleasant feeling that comes with it, must be bearable in order to prevent further suffering.
This idea can be shown in the play, Oedipus the King, where Oedipus feels doubtful toward his fate and his prophecy. This "[un]pleasant condition" that he experiences throughout the play can be shown through his dialogue with the shepherd, Creon, Tiresias and other characters. The idea that he might have possibly killed his father and had sex with his mother torture his whole self, especially when having dialogue with these individuals. They use logic and the truth once Oedipus gets pushed to the brink of his "sanity." He threatens to exile Creon, expels Tiresias from his home and threatens to torture the shepherd in his journey to end his doubt. In the end, Oedipus finds out for "certain" that the prophecy came true and he suffers eternally for his actions. This proves the statement that "[a]lthough doubt is not a pleasant condition, certainty is an absurd one."
Similarly, in Ibsen: The Wild Duck, the first act alone can be used to prove the statement that "[a]lthough doubt is not a pleasant condition, certainty is an absurd one." For example, Gregers Werle, son of Hakon Werle who is a wealthy merchant and industrialist, begins by experiencing feelings of doubt as he speaks to his long lost friend, Hjalmar Ekdal. As Ekdal speaks to Gregers about his present life, like his occupation and recent marriage, Gregers doubts that Ekdal himself would be able to accomplish everything in such a short amount of time. This unpleasant feeling that he experiences leads him on a journey for the truth. He eventually finds out the "certain" truth, that his father, Hakon Werle, had arranged Ekdal and Gina together as well as finding him his job as a photographer. This "truth" that Gregers finds out about puts him into a rage. This is how Act One ends.
Having an irking feeling of not knowing something is one of the worst feelings someone can have. The feeling of not knowing claws at one's self until they are forced to find the truth in some way. However, is the end goal of answering that doubting feeling always worth it? If one finds something contrary to what they were hoping for, was it worth the journey?
This quote, which essentially speaks about the idea of knowledge, criticizes the idea that the search for truth should not always been one sought after by individuals. The author of the quote seems to believe that the uncertainty one might feel about a subject, and the unpleasant feeling that comes with it, must be bearable in order to prevent further suffering.
This idea can be shown in the play, Oedipus the King, where Oedipus feels doubtful toward his fate and his prophecy. This "[un]pleasant condition" that he experiences throughout the play can be shown through his dialogue with the shepherd, Creon, Tiresias and other characters. The idea that he might have possibly killed his father and had sex with his mother torture his whole self, especially when having dialogue with these individuals. They use logic and the truth once Oedipus gets pushed to the brink of his "sanity." He threatens to exile Creon, expels Tiresias from his home and threatens to torture the shepherd in his journey to end his doubt. In the end, Oedipus finds out for "certain" that the prophecy came true and he suffers eternally for his actions. This proves the statement that "[a]lthough doubt is not a pleasant condition, certainty is an absurd one."
Similarly, in Ibsen: The Wild Duck, the first act alone can be used to prove the statement that "[a]lthough doubt is not a pleasant condition, certainty is an absurd one." For example, Gregers Werle, son of Hakon Werle who is a wealthy merchant and industrialist, begins by experiencing feelings of doubt as he speaks to his long lost friend, Hjalmar Ekdal. As Ekdal speaks to Gregers about his present life, like his occupation and recent marriage, Gregers doubts that Ekdal himself would be able to accomplish everything in such a short amount of time. This unpleasant feeling that he experiences leads him on a journey for the truth. He eventually finds out the "certain" truth, that his father, Hakon Werle, had arranged Ekdal and Gina together as well as finding him his job as a photographer. This "truth" that Gregers finds out about puts him into a rage. This is how Act One ends.
Wednesday, May 18, 2011
Oedipus the King, Journal #3
Prompt: A poem written by one of the characters, or a found poem on a character or the environment.
FML by Oedipus
Darkness
Is engulfing my life.
My fate, pre-determined,
pre-planned, pre-arranged
by the gods, was inevitable.
This feeling of black in my soul
is everything I deserve.
Unknowingly, unwittingly, I gave in.
Running, running, running,
only to find out that I was running in circles.
Like a bird in a zoo, I believed I could escape.
With such an enormous amount of space, I believed I was gone.
Freedom from fate? More like entering the seventh gate.
Blinded by my arrogance, blinded by my zealousness,
I could not see what was presented before my own eyes.
Like a naive child, I could not put the pieces together in time.
My blindness is my own.
Friends, family, I pushed them away.
Even though I realized today.
King of Corinth, Jocasta, Tiresias and the shepherd,
You were the shining light in my life
Yet I did not embrace you
It let to this
Darkness.
FML by Oedipus
Darkness
Is engulfing my life.
My fate, pre-determined,
pre-planned, pre-arranged
by the gods, was inevitable.
This feeling of black in my soul
is everything I deserve.
Unknowingly, unwittingly, I gave in.
Running, running, running,
only to find out that I was running in circles.
Like a bird in a zoo, I believed I could escape.
With such an enormous amount of space, I believed I was gone.
Freedom from fate? More like entering the seventh gate.
Blinded by my arrogance, blinded by my zealousness,
I could not see what was presented before my own eyes.
Like a naive child, I could not put the pieces together in time.
My blindness is my own.
Friends, family, I pushed them away.
Even though I realized today.
King of Corinth, Jocasta, Tiresias and the shepherd,
You were the shining light in my life
Yet I did not embrace you
It let to this
Darkness.
Tuesday, May 17, 2011
Oedipus the King: Journal #2
Setting: This includes cultural as well as geographical and historical setting. What effect does the setting have on story, character, theme?
Sophocles, the author of Oedipus the King, set the play in the city-state of Thebes. Thebes is located north of the Cithaeron mountain range, the place where Oedipus was left to die. Sophocles' Oedipus the King took a stance on current Athenian issues. For example, the plague in Thebes was a reference to a recent plague in Athens. The distance between the Thebes and Athens, which was the hometown of many playwrights, was used to downplay the significance of events brought up in the play. However, Thebes' main rival was Athens, which influenced Sophocles' writing of Oedipus the King. According to Wikipedia, (yeah, I know) Thebes had a history of conflict with Athens because they sided with the Persians' Xerxes (yay 300). Greece was embroiled in this war and it definitely affect Sophocles' writing in a manner that made Sophocles portray the people of Thebes in a more negative manner.
The majority of the play takes place inside/near the king's castle in Thebes. This observation carries significance because it provides the notion that it is difficult for the audience to gain perspective into Oedipus' private life. Everything that the reader sees Oedipus doing is said by the chorus or the people of Thebes.
The effect of having only one main type of setting provides the audience no way to sympathize with Oedipus because he is always in the public spotlight; there is never a time where Oedipus is allowed to reflect on his internal emotions. The audience is not allowed to see Oedipus in a place he is more comfortable and more secluded from the people of Thebes. This makes the audience have a more harsh opinion towards Oedipus because of his arrogance and his inability to trust anyone that could be wrong, and because the reader cannot establish a direct, personal connection to him.
Sophocles, the author of Oedipus the King, set the play in the city-state of Thebes. Thebes is located north of the Cithaeron mountain range, the place where Oedipus was left to die. Sophocles' Oedipus the King took a stance on current Athenian issues. For example, the plague in Thebes was a reference to a recent plague in Athens. The distance between the Thebes and Athens, which was the hometown of many playwrights, was used to downplay the significance of events brought up in the play. However, Thebes' main rival was Athens, which influenced Sophocles' writing of Oedipus the King. According to Wikipedia, (yeah, I know) Thebes had a history of conflict with Athens because they sided with the Persians' Xerxes (yay 300). Greece was embroiled in this war and it definitely affect Sophocles' writing in a manner that made Sophocles portray the people of Thebes in a more negative manner.
The majority of the play takes place inside/near the king's castle in Thebes. This observation carries significance because it provides the notion that it is difficult for the audience to gain perspective into Oedipus' private life. Everything that the reader sees Oedipus doing is said by the chorus or the people of Thebes.
The effect of having only one main type of setting provides the audience no way to sympathize with Oedipus because he is always in the public spotlight; there is never a time where Oedipus is allowed to reflect on his internal emotions. The audience is not allowed to see Oedipus in a place he is more comfortable and more secluded from the people of Thebes. This makes the audience have a more harsh opinion towards Oedipus because of his arrogance and his inability to trust anyone that could be wrong, and because the reader cannot establish a direct, personal connection to him.
Monday, May 16, 2011
Oedipus the King: Journal #1
Point of View
Oedipus the King, also known as Oedipus Rex, is not told from any character's perspective; it was written to be performed as a play so the only type of narration is that of dialogue. The reader only gains the perspective of what each character says, therefore attaining knowledge from all different angles of the book. The reader understands what other characters in the book might not. As a result, it can be concluded that Sophocles wrote Oedipus the King with a third person omniscient point of view. The narrative voice is reliable because the audience already knows how the story will play out; this opens the door for dramatic irony. From what we have read in the book, Sophocles only provides basic background information for each character. Oedipus is a very well-respected and powerful man. He is revered highly as a king among the general populace because he successfully solved the riddle of the Sphinx. Creon, Oedipus's uncle, is more logical and thought oriented than Oedipus. His logic makes his dialogue credible. Tiresias, a blind prophet, is portrayed as being a very wise old man, his blindness is ironic in that he is the most knowledgeable of all the characters, yet he is unable to see. Tiresias is probably the most credible of the characters due to the fact that the audience is familiar with his blessing and his curses. Sophocles persuades the reader into liking Oedipus through Oedipus's aggressive actions. His extreme determination of being good leader regardless of the possible sacrifices he might have to make allow the reader to gain a sense of trust toward Oedipus.
Oedipus the King, also known as Oedipus Rex, is not told from any character's perspective; it was written to be performed as a play so the only type of narration is that of dialogue. The reader only gains the perspective of what each character says, therefore attaining knowledge from all different angles of the book. The reader understands what other characters in the book might not. As a result, it can be concluded that Sophocles wrote Oedipus the King with a third person omniscient point of view. The narrative voice is reliable because the audience already knows how the story will play out; this opens the door for dramatic irony. From what we have read in the book, Sophocles only provides basic background information for each character. Oedipus is a very well-respected and powerful man. He is revered highly as a king among the general populace because he successfully solved the riddle of the Sphinx. Creon, Oedipus's uncle, is more logical and thought oriented than Oedipus. His logic makes his dialogue credible. Tiresias, a blind prophet, is portrayed as being a very wise old man, his blindness is ironic in that he is the most knowledgeable of all the characters, yet he is unable to see. Tiresias is probably the most credible of the characters due to the fact that the audience is familiar with his blessing and his curses. Sophocles persuades the reader into liking Oedipus through Oedipus's aggressive actions. His extreme determination of being good leader regardless of the possible sacrifices he might have to make allow the reader to gain a sense of trust toward Oedipus.
Sunday, April 10, 2011
Handmaid's Tale - Journal #3
The dystopian serves primarily as a warning to society by creating a vision of our future if present day practices, trends, etc. go unchecked. With this in mind, write 250 words focusing on items C and D under "The Social Criticism" section of "Elements of the Dystopian Mode."
Margaret Atwood creates a society that, although seems very distant from the reader, is actually very realistic. In this world, Atwood places a lot of emphasis on religious allusions, signaling how the church attaining control of the government would be a bad thing. The church and the government, together addressed the change in morals that society was facing. Individuals were becoming too gung-ho about sex and were embracing the sins of going to "Pornomats" and wearing provocative clothing. In this world, the government takes away their citizens rights in exchange for safety. It is because of these reasons that I think the society presented in The Handmaid's Tale is realistic. She writes this post-Cold War, showing how a nuclear exchange with Russia would have led to the radiation fallout that would have caused the population to plummet. The anti-feminist movement, in conjunction with the fallout from the war, would have led to the ends presented in the book. However, the idea of having a dominant male figure, a Wife, Marthas and Handmaids all living in a household and playing their roles seems unrealistic. Atwood presents alternatives for the reader through pockets of resistance from the Handmaids. She has Moira successfully run away (to an extent) and the Handmaid's secret society. She shows that individuals must fight against the oppressive society in order to regain their power.
Margaret Atwood creates a society that, although seems very distant from the reader, is actually very realistic. In this world, Atwood places a lot of emphasis on religious allusions, signaling how the church attaining control of the government would be a bad thing. The church and the government, together addressed the change in morals that society was facing. Individuals were becoming too gung-ho about sex and were embracing the sins of going to "Pornomats" and wearing provocative clothing. In this world, the government takes away their citizens rights in exchange for safety. It is because of these reasons that I think the society presented in The Handmaid's Tale is realistic. She writes this post-Cold War, showing how a nuclear exchange with Russia would have led to the radiation fallout that would have caused the population to plummet. The anti-feminist movement, in conjunction with the fallout from the war, would have led to the ends presented in the book. However, the idea of having a dominant male figure, a Wife, Marthas and Handmaids all living in a household and playing their roles seems unrealistic. Atwood presents alternatives for the reader through pockets of resistance from the Handmaids. She has Moira successfully run away (to an extent) and the Handmaid's secret society. She shows that individuals must fight against the oppressive society in order to regain their power.
Thursday, April 7, 2011
Handmaid's Tale - Journal #2
Topic B: Choose a character who is involved in a struggle against his or her society. Write a response (approx 250 words) exploring two or three relevant issues listed in item C under "The Main Characters" section.
Moira is Offred's best friend from the pre-societal change. Back then, Moira was active in the feminist movement. Offred reveals later in the novel that her and Moira wind up in the same training center, and she retells Moira's types of resistance. Moria's conflict with society is that she does not agree with the Aunts and the new society that her actions as a feminist have led to. Moira struggles against the oppression and absence of her rights as a women in the pre-societal shift. She demonstrates her displeasure of society to Offred when she describes one of the Aunts as an "old bitch" (Atwood 89). In order to resist, Moira attempts to escape by bribing the Angels in the ambulance while they took care of her for her "fake" sickness. This attempt failed. Moira's feet, useless in society's eyes, were beaten until swollen like lungs, but she did not give up. On the second attempt, she tricks Aunt Elizabeth, the one who guards the bathroom, and steals her clothes while using the iron rod from the toilet as a weapon. Moira brings Aunt Elizabeth down to the boiler room and ties her up so that she can run away. She succeeds in her escape and for all the reader knows, Moira escapes the oppressive society and attains freedom. However, Atwood never explains what truly happens to Moira. Happy day.
Sidenote - the escapes that Moira attempted showed her other characteristics. Both times, Moira never asked Offred about leaving with her. Therefore, the reader is able to interpret this as her being selfish, or her looking out for Offred. I personally lean towards selfish because the reward of escaping the oppressive society outweighs the risk of getting caught.
Moira is Offred's best friend from the pre-societal change. Back then, Moira was active in the feminist movement. Offred reveals later in the novel that her and Moira wind up in the same training center, and she retells Moira's types of resistance. Moria's conflict with society is that she does not agree with the Aunts and the new society that her actions as a feminist have led to. Moira struggles against the oppression and absence of her rights as a women in the pre-societal shift. She demonstrates her displeasure of society to Offred when she describes one of the Aunts as an "old bitch" (Atwood 89). In order to resist, Moira attempts to escape by bribing the Angels in the ambulance while they took care of her for her "fake" sickness. This attempt failed. Moira's feet, useless in society's eyes, were beaten until swollen like lungs, but she did not give up. On the second attempt, she tricks Aunt Elizabeth, the one who guards the bathroom, and steals her clothes while using the iron rod from the toilet as a weapon. Moira brings Aunt Elizabeth down to the boiler room and ties her up so that she can run away. She succeeds in her escape and for all the reader knows, Moira escapes the oppressive society and attains freedom. However, Atwood never explains what truly happens to Moira. Happy day.
Sidenote - the escapes that Moira attempted showed her other characteristics. Both times, Moira never asked Offred about leaving with her. Therefore, the reader is able to interpret this as her being selfish, or her looking out for Offred. I personally lean towards selfish because the reward of escaping the oppressive society outweighs the risk of getting caught.
Sunday, April 3, 2011
Handmaid's Tale - Journal #1
Topic A: Choose a short passage that reveals a significant aspect of the society depicted in the novel. Copy the passage and write a response (200 words) explaining what the passage reveals about society and how it relates to what has occurred in this section of the novel.
Quote: "I used to think of my body as an instrument, of pleasure, or a means of transportation, or an implement for the accomplishment of my will. I could use it to run, push buttons of one sort of another, make things happen. There were limits, but my body was nevertheless lithe, single, solid, one with me" (73).
This quote comes from Part V: Nap of The Handmaid's Tale. The passage reveals how society has changed this perception of women in Gilead. Women like Offred are shaped into believing that the only useful part of their body is their womb. They are forced into believing this as the truth and Offred, the protagonist, has no other options to compare this truth to. In the society, women are not individuals, but objects to give birth to children. This quote relates to Part V: Nap because this section focuses on the idea of ownership. The phrase "used to think" illustrates how women in the Gileadian society were stripped of ownership from their body unexpectedly after fighting for it. The "pleasure" Offred refers to stems from her old life with Luke, where society perceived sex as a pleasurable activity, not one who's goal was strictly childbirth. She reminisces about how she used to be able to "run, push buttons [...], make things happen," which shows how this societal shift happened recently and most likely, abruptly.
Quote: "I used to think of my body as an instrument, of pleasure, or a means of transportation, or an implement for the accomplishment of my will. I could use it to run, push buttons of one sort of another, make things happen. There were limits, but my body was nevertheless lithe, single, solid, one with me" (73).
This quote comes from Part V: Nap of The Handmaid's Tale. The passage reveals how society has changed this perception of women in Gilead. Women like Offred are shaped into believing that the only useful part of their body is their womb. They are forced into believing this as the truth and Offred, the protagonist, has no other options to compare this truth to. In the society, women are not individuals, but objects to give birth to children. This quote relates to Part V: Nap because this section focuses on the idea of ownership. The phrase "used to think" illustrates how women in the Gileadian society were stripped of ownership from their body unexpectedly after fighting for it. The "pleasure" Offred refers to stems from her old life with Luke, where society perceived sex as a pleasurable activity, not one who's goal was strictly childbirth. She reminisces about how she used to be able to "run, push buttons [...], make things happen," which shows how this societal shift happened recently and most likely, abruptly.
Monday, March 14, 2011
Thesis - Final
Albert Camus uses the setting of the beach in The Stranger to represent freedom from societal expectations. Meursault's unorthodox actions at the beach illustrate how individuals require a catalyst in order to transcend societal norms.
In Albert Camus' The Stranger, the soothing setting of the beach, a location where Meursault feels safe from society's judgment*, is used to symbolize freedom from societal expectations. Meursault's unorthodox actions at the beach illustrate how individuals require a catalyst in order to transcend societal norms.
* replaceable with - Meursault's escape from societal judgment
it's supposed to be an interrupting clause but it seems to make the thesis more confusing.
In Albert Camus' The Stranger, the setting of the beach symbolizes a safe haven for Meursault to be free from societal expectations. Meursault's unorthodox actions at the beach illustrate how individuals require a catalyst in order to transcend societal norms.
So I've tried working on the connection between the setting of the beach and its representation of freedom but I'm not exactly sure how to make the leap of faith a lot shorter. I like the last thesis, but I'm not sure if it closes the gap enough. Thoughts?
In Albert Camus' The Stranger, the soothing setting of the beach, a location where Meursault feels safe from society's judgment*, is used to symbolize freedom from societal expectations. Meursault's unorthodox actions at the beach illustrate how individuals require a catalyst in order to transcend societal norms.
* replaceable with - Meursault's escape from societal judgment
it's supposed to be an interrupting clause but it seems to make the thesis more confusing.
In Albert Camus' The Stranger, the setting of the beach symbolizes a safe haven for Meursault to be free from societal expectations. Meursault's unorthodox actions at the beach illustrate how individuals require a catalyst in order to transcend societal norms.
So I've tried working on the connection between the setting of the beach and its representation of freedom but I'm not exactly sure how to make the leap of faith a lot shorter. I like the last thesis, but I'm not sure if it closes the gap enough. Thoughts?
Journal #18
The first time I read The Stranger, I felt like Meursault was an interesting character to follow. I didn't care that he held different values/beliefs. He was a type of person that I had never been in contact with. After reading The Stranger for a second time, I still believe that the story has significant literary value. I don't exactly know why high school students read this novel over other philosophical novels, but I believe that Camus does a good job expressing existential concepts. Without The Stranger, I don't think existentialism could have been explained as well even through the original philosopher's writings. However, after reading it twice, I would like to say that I understand how Camus doesn't express the story from a true existentialist's viewpoint.What makes this novel unique is how Camus creates a protagonist that you just can't root for. Meursault kills the Arab without remorse, and acts cold-hearted/indifferent towards basically everyone yet the reader is still able to relate and ultimately agree with Meursault's outlook on life. Camus' The Stranger should be considered a great piece of literature because of how well it instigates thought from its reader.
Sunday, March 13, 2011
Journal #17
I plan on focusing on the setting of the beach or the symbolic-ness (?) of the water and the effect it has on Meursault. My fallback will probably be Salamano, his dog and Meursault if this ends up being a bad idea.
Tentative Thesis: Albert Camus uses the setting of the beach in The Stranger to represent freedom from societal expectations. Meursault's unorthodox actions at the beach illustrate how individuals require a catalyst in order to transcend societal norms. (uh. I need help with Camus' message about the human experience)
1) "I even said, 'It's not my fault.' He didn't say anything. Then I thought I shouldn't have said that. After all, I didn't have anything to apologize for. He's the one who should have offered his condolences" (3).
2) "I wanted to hang up right away because I know the boss doesn't like people calling us from town" (40).
3) I had a hard time getting up, because I was tired from the day before. [...] I decided to go for a swim. I caught the streetcar to go to the public beach down at the harbor" (19).
4) "I had a hard time waking up on Sunday, and Marie had to call me and shake me. We didn't eat anythiing because we wanted to get to the beach early" (47).
Meursault put aside his physical desire for food to go to the beach.
5) "Masson, Raymond, and I talked about spending August together at the beach, sharing expenses" (52).
6) "When [Raymond] said he was going down to the beach, I asked him where he was going. [...] Masson and I said we'd go with him. But that made him angry and he swore at us. Masson said not to argue with him. I followed him anyway" (55).
7) "'Should I let him have it?' I thought that if I said no he'd get himself all worked up and shoot for sure. All I said was, 'He hasn't said anything yet. It'd be pretty lousy to shoot him like that. [...] But if he doesn't draw his knife, you can't shoot. [...] [T]ake him on man to man and give me your gun'" (56).
8) "I could see the small, dark mass of rock surrounded by a blinding halo of light and sea spray. I was thinking of the cool spring behind the rock. I wanted to hear the murmur of its water again, to escape the sun and the strain and the women's tears, and to find shade and rest again at least. But as I got closer, I saw that Raymond's man had come back" (57).
9) "It occurred to me that all I had to do was turn around and that would be the end of it. But the whole beach, throbbing in the sun, was pressing on my back" (58).
10) "I was about to say that that was precisely because they were criminals. But then I realized that I was one too. It was an idea I couldn't get used to" (69-70)
11) "I would suddenly have the urge to be on a beach and to walk down to the water. As I imagined the sound of the first waves under my feet, my body entering the water and the sense of relief it would give me, all of a sudden I would feel just how closed in I was by the walls of my cell" (76).
12) "'[T]hat's exactly why you're in prison. [...] They've taken away your freedom.' I'd never thought about that. I agreed. 'It's true,' I said. 'Otherwise, what would be the punishment?' (78).
13) "I moved closer to the window, and in the last light of day I gazed at my reflection one more time" (81).
14) "Since we're all going to die, it's obvious that when and how don't matter. Therefore (and the difficult thing was not to lose sight of all the reasoning that went into this 'therefore'), I had to accept the rejection of my appeal" (114).
15) "So close to death, Maman must have felt free then and ready to live it all again. Nobody, nobody had the right to cry over her. And I felt ready to live it all again too. [...] [F]or the first time, in that night alive with signs and stars, I opened to the gentle indifference of the world" (122).
If this is a bad idea, what if I went along the lines of "Meursault and Salamano are the same in regards to their acts of violence but they are judged differently by society because of their emotions."
Tentative Thesis: Albert Camus uses the setting of the beach in The Stranger to represent freedom from societal expectations. Meursault's unorthodox actions at the beach illustrate how individuals require a catalyst in order to transcend societal norms. (uh. I need help with Camus' message about the human experience)
1) "I even said, 'It's not my fault.' He didn't say anything. Then I thought I shouldn't have said that. After all, I didn't have anything to apologize for. He's the one who should have offered his condolences" (3).
2) "I wanted to hang up right away because I know the boss doesn't like people calling us from town" (40).
3) I had a hard time getting up, because I was tired from the day before. [...] I decided to go for a swim. I caught the streetcar to go to the public beach down at the harbor" (19).
4) "I had a hard time waking up on Sunday, and Marie had to call me and shake me. We didn't eat anythiing because we wanted to get to the beach early" (47).
Meursault put aside his physical desire for food to go to the beach.
5) "Masson, Raymond, and I talked about spending August together at the beach, sharing expenses" (52).
6) "When [Raymond] said he was going down to the beach, I asked him where he was going. [...] Masson and I said we'd go with him. But that made him angry and he swore at us. Masson said not to argue with him. I followed him anyway" (55).
7) "'Should I let him have it?' I thought that if I said no he'd get himself all worked up and shoot for sure. All I said was, 'He hasn't said anything yet. It'd be pretty lousy to shoot him like that. [...] But if he doesn't draw his knife, you can't shoot. [...] [T]ake him on man to man and give me your gun'" (56).
8) "I could see the small, dark mass of rock surrounded by a blinding halo of light and sea spray. I was thinking of the cool spring behind the rock. I wanted to hear the murmur of its water again, to escape the sun and the strain and the women's tears, and to find shade and rest again at least. But as I got closer, I saw that Raymond's man had come back" (57).
9) "It occurred to me that all I had to do was turn around and that would be the end of it. But the whole beach, throbbing in the sun, was pressing on my back" (58).
10) "I was about to say that that was precisely because they were criminals. But then I realized that I was one too. It was an idea I couldn't get used to" (69-70)
11) "I would suddenly have the urge to be on a beach and to walk down to the water. As I imagined the sound of the first waves under my feet, my body entering the water and the sense of relief it would give me, all of a sudden I would feel just how closed in I was by the walls of my cell" (76).
12) "'[T]hat's exactly why you're in prison. [...] They've taken away your freedom.' I'd never thought about that. I agreed. 'It's true,' I said. 'Otherwise, what would be the punishment?' (78).
13) "I moved closer to the window, and in the last light of day I gazed at my reflection one more time" (81).
14) "Since we're all going to die, it's obvious that when and how don't matter. Therefore (and the difficult thing was not to lose sight of all the reasoning that went into this 'therefore'), I had to accept the rejection of my appeal" (114).
15) "So close to death, Maman must have felt free then and ready to live it all again. Nobody, nobody had the right to cry over her. And I felt ready to live it all again too. [...] [F]or the first time, in that night alive with signs and stars, I opened to the gentle indifference of the world" (122).
If this is a bad idea, what if I went along the lines of "Meursault and Salamano are the same in regards to their acts of violence but they are judged differently by society because of their emotions."
Thursday, March 10, 2011
Journal #16
Thought provoking questions:
1) Is Camus racist through his descriptions of the "Arabs" at the beach?
2) What significance does Raymond have in regards to the theme Camus attempts to illustrate?
3) Does the robotic lady signify a more extreme Meursault? (43). If not, what does she signify?
4) What led to Meursault's view on life? How did his experience in school change his past perspective? (41).
5) Why does Camus have Meursault call his mother "Maman" and an Arab prisoner do the same? (76).
6) What significance does the article about the Czechoslovakian have in regards to the theme?
Replies:
Andy Luu #5 - Camus utilizes the "robotic lady" in order to provide a contrast to Meursault. Camus attempts to distinguish the difference between Meursault's indifference and voluntary routine and the robotic lady's involuntary and programmed life.
Anthony Nguyen #2 - Camus utilizes the indifference of the character, Meursault, in order to examine the "absurd." His "irrational" priority of physical impulses ultimately free him from the symbolic imprisonment of society.
Ivan Kallevig #2 - Through the structure of two parts, Camus follows the same philosophy by having Meursault awkwardly operate within society's boundaries in part one. The second part is used to demonstrate how Meursault ultimately transcends society's symbolic imprisonment.
Isabel Harger #5 - Meursault utilizes the absurdity of the trial, society's way of judging Meursault, as a method to show Meursault's transcendence from society's symbolic imprisonment.
Shannon Graham #1 - Camus describes the Arabs with little detail to illustrate the French society's racist perceptions of Arabs at the same.
1) Is Camus racist through his descriptions of the "Arabs" at the beach?
2) What significance does Raymond have in regards to the theme Camus attempts to illustrate?
3) Does the robotic lady signify a more extreme Meursault? (43). If not, what does she signify?
4) What led to Meursault's view on life? How did his experience in school change his past perspective? (41).
5) Why does Camus have Meursault call his mother "Maman" and an Arab prisoner do the same? (76).
6) What significance does the article about the Czechoslovakian have in regards to the theme?
Replies:
Andy Luu #5 - Camus utilizes the "robotic lady" in order to provide a contrast to Meursault. Camus attempts to distinguish the difference between Meursault's indifference and voluntary routine and the robotic lady's involuntary and programmed life.
Anthony Nguyen #2 - Camus utilizes the indifference of the character, Meursault, in order to examine the "absurd." His "irrational" priority of physical impulses ultimately free him from the symbolic imprisonment of society.
Ivan Kallevig #2 - Through the structure of two parts, Camus follows the same philosophy by having Meursault awkwardly operate within society's boundaries in part one. The second part is used to demonstrate how Meursault ultimately transcends society's symbolic imprisonment.
Isabel Harger #5 - Meursault utilizes the absurdity of the trial, society's way of judging Meursault, as a method to show Meursault's transcendence from society's symbolic imprisonment.
Shannon Graham #1 - Camus describes the Arabs with little detail to illustrate the French society's racist perceptions of Arabs at the same.
Wednesday, March 9, 2011
Journal #15
Camus decides to split The Stranger into two parts because he wanted to identify the two significant "modes" of Meursault's life. In Part One, Meursault is honest to himself, indifferent, and nonjudgmental. In Part Two, these characteristics are not dependent on him or his nature. He's the object and it's society's turn to judge him in the form of the trial.
I believe that Camus also parallels these two parts by illustrating the similarities in Meursault's life pre and post-murder. Meursault's strange attraction to patterns and repetition is shown in Part One when he describes how "[t]here was a stack of freight invoices that had piled up on my desk, and I had to go through them all. Before leaving the office to go to lunch, I washed my hands. I don't really like doing this at lunchtime" (25). Meursault expresses this cycle of actions he goes through and although he doesn't like doing it, he still follows his pattern. Likewise, in Part Two, Meursault's time in jail leads to his life becoming "the same unending day that was unfolding in [his] cell" (Camus 80). Meursault's pattern of his recreational walks and thinking time in his cell and other things show how even within his cell, Meursault is still following a repetitious lifestyle. Camus illustrates this parallel in order to show how Meursault is still the same character.
Another parallel that occurs between the two parts is the continuation of Meursault's priority of physical needs over his personal feelings. An example of this in Part One, when Meursault's physical need of sleep overpowers his desire to stay awake. This is evident when "the smell of gasoline, the glare of the bumpy road" cause Meursault to "doze off" (4). Meursault's experiences with Marie also demonstrate how he disregards his personal feelings for the sexual thrill he feels with Marie. This is significant in Part Two as Meursault tells the reader exactly what they've been suspecting for half of the book. He says that "[his] nature was such that [his] physical needs often got in the way of [his] feelings" (65). He understands how to play society's game, but he still allows physical discomfort to guide his actions as the magistrate questions him. He realizes that he must answer intelligently, but ultimately tells the magistrate that "[he] felt kind of annoyed" in order to escape from the heat (70).
Sidenote - On page 76, an Arab says, "Goodbye, Maman." Does this mean that Meursault DID love his mother? Maman wasn't the name of his mother, but an affectionate Arab term for "mother". Maybe Camus was either showing how Meursault was similar to the Arabs or how race wasn't the reason for the other Arab's death. Cool beans.
I believe that Camus also parallels these two parts by illustrating the similarities in Meursault's life pre and post-murder. Meursault's strange attraction to patterns and repetition is shown in Part One when he describes how "[t]here was a stack of freight invoices that had piled up on my desk, and I had to go through them all. Before leaving the office to go to lunch, I washed my hands. I don't really like doing this at lunchtime" (25). Meursault expresses this cycle of actions he goes through and although he doesn't like doing it, he still follows his pattern. Likewise, in Part Two, Meursault's time in jail leads to his life becoming "the same unending day that was unfolding in [his] cell" (Camus 80). Meursault's pattern of his recreational walks and thinking time in his cell and other things show how even within his cell, Meursault is still following a repetitious lifestyle. Camus illustrates this parallel in order to show how Meursault is still the same character.
Another parallel that occurs between the two parts is the continuation of Meursault's priority of physical needs over his personal feelings. An example of this in Part One, when Meursault's physical need of sleep overpowers his desire to stay awake. This is evident when "the smell of gasoline, the glare of the bumpy road" cause Meursault to "doze off" (4). Meursault's experiences with Marie also demonstrate how he disregards his personal feelings for the sexual thrill he feels with Marie. This is significant in Part Two as Meursault tells the reader exactly what they've been suspecting for half of the book. He says that "[his] nature was such that [his] physical needs often got in the way of [his] feelings" (65). He understands how to play society's game, but he still allows physical discomfort to guide his actions as the magistrate questions him. He realizes that he must answer intelligently, but ultimately tells the magistrate that "[he] felt kind of annoyed" in order to escape from the heat (70).
Sidenote - On page 76, an Arab says, "Goodbye, Maman." Does this mean that Meursault DID love his mother? Maman wasn't the name of his mother, but an affectionate Arab term for "mother". Maybe Camus was either showing how Meursault was similar to the Arabs or how race wasn't the reason for the other Arab's death. Cool beans.
Monday, March 7, 2011
Journal #14
6 insightful questions about Chapter 6:
1) Does Camus's representation of Arabs peg him as racist?
2) Why does Camus go through the effort of describing Masson?
3) Does Raymond play the role of Camus?
4) Why does the glare of the sun bother Meursault, but not the sun itself?
5) Why does Meursault shoot the Arab multiple times?
6) Why does Meursault's head throb during "important" moments? (mother's funeral/shooting of the Arab)
1) Does Camus's representation of Arabs peg him as racist?
2) Why does Camus go through the effort of describing Masson?
3) Does Raymond play the role of Camus?
4) Why does the glare of the sun bother Meursault, but not the sun itself?
5) Why does Meursault shoot the Arab multiple times?
6) Why does Meursault's head throb during "important" moments? (mother's funeral/shooting of the Arab)
Sunday, March 6, 2011
Journal #13
Separationism
Separationism is a philosophy of life. The broad interpretation of this is isolation for success. The point of life is to be happy. This is defined by a person's perception of the idea. The idea of separationism creates a path for individuals to be happy. Individuals, in order to be happy, must be able to achieve success independently and without the help of others. The path is gloomy and depressing, but the philosopher who created it believes it is just a realistic way to look at things.
Separationism is a philosophy of life. The broad interpretation of this is isolation for success. The point of life is to be happy. This is defined by a person's perception of the idea. The idea of separationism creates a path for individuals to be happy. Individuals, in order to be happy, must be able to achieve success independently and without the help of others. The path is gloomy and depressing, but the philosopher who created it believes it is just a realistic way to look at things.
Guiding principles
- Do not rely on anyone else other than yourself.
- Help others to help others. There is no ulterior motive.
- Always aim higher than what is to be expected.
- Fear of failure should not act as a deterrence for anything.
- Make yourself positively unique.
- When possible, work smarter, not harder.
- Never quit. Someone is always working longer and harder.
- Everything's relative, including success and happiness.
Thursday, March 3, 2011
Journal #12
Part one: According to your work today in class, which translator would you argue has the most literary value and why? What elements of the text are you valuing by the decision you made?
I believe that it is reasonable to defend that Ward's translation retains the most literary value because I believe that Gilbert's translation is just too bogged down with descriptions. Based the classroom activity, Gilbert's translation does not seem to encompass the message that Camus was trying to send. The element in the text that I value based on my decision is the characterization of Meursault. By having more "fluffy" language in Gilbert's translation, the reader is not able to see the world through Meursault's eyes like I believe Camus wants us to. Camus MIGHT HAVE wanted the reader to see the world a lot more descriptively, but from what I have read, this is not the case. I believe that The Stranger is a very concise novel, and Ward captures this goal the best.
I believe that it is reasonable to defend that Ward's translation retains the most literary value because I believe that Gilbert's translation is just too bogged down with descriptions. Based the classroom activity, Gilbert's translation does not seem to encompass the message that Camus was trying to send. The element in the text that I value based on my decision is the characterization of Meursault. By having more "fluffy" language in Gilbert's translation, the reader is not able to see the world through Meursault's eyes like I believe Camus wants us to. Camus MIGHT HAVE wanted the reader to see the world a lot more descriptively, but from what I have read, this is not the case. I believe that The Stranger is a very concise novel, and Ward captures this goal the best.
Part two: According to the above meanings for the work "e'tranger", what title would you assign the English translation of the text and why. Go as far as to cite specific examples from the book that support your decision.
I believe that "The Stranger" is a good translation of the text for a plethora of reasons. First, I think that both the translators put a lot of thought into translating the novel into English and although they differ in some situations, the agree upon "The Stranger." These translators are more qualified than I am to question their work, but I will anyway (to an extent). I actually agree with the translated title, but I also have come up with an alternative. I believe that "The Outsider" would work as a title to the story just as well, but I believe that "The Stranger" encompasses a stronger connotation with its readers while subsuming the effects of "The Outsider." I believe both of these names work because in the story Meursault shares that "[he] had the ridiculous feeling that they were there to judge [him]" while he is at his mother's funeral (Camus 10). He also shares that "[he] could feel how much all these people hated [him]" at the trial (Camus 90). Both of these examples show how he feels isolated compared to everyone else, like an outsider. However, a stranger also has no connection to a group of people/things, which also mean that the word "stranger" should mean outsider. The connotation with the word "stranger" is one of difference and uniqueness, something that "outsider" does not provide. This creates a perception where the reader goes into the story expecting something weird. However, I don't think that the title should have great significance because you should never judge a book by its cover.
Monday, February 28, 2011
Journal #11
Explain how you are tabbing The Stranger, written by Albert Camus.
I decided to be more specific when tabbing this time so I chose
blue for symbols and motifs, specifically those that relate to self-indulgence, i.e. smoking, sex, sleeping. (More will be added to the list as necessary)
green for anything that may signal possible themes, like Meursault's unusual appreciation for the naturalness/physical details. (More themes will be added to the list)
orange for figurative language/syntax/diction, i.e. repeating phrases, parallelism, narrative voice.
pink for characterization, specifically when Meursault feels indifferent towards anything or when he expresses an idea regarding society.
Thursday, February 17, 2011
Journal #10
Identify a theme. Be sure your theme is something that you can commit to writing your own vignette around. Make a list of quotes that inform that theme. Be sure to record the page number and take note of any techniques and or elements present within the quote.
Theme: Individuals who attempt to further their societal standings through the system of capitalism always end up isolating themselves though their actions.
Possible problems:
1) Is it too broad when I say "their actions"?
2) Does the theme make sense?
3) What could I specify?
1) "If you don't want him, you sho oughta. Heah you is wid de onliest organ in town, amongst colored folks, in yo' parlor. Got a house bought and paid for and sixty acres uh land right on de big road and . . . Lawd have mussy! Dat's de very prong all us black women gits hung on" (23).
Nanny wishes for a better life for Janie through a capitalistic viewpoint. The rest of the passage is a juxtaposition of Nanny's hopes and Janie's desires.
2) "One morning soon he called her out of the kitchen to the barn. he had the mule all saddled at the gate.
'Looka heah, LilBit, help me out some. Cut up dese seed taters fuh me. Ah got tuh go step off a piece.'
'Where you goin'?'
'Over tuh Lake City tuh see uh man about uh mule.'
'Whut you need two mules fuh? lessen you aims to swap off dis one.'
'Naw, Ah needs two mules dis yeah. Taters is goin' tuh be taters in de fall. Brinin' big prices. Ah aims tuh run two plows and dis man Ah'm talkin' 'bout is got uh mule all gentled up so even uh woman kin handle 'im'" (26-27).
Hurston's use of dialogue ties Logan into the theme of capitalism. He is a prime example of capitalism when he says he is going to invest in another mule in order to make more money. Logan doesn't love Janie and refers to her as LilBit, showing that he only wants her to advance his societal position as a farmer.
3) "Joe Starks was the name, yeah Joe Starks from in and through Georgy. Been workin' for white folks all his life. Saved up some money-round three hundred dollars, yes indeed, right here in his pocket. Dept hearin' 'bout them buildin' a new state down heah in Floridy and sort of wanted to come. But he was makin' money where he was. But when he heard all about 'em makin' a town all outa colored folks, he knows dat was de place where he wanted to be. He had always wanted to be a big voice, but de white folks had all de sayso where he come from and everywhere else, exceptin' dis place dat colored folks was buildin' theirselves. Dat was right too. De man dat built things oughta boss it" (28).
Motif of circles in which Jody repeats the cycle of oppression in order to advance himself in society. He was lorded over by the white folk in his old town so he jumps on the chance to be able to lord over the blacks in the new town.
4) "'You'se always off talkin' and fixin' things, and Ah feels lak Ah'm jus' markin' time. Hope it soon gits over.'
'Over, Janie? I god, Ah ain't even started good. Ah told you in de very first beginnin' dat Ah aimed tuh be uh big voice. You oughta be glad, 'cause dat makes uh big woman outa you.'
A feeling of coldness and fear took hold of her. She felt far away from things and lonely.
Janie soon began to feel the impact of awe and envy against her sensibilities. The wife of the Mayor was not just another woman as she had supposed. She slept with authority and so she was part of it in the town mind. She couldn't get but so close to most of them in spirit." (46)
Hurston uses the pattern of coldness to describe how Jody's new found power begins to isolate himself from Janie. Janie also expresses her thoughts about how she herself begins to feel isolated because of the spillover from Jody's power.
5)"'And now we'll listen tuh uh few words uh encouragement from Mrs. Mayor Starks.'
The burst of applause was cut short by Joe taking the floor himself.
'Thank yuh fuh yo' compliments, but mah wife don't know nothin' 'bought no speech-makin'. Ah never married her for nothin' lak dat. She's uh woman and her place is in de home.' [...]
But anyway, she went down the road behind him that night feeling cold. (43)
Like above, Hurston uses coldness to signify the isolation that Janie feels from Jody. In this passage, Jody takes methods from capitalism and furthers himself through the expense of other characters.
6) "There was something about Joe Starks that cowed the town. It was not because of physical fear. He was no fist fighter. His bulk was not even imposing as men go. Neither was it because he was more literate than the rest. Something else made men give way before him. He had a bow-down command in his face, and every step he took made the thing more tangible.
Take for instance that new house of his. It had two stories with porches, with banisters and such things. The rest of the town looked like servants' quarters surrounding the "big house." And different from everybody else in the town he put off moving in until it had been painted, in and out. And look at the way he painted it- a gloaty, sparkly white" (47).
Hurston uses imagery to tie Jody's actions to those of a white man. Jody attempts to make himself out to be a very successful guy although he only achieved his success through oppression and the capitalistic system. The way in which Hurston describes the citizens' and Jody's actions show how Jody himself begins to isolate himself once he attains power.
7) She cried often in the weeks that followed. Joe got too weak to look after things and took to his bed. But he relentlessly refused to admit her to his sick room. People came and went in the house. This one and that oene came into her houe with covered plates of brroth and other sick-room dishes without taking the least notice of her as Joe's wife. people who never had known what it was to enter the gate of the Mayor's yard unless it were to do some menial job now paraded in and out as his confidants. They came to the store and ostentatiously looked over whatever she was doing and went back to report to him at the house. Said things like 'Mr. Starks need somebody tuh sorta look out for 'im till he kin git on his feet again and look for hisself' (83).
By now Jody has achieved his societal advancement but when he begins to die, the gap is power he leaves is fought for by the community. Janie, the woman gaining the most power, begins to become isolated by the community. Jody, due to his capitalistic goals, experiences the more extreme type of isolationism, death.
8) "'Honey, since you loose me and gimme privilege tuh tell yuh all about mahself, Ah'll tell yuh. You done married one uh de best gamblers God ever made. Cards or dice either one. Ah can take uh shoe string and win uh tan-yard. Wish yuh could see me rollin'. But dis time it's gointuh be nothin' but tough men's talkin' all kinds uh talk so it ain't no place for you tuh be, but 'twon't be long befo' you see me'" (125).
Tea Cake attempts to win money through gambling. He doesn't attempt to advance himself in society through capitalism, but rather he attempts to raise money for Janie and pleasure. This is different from the selfish goals of Logan/Jody. (is it really?)
9)"' Dat ain't nothin'. You ain't seen de bossman go up, is yuh? Well all right now. man, de money's too good on the muck. It's liable tuh fair off by tuhmorrer. Ah wouldn't leave if Ah wuz you'" (156).
This is when Tea Cakes gives in to capitalism and sets himself up for isolation. He disregards his and Janie's safety in order to economically advance himself. He prioritizes money over safety and for this reason, Hurston shows the reader that Tea Cake's change in mindset causes him to die.
10) "'Ah naw, honey. Ah laks it. It's mo' nicer than settin' round dese quarters all day. Clerkin' in dat store wuz hard, but heah, we ain't got nothin' tuh do but do our work and come home and love'" (133).
Hurston distinguishes Janie from the others because although Janie works, she doesn't do it to advance herself or to make money. She has money saved up in the bank already. Janie works because it allows her to be near nature and the man that she loves which doesn't lead her to the consequences of capitalism. (She ends up alone at the end) :(
Edit: Commented on Anthony Nguyen, Cara Mitchell and Sean Sakaguchi's blogs.
Theme: Individuals who attempt to further their societal standings through the system of capitalism always end up isolating themselves though their actions.
Possible problems:
1) Is it too broad when I say "their actions"?
2) Does the theme make sense?
3) What could I specify?
1) "If you don't want him, you sho oughta. Heah you is wid de onliest organ in town, amongst colored folks, in yo' parlor. Got a house bought and paid for and sixty acres uh land right on de big road and . . . Lawd have mussy! Dat's de very prong all us black women gits hung on" (23).
Nanny wishes for a better life for Janie through a capitalistic viewpoint. The rest of the passage is a juxtaposition of Nanny's hopes and Janie's desires.
2) "One morning soon he called her out of the kitchen to the barn. he had the mule all saddled at the gate.
'Looka heah, LilBit, help me out some. Cut up dese seed taters fuh me. Ah got tuh go step off a piece.'
'Where you goin'?'
'Over tuh Lake City tuh see uh man about uh mule.'
'Whut you need two mules fuh? lessen you aims to swap off dis one.'
'Naw, Ah needs two mules dis yeah. Taters is goin' tuh be taters in de fall. Brinin' big prices. Ah aims tuh run two plows and dis man Ah'm talkin' 'bout is got uh mule all gentled up so even uh woman kin handle 'im'" (26-27).
Hurston's use of dialogue ties Logan into the theme of capitalism. He is a prime example of capitalism when he says he is going to invest in another mule in order to make more money. Logan doesn't love Janie and refers to her as LilBit, showing that he only wants her to advance his societal position as a farmer.
3) "Joe Starks was the name, yeah Joe Starks from in and through Georgy. Been workin' for white folks all his life. Saved up some money-round three hundred dollars, yes indeed, right here in his pocket. Dept hearin' 'bout them buildin' a new state down heah in Floridy and sort of wanted to come. But he was makin' money where he was. But when he heard all about 'em makin' a town all outa colored folks, he knows dat was de place where he wanted to be. He had always wanted to be a big voice, but de white folks had all de sayso where he come from and everywhere else, exceptin' dis place dat colored folks was buildin' theirselves. Dat was right too. De man dat built things oughta boss it" (28).
Motif of circles in which Jody repeats the cycle of oppression in order to advance himself in society. He was lorded over by the white folk in his old town so he jumps on the chance to be able to lord over the blacks in the new town.
4) "'You'se always off talkin' and fixin' things, and Ah feels lak Ah'm jus' markin' time. Hope it soon gits over.'
'Over, Janie? I god, Ah ain't even started good. Ah told you in de very first beginnin' dat Ah aimed tuh be uh big voice. You oughta be glad, 'cause dat makes uh big woman outa you.'
A feeling of coldness and fear took hold of her. She felt far away from things and lonely.
Janie soon began to feel the impact of awe and envy against her sensibilities. The wife of the Mayor was not just another woman as she had supposed. She slept with authority and so she was part of it in the town mind. She couldn't get but so close to most of them in spirit." (46)
Hurston uses the pattern of coldness to describe how Jody's new found power begins to isolate himself from Janie. Janie also expresses her thoughts about how she herself begins to feel isolated because of the spillover from Jody's power.
5)"'And now we'll listen tuh uh few words uh encouragement from Mrs. Mayor Starks.'
The burst of applause was cut short by Joe taking the floor himself.
'Thank yuh fuh yo' compliments, but mah wife don't know nothin' 'bought no speech-makin'. Ah never married her for nothin' lak dat. She's uh woman and her place is in de home.' [...]
But anyway, she went down the road behind him that night feeling cold. (43)
Like above, Hurston uses coldness to signify the isolation that Janie feels from Jody. In this passage, Jody takes methods from capitalism and furthers himself through the expense of other characters.
6) "There was something about Joe Starks that cowed the town. It was not because of physical fear. He was no fist fighter. His bulk was not even imposing as men go. Neither was it because he was more literate than the rest. Something else made men give way before him. He had a bow-down command in his face, and every step he took made the thing more tangible.
Take for instance that new house of his. It had two stories with porches, with banisters and such things. The rest of the town looked like servants' quarters surrounding the "big house." And different from everybody else in the town he put off moving in until it had been painted, in and out. And look at the way he painted it- a gloaty, sparkly white" (47).
Hurston uses imagery to tie Jody's actions to those of a white man. Jody attempts to make himself out to be a very successful guy although he only achieved his success through oppression and the capitalistic system. The way in which Hurston describes the citizens' and Jody's actions show how Jody himself begins to isolate himself once he attains power.
7) She cried often in the weeks that followed. Joe got too weak to look after things and took to his bed. But he relentlessly refused to admit her to his sick room. People came and went in the house. This one and that oene came into her houe with covered plates of brroth and other sick-room dishes without taking the least notice of her as Joe's wife. people who never had known what it was to enter the gate of the Mayor's yard unless it were to do some menial job now paraded in and out as his confidants. They came to the store and ostentatiously looked over whatever she was doing and went back to report to him at the house. Said things like 'Mr. Starks need somebody tuh sorta look out for 'im till he kin git on his feet again and look for hisself' (83).
By now Jody has achieved his societal advancement but when he begins to die, the gap is power he leaves is fought for by the community. Janie, the woman gaining the most power, begins to become isolated by the community. Jody, due to his capitalistic goals, experiences the more extreme type of isolationism, death.
8) "'Honey, since you loose me and gimme privilege tuh tell yuh all about mahself, Ah'll tell yuh. You done married one uh de best gamblers God ever made. Cards or dice either one. Ah can take uh shoe string and win uh tan-yard. Wish yuh could see me rollin'. But dis time it's gointuh be nothin' but tough men's talkin' all kinds uh talk so it ain't no place for you tuh be, but 'twon't be long befo' you see me'" (125).
Tea Cake attempts to win money through gambling. He doesn't attempt to advance himself in society through capitalism, but rather he attempts to raise money for Janie and pleasure. This is different from the selfish goals of Logan/Jody. (is it really?)
9)"' Dat ain't nothin'. You ain't seen de bossman go up, is yuh? Well all right now. man, de money's too good on the muck. It's liable tuh fair off by tuhmorrer. Ah wouldn't leave if Ah wuz you'" (156).
This is when Tea Cakes gives in to capitalism and sets himself up for isolation. He disregards his and Janie's safety in order to economically advance himself. He prioritizes money over safety and for this reason, Hurston shows the reader that Tea Cake's change in mindset causes him to die.
10) "'Ah naw, honey. Ah laks it. It's mo' nicer than settin' round dese quarters all day. Clerkin' in dat store wuz hard, but heah, we ain't got nothin' tuh do but do our work and come home and love'" (133).
Hurston distinguishes Janie from the others because although Janie works, she doesn't do it to advance herself or to make money. She has money saved up in the bank already. Janie works because it allows her to be near nature and the man that she loves which doesn't lead her to the consequences of capitalism. (She ends up alone at the end) :(
Edit: Commented on Anthony Nguyen, Cara Mitchell and Sean Sakaguchi's blogs.
Wednesday, February 16, 2011
Journal #9
Write a pastiche of Hurston by duplicating a theme that she uses and three stylistic elements. Use these elements with your own characters, setting, and conflict. After you finish your pastiche clarify what theme and techniques you used and how they were used in a way that mirrors Hurston's own use of them.
Tradition was an interesting concept. That is, if you can call it Tradition. This ambiguous beast had traveled in and out of his thoughts, making him question the real intent of the creature. He hated calling it Tradition, but he knew of nothing else to call it. He fidgeted through the ceremony celebrating the 20th anniversary of his grandfather's death. The priest talked about the boy's grandfather's achievements; he had been the first man to develop a source of never-ending light. The boy had heard this story many times. The only part he listened to was when the priest spoke about how his grandfather had an unfortunate accident while working with electric parts, resulting in death by electrocution. However, even that story was becoming dull. He had more important thoughts racing through his mind.
"I'm sorry to bother you Master Adams but we need to discuss the future of Traditions Inc.," whispered Fernando, the vice president of Traditions Inc.
"Fernando, I have just experienced two major losses to my family. Can't this issue just wait for a minute?" asked Victor.
"I wish we could Master Adams, but with the unfortunate passing of your father and your grandfather, you are the heir to Traditions Inc." replied Fernando. Victor's father had passed away after an electrical storm caused the surge in electricity that rushed through Victor's father's contraption.
"Take the position little boy. Take it and die. Your desire of financial success will be your downfall. The curse I've placed on you will make me, the most deserving person, the owner of Traditions Inc." murmured Fernando to himself. "Your father and grandfather never respected you. They disregarded your well-being and only thought of the company. Of money. Why do you want this company so bad?" asked Fernando.
"Tradition. I won't take the position for the money. I'll do it to further the work of my family. That's what matters in life. Family."
"Good decision Master."
Theme: Individuals who attempt to further their societal standings though the system of capitalism always end up isolating themselves though their actions.
Techniques -
1) Personification - Characteristics given to Tradition in order to allow the reader to have an image of the concept. Hurston personifies Death and also provides the reader a more vivid description.
2) Motif - Circles illustrate the cycle of death experienced by the Adams family and foreshadows Victor's death if he falls into the cycle. Hurston uses the motif of circles in order to portray the repetition of events in the story.
3) Apostrophe - Fernando speaks to himself in order to provide the reader insight into his inner-thoughts. Hurston uses apostrophe to voice Janie's doubt about Tea Cake in the story.
4) Situational irony - Two members of the Adams family die due to electrocution which is ironic because they discovered breakthroughs in the electrical field. This is similar to Hurston's use of situational irony after the malnourished mule dies from overeating.
Tradition was an interesting concept. That is, if you can call it Tradition. This ambiguous beast had traveled in and out of his thoughts, making him question the real intent of the creature. He hated calling it Tradition, but he knew of nothing else to call it. He fidgeted through the ceremony celebrating the 20th anniversary of his grandfather's death. The priest talked about the boy's grandfather's achievements; he had been the first man to develop a source of never-ending light. The boy had heard this story many times. The only part he listened to was when the priest spoke about how his grandfather had an unfortunate accident while working with electric parts, resulting in death by electrocution. However, even that story was becoming dull. He had more important thoughts racing through his mind.
"I'm sorry to bother you Master Adams but we need to discuss the future of Traditions Inc.," whispered Fernando, the vice president of Traditions Inc.
"Fernando, I have just experienced two major losses to my family. Can't this issue just wait for a minute?" asked Victor.
"I wish we could Master Adams, but with the unfortunate passing of your father and your grandfather, you are the heir to Traditions Inc." replied Fernando. Victor's father had passed away after an electrical storm caused the surge in electricity that rushed through Victor's father's contraption.
"Take the position little boy. Take it and die. Your desire of financial success will be your downfall. The curse I've placed on you will make me, the most deserving person, the owner of Traditions Inc." murmured Fernando to himself. "Your father and grandfather never respected you. They disregarded your well-being and only thought of the company. Of money. Why do you want this company so bad?" asked Fernando.
"Tradition. I won't take the position for the money. I'll do it to further the work of my family. That's what matters in life. Family."
"Good decision Master."
Theme: Individuals who attempt to further their societal standings though the system of capitalism always end up isolating themselves though their actions.
Techniques -
1) Personification - Characteristics given to Tradition in order to allow the reader to have an image of the concept. Hurston personifies Death and also provides the reader a more vivid description.
2) Motif - Circles illustrate the cycle of death experienced by the Adams family and foreshadows Victor's death if he falls into the cycle. Hurston uses the motif of circles in order to portray the repetition of events in the story.
3) Apostrophe - Fernando speaks to himself in order to provide the reader insight into his inner-thoughts. Hurston uses apostrophe to voice Janie's doubt about Tea Cake in the story.
4) Situational irony - Two members of the Adams family die due to electrocution which is ironic because they discovered breakthroughs in the electrical field. This is similar to Hurston's use of situational irony after the malnourished mule dies from overeating.
Tuesday, February 15, 2011
Journal #8
Journal #8: Find quotations for three different stylistic attributes of Hurston's writing. Explain the context of the passage (where does it occur in the book, what is happening, who is involved). Identify and describe the literary technique used in the the passage, and explain how you think it affects the text and how you read it
"So he didn't come that night and she laid in bed and pretended to think scornfully of him. 'Bet he's hangin' round some jook or 'nother. Glad Ah treated him cold. Whut do Ah want wid some trashy nigger out de streets? Bet he's livin' wid some woman or 'nother and takin' me for uh fool. Glad Ah caught myself in time.' She tried to console herself that way." (106) In this passage Janie is already in the midst of some sort of relationship with Tea Cake. She begins to develop feelings for Tea Cake but she first experiences the "fiend from hell" (108) known as Doubt. The passage takes place at night while Janie talks to herself; she tries to convince herself that Tea Cake isn't as worth it as he seems. This literary technique, known as apostrophe, provides insight into Janie's thoughts and feelings through dialogue involving only herself. This technique is more effective than normal narration because the reader feels more connected to Janie because they learn her inner-thoughts.
"It was so crazy digging worms by lamp light and setting out for Lake Sabelia after midnight that she felt like a child breaking rules. That's what made Janie like it. They caught two or three and got home just before day. Then she had to smuggle Tea Cake out by the back gate and that made it seem like some great secret she was keeping from the town" (102). In this passage Tea Cake convinces Janie that the moon (nature) is so nice that they should spend the night enjoying it. Tea Cake and Janie go out to catch fish and return by day break. The literary technique that Hurston uses in this passage is the motif of gates. The motif is very effective at this part of the book because Janie had never let anyone past the gate before. She kissed Johnny Taylor over her gate and prevented Logan and Jody from even getting past the symbolic gate. The fact that she allowed Tea Cake into the gate shows the reader that Janie is opening up to Tea Cake and that he is different from the other males in her life.
"Tea Cake and Janie gone hunting. Tea Cake and Janie gone fishing. Tea Cake and Janie gone to Orlando to the movies. Tea Cake and Janie gone to a dance. Tea Cake making flower beds in Janie's yard and seeding the garden for her. Chopping down that tree she never did like by the dining room window. All those signs of possession" (110). This passage is neat for a couple of reasons. The passage is written at the beginning of chapter 12 and is told by a narrator. However, Hurston uses a couple of literary techniques here. She uses ambiguity as well as simple sentences. The ambiguity takes effect because the reader doesn't know who is voicing their opinions. From context it seems like the community is criticizing Janie but Janie is the person narrating the story which makes it odd. This is important because Hurston also does not clarify who possesses who. Hurston's ambiguity leaves the reader wanting more and it also invokes questions from the reader. As for the simple sentences, Hurston uses mainly simple sentences in the passage in order to clearly and effectively communicate her ideas. I think she uses simple sentences in order to emphasize the importance of what she is saying.
"So he didn't come that night and she laid in bed and pretended to think scornfully of him. 'Bet he's hangin' round some jook or 'nother. Glad Ah treated him cold. Whut do Ah want wid some trashy nigger out de streets? Bet he's livin' wid some woman or 'nother and takin' me for uh fool. Glad Ah caught myself in time.' She tried to console herself that way." (106) In this passage Janie is already in the midst of some sort of relationship with Tea Cake. She begins to develop feelings for Tea Cake but she first experiences the "fiend from hell" (108) known as Doubt. The passage takes place at night while Janie talks to herself; she tries to convince herself that Tea Cake isn't as worth it as he seems. This literary technique, known as apostrophe, provides insight into Janie's thoughts and feelings through dialogue involving only herself. This technique is more effective than normal narration because the reader feels more connected to Janie because they learn her inner-thoughts.
"It was so crazy digging worms by lamp light and setting out for Lake Sabelia after midnight that she felt like a child breaking rules. That's what made Janie like it. They caught two or three and got home just before day. Then she had to smuggle Tea Cake out by the back gate and that made it seem like some great secret she was keeping from the town" (102). In this passage Tea Cake convinces Janie that the moon (nature) is so nice that they should spend the night enjoying it. Tea Cake and Janie go out to catch fish and return by day break. The literary technique that Hurston uses in this passage is the motif of gates. The motif is very effective at this part of the book because Janie had never let anyone past the gate before. She kissed Johnny Taylor over her gate and prevented Logan and Jody from even getting past the symbolic gate. The fact that she allowed Tea Cake into the gate shows the reader that Janie is opening up to Tea Cake and that he is different from the other males in her life.
"Tea Cake and Janie gone hunting. Tea Cake and Janie gone fishing. Tea Cake and Janie gone to Orlando to the movies. Tea Cake and Janie gone to a dance. Tea Cake making flower beds in Janie's yard and seeding the garden for her. Chopping down that tree she never did like by the dining room window. All those signs of possession" (110). This passage is neat for a couple of reasons. The passage is written at the beginning of chapter 12 and is told by a narrator. However, Hurston uses a couple of literary techniques here. She uses ambiguity as well as simple sentences. The ambiguity takes effect because the reader doesn't know who is voicing their opinions. From context it seems like the community is criticizing Janie but Janie is the person narrating the story which makes it odd. This is important because Hurston also does not clarify who possesses who. Hurston's ambiguity leaves the reader wanting more and it also invokes questions from the reader. As for the simple sentences, Hurston uses mainly simple sentences in the passage in order to clearly and effectively communicate her ideas. I think she uses simple sentences in order to emphasize the importance of what she is saying.
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| Death and simple sentences. |
Monday, February 14, 2011
Journal # 7
Journal #7: Create a pastiche, matching Hurston' style and themes as closely as possible.
Ultimately James began to think of Puberty. Puberty, that relentless beast with the blood red eyes who lives within each individual. The reserved one who lives in the open, waiting for its unexpected victims. What need has Puberty for a disguise and what resistance can face it? It overlooks the world, invisible to all. Crouches intently and motionless for years by the tree with its claws drawn back, waiting for a signal to pounce. Been crouching before there was a when, only staying with each victim briefly. He was likely going to have to find some oil for the squeaky door. He was reluctant yet excited. Unfortunate Chris! He should not be the only one to experience this! He had a plethora of options to help the youngin', but he refused. They told him it was a cycle, repetition, but they had forgotten how it felt. It would be okay once he oiled the squeaky door. That's all that was broken. That's all that was necessary. But the tree outside begged for water. Even if he had, time had turned their backs on them. It had changed the landscape for the rest of eternity. It just crouched by the tree and waited. Water, the patient instigator, had escaped once again.
To match Hurston's writing style, I used (besides the same sentence structure) personification, ambiguity and varied my choice of verbs and nouns. I attempted to hit on the motifs of trees and circles.
Ultimately James began to think of Puberty. Puberty, that relentless beast with the blood red eyes who lives within each individual. The reserved one who lives in the open, waiting for its unexpected victims. What need has Puberty for a disguise and what resistance can face it? It overlooks the world, invisible to all. Crouches intently and motionless for years by the tree with its claws drawn back, waiting for a signal to pounce. Been crouching before there was a when, only staying with each victim briefly. He was likely going to have to find some oil for the squeaky door. He was reluctant yet excited. Unfortunate Chris! He should not be the only one to experience this! He had a plethora of options to help the youngin', but he refused. They told him it was a cycle, repetition, but they had forgotten how it felt. It would be okay once he oiled the squeaky door. That's all that was broken. That's all that was necessary. But the tree outside begged for water. Even if he had, time had turned their backs on them. It had changed the landscape for the rest of eternity. It just crouched by the tree and waited. Water, the patient instigator, had escaped once again.
To match Hurston's writing style, I used (besides the same sentence structure) personification, ambiguity and varied my choice of verbs and nouns. I attempted to hit on the motifs of trees and circles.
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| I WHIP MY EARS BACK 'N' FORTH. |
Saturday, February 12, 2011
Journal #6
Journal #6: Read closely Janie's description of Death in chapter 8. Make a list of the stylistic choices Hurston makes in the passage that begins "Death, that strange bird with the huge square toes..." and ends with "Rumor, that wingless bird..." Along with listing the decisions Hurston makes in this passage, identify the effect of each of each of these decisions. You can do this in list form: technique/stylistic choice, effect, technique, effect, etc
Technique #1: Hurston re-uses the pattern of "high elevation" while describing Death.
Effect - She illustrates Death's superiority over Jody because although Jody's high house overlooked the town, Death's high house overlooked the world.
Technique #2: Hurston references the motif of nature and how nature does not have an effect on Death.
Effect - Nature, which is a parallel to/symbolizes Janie, is powerless to prevent Jody's death.
Technique #3: Hurston refers to Death as a "him".
Effect - Janie still maintains her views that women are inferior to males. Larger figures like the sun and Death are considered masculine and show Janie's powerlessness.
Technique #4: Hurston alludes to page 62 where the buzzards wait in the tree for the mule ceremony to be over.
Effect - Establishes another connection between humans and animals/insects. The buzzards, just like the citizens of the town, wait for a larger, more important figure to act before they themselves take action.
Technique #5: Hurston foreshadows Jody's death through the citizens' actions.
Effect - As they gain the nerve to approach the Starks' house, a feat that they never would have done, Hurston shows that Jody's control over the citizens, as well as Janie, is weakening.
Technique #6: Hurston contradicts herself when she says a feather from his wings would lay in Janie's yard and then she says that "Rumor, that wingless bird, had shadowed over the town.
Effect - It is a possibility that Hurston is making a distinction between the two "birds" she is talking about. Maybe it's only one bird. However, it raises the question of what Hurston really meant.
Technique #7: Hurston gives Death human characteristics and personifies him.
Effect - Death becomes a tangible idea which the reader can picture. Hurston invokes different reactions from the reader by giving Death human characteristics as well as considering him a godlike figure.
Technique #8: Hurston is very ambiguous with her language in the passage.
Effect - Her ambiguity leaves the reader wanting more clarification, more specificity.
Technique #9: Hurston chooses to write in a righteous tone in the first half of the passage.
Effect - Provides insight from the narrator/Janie's point of view that Jody is receiving judgment for his past actions toward Janie.
Technique #10: Hurston decides to have Janie send Sam in to visit Jody and not have Janie visit Jody herself.
Effects - Shows the internal conflict Janie is struggling with regarding her anger and pity towards Jody.
Commented on Anthony Nguyen, Sean Sakaguchi and Megan Davis's blog.
Technique #1: Hurston re-uses the pattern of "high elevation" while describing Death.
Effect - She illustrates Death's superiority over Jody because although Jody's high house overlooked the town, Death's high house overlooked the world.
Technique #2: Hurston references the motif of nature and how nature does not have an effect on Death.
Effect - Nature, which is a parallel to/symbolizes Janie, is powerless to prevent Jody's death.
Technique #3: Hurston refers to Death as a "him".
Effect - Janie still maintains her views that women are inferior to males. Larger figures like the sun and Death are considered masculine and show Janie's powerlessness.
Technique #4: Hurston alludes to page 62 where the buzzards wait in the tree for the mule ceremony to be over.
Effect - Establishes another connection between humans and animals/insects. The buzzards, just like the citizens of the town, wait for a larger, more important figure to act before they themselves take action.
Technique #5: Hurston foreshadows Jody's death through the citizens' actions.
Effect - As they gain the nerve to approach the Starks' house, a feat that they never would have done, Hurston shows that Jody's control over the citizens, as well as Janie, is weakening.
Technique #6: Hurston contradicts herself when she says a feather from his wings would lay in Janie's yard and then she says that "Rumor, that wingless bird, had shadowed over the town.
Effect - It is a possibility that Hurston is making a distinction between the two "birds" she is talking about. Maybe it's only one bird. However, it raises the question of what Hurston really meant.
Technique #7: Hurston gives Death human characteristics and personifies him.
Effect - Death becomes a tangible idea which the reader can picture. Hurston invokes different reactions from the reader by giving Death human characteristics as well as considering him a godlike figure.
Technique #8: Hurston is very ambiguous with her language in the passage.
Effect - Her ambiguity leaves the reader wanting more clarification, more specificity.
Technique #9: Hurston chooses to write in a righteous tone in the first half of the passage.
Effect - Provides insight from the narrator/Janie's point of view that Jody is receiving judgment for his past actions toward Janie.
Technique #10: Hurston decides to have Janie send Sam in to visit Jody and not have Janie visit Jody herself.
Effects - Shows the internal conflict Janie is struggling with regarding her anger and pity towards Jody.
Commented on Anthony Nguyen, Sean Sakaguchi and Megan Davis's blog.
Journal #5
Journal #5: Post your thesis statement. Be sure it addresses what stylistic choice Hurston made, what the effect of that choice is, and why she would create that effect.
Zora Neal Hurston's plot uses the reoccurring events of Janie's marriages as a method to illustrate how Janie is entrenched within a cycle of oppression and unhappiness. Hurston shows that it is only when Janie breaks the cycle of her marriages that she becomes empowered as a woman.
Zora Neal Hurston's plot uses the reoccurring events of Janie's marriages as a method to illustrate how Janie is entrenched within a cycle of oppression and unhappiness. Hurston shows that it is only when Janie breaks the cycle of her marriages that she becomes empowered as a woman.
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| It's sort of related to a cycle. A circle? Meh. |
Thursday, February 10, 2011
Journal #4
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| Don't retire so soon Mr. Sloan |
The first thing I noticed that MIGHT be a pattern is the appearance of the mule and the parallels it shares with Janie/women in general.
Example 1: The pattern first shows itself on page 14, as Nanny speaks to Janie: "De nigger women is de mule uh de world so fur as Ah can see. Ah been prayin' fuh it tuh be different wid you."
Example 2: Janie sees the mule being abused by the men and disapproves on page 56.
"Everybody was having fun at the mule-baiting. All but Janie. She snatched her head away from the spectacle and began muttering to herself. 'They oughta be shamed uh theyselves! Teasin' dat poor brute beast lak they is!'" (56).
Example 3: Jody sees how Janie relates to the mule and crushes her buying the mule from Matt. He kills two bird with one stone by showing his wealth as well as symbolically "buying" the mule and therefore Janie. (although I think that was analysis. :( )
"Freein' dat mule makes uh mighty big man outa you. Something like George Washington and Lincoln. [...] You got uh town so you freed uh mule. You have tuh have power tuh free things and dat makes you lak uh king uh something" (58).
The second pattern that I noticed is the appearance of Janie's hair in the literature whenever her sexuality/individuality is brought into play.
Example 1: When the males in the town check Janie out as she returns home on page 2, one of the first things they notice is her hair.
"The men noticed her firm buttocks like she had grape fruits in her hip pockets; the great rope of black hair swinging to her waist and unraveling in the wind like a plume; then her pugnacious breasts trying to bore holes in her shirt" (2).
Example 2: As Janie realizes that her marriage with Logan is failing on page 26, she first brings up her hair.
"Long before the year was up, Janie noticed that her husband had stopped talking in rhymes to her. He had ceased to wonder at her long black hair and finger it" (26).
Example 3: When Jody attempts to control Janie, he first targets her hair.
"Her hair was NOT going to show in the store. It didn't seem sensible at all. That was because Joe never told Janie how jealous he was. He never told her how often he had seen the other men figuratively wallowing in it as she went about things in the store" (55).
A possible third pattern present in the story might be the "coldness" she feels toward her husbands.
Example 1: When Jody denies Janie the right to give a speech on page 43.
"It must have been the way Joe spoke out without giving her a chance to say anything one way or another that took the bloom off of things. Buy anyway, she went down the road behind him that night feeling cold" (43).
Example 2: Janie experiences the "coldness" during one of her talks with Jody on page 46.
"'You oughta be glad, 'cause dat makes uh big woman outa you.' A feeling of coldness and fear took hold of her. She felt far away from things and lonely'' (46)
Wednesday, February 9, 2011
Journal #3
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| Lena Mary Calhoun Horne |
Lena Mary Calhoun Horne was born on June 30, 1917 in Brooklyn, New York; she died on May 9, 2010 in New York City. Lena Horne played a significant role during the Harlem Renaissance. As a successful, singer, actress, dancer and civil rights activist, Horne was able to be a role mole for younger black females. After her successful start at the famous Cotton Club at the age of 16, Horne moved to Hollywood in order to pursue a career in acting. She surprised many whites in Hollywood when she refused to play any roles that stereotyped black women. Horne starred in a one woman show, called "Lena Horne: The Lady and Her Music," at the age of 73 before finally ending her career. Horne's achievements helped the Harlem Renaissance become what it is today.
Dialect:
1) Pronunciation
a) “th” → “da” (think → dink)
b) no “k” sounds in the middle of the word. Ex: (Me like it → Me lie it)
c) no “s” sound at the end of the word. Ex: (She hits him → She hit him)
d) ”v” → “b” (violin → biolin)
e) soft “t” sounds. Ex: (better-bedder)
f) "l" and "ll" → "r" (I love you → me rove you)
2) Grammar
a) No prepositions. Ex: (I have worked for a long time. I have a lot of experience → I have work long time. I have lot experience.)
b) Unnecessary "the's" are added into the middle of sentences. Ex: (I eat rice sometimes → I eat the rice sometime)
c) Always speaks in third person (I love you → Me rove you)
3) Vocabulary
a) Banana - Americanized Asian person.
b) Kongbiet - I don't know.
c) Ghutbai - Of course.
Conversation:
"Thank you for coming out to watch the show. Hope to see you back again," called Lena. The crowd roared. Lena Horne was on top of the world.
"You see dat girl? Me go see her now," bragged Chad to his friend. Chad flashed the bodyguard his backstage pass and waited outside of Lena's door. Minutes passed, but nothing happened. Chad scrapped on the door. "Herro?"
"Come in," called Lena.
"My name the Chad. Me lie your show. Me dink dat you the preddy girl the whole world," exclaimed Chad.
"Why thank you sweet thang. Where are you from?" asked Lena.
"Me come all de way from far away place New Jersey. Your bodyguard call me 'banana'. Whaddat mean?" asked Chad.
"New Jersey isn't too far from here. Did you come just to see me? And did Tyson really say that? I don't know what it means but I will talk to him later about it," promised Lena.
"Girlfriend Nooki take me here. Good she do. Me no want her no more but kongbiet what to do," confessed Chad.
"I'm sorry what? I couldn't catch the last thing you said, hun," said Lena.
"Me say kongbiet what to do," repeated Chad.
"Are you speaking English?" asked Lena.
"Ghutbai!" exclaimed Chad.
"Well that was rude. Goodbye to you sir," cried Lena. She closed the door. "And to think, I was going to ask you if you wanted to go out later tonight. Hmph!"
"Why you go? No help me? Me robe you!" whimpered Chad. His night was over.
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