To what extent have you found it possible, in your consideration of literary works, to separate the individual from his or her public role? In you answer you should refer to any two or three works you have studied.
My own ability to create separation between the individual and their public role actually varies between the plays way more than I thought it would. Specifically, I find it much easier to create this distinction in The Wild Duck than in Blood Wedding. In The Wild Duck the setting is much more domestic and there is little time spent where the characters actually perform their stated roles. There are a few instances, such as Hjalmar retouching the photographs, but for the most part there is little mention of individual's occupations. The characters come to be associated their ideas and traits as a whole rather than what they actually do. A good example is the character of Relling, who we never see doing any doctoring except when he declares Hevig to be dead. Instead of being confined to his role as a doctor Relling becomes defined by his attitudes and the opinions he shares with others. By not portraying his occupation as a major facet of his character Ibsen allows Relling to break away from the usual connotations of a doctor (nurturing, protective, kind, etc.) and fleshed him out as a character with a unique worldview.
I find that Blood Wedding is the exact opposite in this regard, it is much harder to separate individuals from what we see to be as their public role. I think the major factor contributing to this effect is Lorca's use of titles as opposed to names. The only named character in the play is Leonardo and it really feels like he is the only person with very many unique traits or opinions. By using the titles Lorca purposely evokes the connotations for each character and plays off of them. In the case of the Bride, Lorca first plays straight most of the connotations of an actual bride; the Bride is soft-spoken and demure when speaking to the Bridegroom and his mother, giving a sense of purity usually associated with weddings and brides. This changes when the Bride and her Maid are alone, the Bride's language transforms and takes on a much harsher tone. This tone clashes with her previous demeanor and the connotations the Lorca just played off of are now being averted. Although this contrast creates a lot of characterization for the Bride the image that is created is a jarring one. The image of a bride interferes with our overall perception of how she should behave, altering our view on her and her actions
Thursday, May 26, 2011
Tuesday, May 24, 2011
Tragedy Unit- Comments
In response to Jarrad's Journal 5 (Wild Duck)
I agree Jarrad. I would also like to point out the fact that, at least in Oedipus, the audience already has knowledge of how the story will play out. This provides a greater focus on Sophocles as a playwright. Otherwise good stuff.
In response to Travis' Journal 6 (Wild Duck)
I agree that often an author can manipulate the mundane to great effect but I also believe that every event included plays a highly significant role. You mentioned conversation as an example of the mundane but when in a tragedy has a conversation between two characters revealed absolutely nothing? You never see anybody just shooting the breeze and awkwardly talking about the weather, instead each conversation serves to foreshadow, characterize or advance the plot. Even though talking might not be action-packed, the exchanges we see in tragedies are a far cry from a conversation you might have with a friend.
In response to Hannah Taylor's Journal 6 (Wild Duck)
I would disagree that the plot of Oedipus the King was unimportant. Although his character traits are important, his actions (the premise of the plot) are really what defines him. His life, from birth when he was thrown out to his own punishment of blindness can be traced back to the driving force of the plot (the gods, fate, etc.) And ultimately, if you were to ask someone who Oedipus was they would immediately begin to reference his achievements, failures, etc, rather than his personality.
I agree Jarrad. I would also like to point out the fact that, at least in Oedipus, the audience already has knowledge of how the story will play out. This provides a greater focus on Sophocles as a playwright. Otherwise good stuff.
In response to Travis' Journal 6 (Wild Duck)
I agree that often an author can manipulate the mundane to great effect but I also believe that every event included plays a highly significant role. You mentioned conversation as an example of the mundane but when in a tragedy has a conversation between two characters revealed absolutely nothing? You never see anybody just shooting the breeze and awkwardly talking about the weather, instead each conversation serves to foreshadow, characterize or advance the plot. Even though talking might not be action-packed, the exchanges we see in tragedies are a far cry from a conversation you might have with a friend.
In response to Hannah Taylor's Journal 6 (Wild Duck)
I would disagree that the plot of Oedipus the King was unimportant. Although his character traits are important, his actions (the premise of the plot) are really what defines him. His life, from birth when he was thrown out to his own punishment of blindness can be traced back to the driving force of the plot (the gods, fate, etc.) And ultimately, if you were to ask someone who Oedipus was they would immediately begin to reference his achievements, failures, etc, rather than his personality.
Monday, May 23, 2011
The Wild Duck - Journal 3
Point of View/Characters: From whose point of view is the story told? Does this change? How reliable is the narrative voice? How well does the reader get to know the characters? How credible are they? How are they presented? How does the writer persuade us to like/sympathize with some characters and dislike others?
The Wild Duck does not have a true narrator or point of view from which the story is told. Instead the audience is allowed to observe the scenes in a more naturalistic way. This is evidenced in the fact that there are no characters that appear continuously throughout the play, instead the focus shifts between different moments and individuals that serve to give the audience a greater understanding of all of the characters (as opposed to Oedipus the King, where the titular character is the focus of the plot and provides the point of reference for the story). One thing in particular I find interesting about this shifting of focus away from an individual is how it really brings to light the characteristics of every character. The audience is never given a traditional protagonist to latch onto throughout the play and instead must connect with multiple characters of varying viewpoints. The only weakness to this is that it can be hard to judge the different characters (along with their views/philosophies) all at once.
Ibsen definitely attempts to influence the audience in how they see and connect with various characters. The best example of this is Werle, he only appears very little and his only real actions are his arguments with Gregers. At first it would be easy to write him off as malicious or cold-hearted, but he is obviously more complex than that. Our perceptions of him are tainted by Gregers arguments against him, that he(Werle) is to blame for the downfall of the Ekdal family and only serves his own self interests. But looking beyond just his interactions with Gregers it can be seen that Werle could have multiple character interpretations. Without the character of Gregers to insinuate his (possible) ulterior motives, both the audience and Hjalmar could take various actions as hints of kindness. For example, Werle's gift to the elder Ekdal could be seen as compassion for an old friend. Another interesting point to look at when considering Werle is his relationship with Mrs. Sorbe, there is obviously a caring connection between the two and Mrs. Sorbe comments on the matter supports this. Ironically, Werle, who Gregers hates, is the closest one to having Greger's "true" marriage, suggesting that in actuality Werle is a much better person than Gregers makes him out to be.
The Wild Duck does not have a true narrator or point of view from which the story is told. Instead the audience is allowed to observe the scenes in a more naturalistic way. This is evidenced in the fact that there are no characters that appear continuously throughout the play, instead the focus shifts between different moments and individuals that serve to give the audience a greater understanding of all of the characters (as opposed to Oedipus the King, where the titular character is the focus of the plot and provides the point of reference for the story). One thing in particular I find interesting about this shifting of focus away from an individual is how it really brings to light the characteristics of every character. The audience is never given a traditional protagonist to latch onto throughout the play and instead must connect with multiple characters of varying viewpoints. The only weakness to this is that it can be hard to judge the different characters (along with their views/philosophies) all at once.
Ibsen definitely attempts to influence the audience in how they see and connect with various characters. The best example of this is Werle, he only appears very little and his only real actions are his arguments with Gregers. At first it would be easy to write him off as malicious or cold-hearted, but he is obviously more complex than that. Our perceptions of him are tainted by Gregers arguments against him, that he(Werle) is to blame for the downfall of the Ekdal family and only serves his own self interests. But looking beyond just his interactions with Gregers it can be seen that Werle could have multiple character interpretations. Without the character of Gregers to insinuate his (possible) ulterior motives, both the audience and Hjalmar could take various actions as hints of kindness. For example, Werle's gift to the elder Ekdal could be seen as compassion for an old friend. Another interesting point to look at when considering Werle is his relationship with Mrs. Sorbe, there is obviously a caring connection between the two and Mrs. Sorbe comments on the matter supports this. Ironically, Werle, who Gregers hates, is the closest one to having Greger's "true" marriage, suggesting that in actuality Werle is a much better person than Gregers makes him out to be.
The Wild Duck - Journal 2
“What is drama but life with the dull bits cut out?” To what extent do you find this statement applicable in at least two plays you have studied?
I would tend to agree with the above statement. I find that although dramatic works may not be action-packed all of the time, every action and conversation propel the plot forward or in some way serve to build upon or influence an individuals views and ideals. Take, for example, The Wild Duck. It would be hard to claim that the plot within the play is filled with a large deal of action and excitement, on first inspection it would be quite easy to pass of the play as uninteresting, or "dull". But looking closer to the conversations and interplay between characters you can see that this is fact a dynamic and (if not exciting) important point within the lives of these individuals. The introductory act of the play serves to confirm this view; Gregers, one of the main characters, returns to his father's home after a long time away. Simply the non-ordinary occurrence of his homecoming propels the events of the play away from the dullness of everyday life. Gregers finds and creates conflict between both himself and his father as well in the Edkal household. Each conversation, although maybe not actively engaging to us, is a continual revelation of hidden truths and individual views that can and do have a profound impact on how they view the world and each other. It would be hardly apt to call what is revealed to Hjalmar dull when compared to what we can assume of the rest of his life is like.
The dramatic elements of Oedipus The King are more evident at first glance. Rather than deal with the day to day events preceding the crisis that Oedipus faces, the play begins with the citizenry of Thebes beseeching Oedipus for assistance. The plot of the play then takes over and Oedipus is absorbed in finding out the truth of Laius' murder and Oedipus' own birth. Again, the play contains more dialogue than actual action but we can easily see the significance of the conversations that take place, each serves to reveal another clue to Oedipus or set up his eventual self punishment. At no point in either of the plays is there any need for frivolous actions or conversations, this is true of both theater and any other medium. The fact that we can find meaning any significance in every action and spoken word illuminates that life with these dramas is never dull, the authors present an engaging world for an audience in order to more clearly and effectively portray their own thoughts.
I would tend to agree with the above statement. I find that although dramatic works may not be action-packed all of the time, every action and conversation propel the plot forward or in some way serve to build upon or influence an individuals views and ideals. Take, for example, The Wild Duck. It would be hard to claim that the plot within the play is filled with a large deal of action and excitement, on first inspection it would be quite easy to pass of the play as uninteresting, or "dull". But looking closer to the conversations and interplay between characters you can see that this is fact a dynamic and (if not exciting) important point within the lives of these individuals. The introductory act of the play serves to confirm this view; Gregers, one of the main characters, returns to his father's home after a long time away. Simply the non-ordinary occurrence of his homecoming propels the events of the play away from the dullness of everyday life. Gregers finds and creates conflict between both himself and his father as well in the Edkal household. Each conversation, although maybe not actively engaging to us, is a continual revelation of hidden truths and individual views that can and do have a profound impact on how they view the world and each other. It would be hardly apt to call what is revealed to Hjalmar dull when compared to what we can assume of the rest of his life is like.
The dramatic elements of Oedipus The King are more evident at first glance. Rather than deal with the day to day events preceding the crisis that Oedipus faces, the play begins with the citizenry of Thebes beseeching Oedipus for assistance. The plot of the play then takes over and Oedipus is absorbed in finding out the truth of Laius' murder and Oedipus' own birth. Again, the play contains more dialogue than actual action but we can easily see the significance of the conversations that take place, each serves to reveal another clue to Oedipus or set up his eventual self punishment. At no point in either of the plays is there any need for frivolous actions or conversations, this is true of both theater and any other medium. The fact that we can find meaning any significance in every action and spoken word illuminates that life with these dramas is never dull, the authors present an engaging world for an audience in order to more clearly and effectively portray their own thoughts.
The Wild Duck - Journal 1
“Visual action can be as important on the stage as speech.” How far do you agree with this claim? In you answer you should refer to two or three plays you have studied.
I would agree to this claim to a pretty large extent, theater in itself is a visual medium, the audience can the actions taken by individual characters and these movements can inform the plot, characters and even themes. Oedipus the King and The Wild Duck use stage directions of differing magnitudes to achieve separate but substantial effects.
In The Wild Duck, Ibsen's stage directions are very detailed, fully describing both the settings in which the play takes place and almost every action and word spoken by the characters. This excessive direction would, in a theater, give the director and actors very little ability to change their portrayals of the characters and themes and force them to stick to an authentic version of Ibsen's vision. Within the play, especially when reading it, the stage directions serve to create a more fleshed out and detailed scene for the audience to connect with. The directions allow for greater depth in the portrayal of Ibsen's ideas. It is as if you are looking in on an actual family with lives removed from the play rather than watching actors stand and speak with little motion or backdrop.
Oedipus the King is more traditional in regards to the use of stage directions. They are sparse and simplistic and portray mostly the entrances and exits with few descriptions of specific character actions. It is in these actions that I believe we can find significance, for Sophocles to have included them they must of held some sort of importance. An example of this is when Oedipus is questioning a messenger and he references Laius, here the stage directions indicate that "Jocasta turns sharply". This simple action stands out in a play that has little depicted action within it and thus gains importance. Jocasta has not been shown to have any knowledge of the blood relations between herself and Oedipus and here, in the visual action upon the stage, it is suggested the possibility has dawned on her and from this point her attitude toward the whole investigation changes.
I would agree to this claim to a pretty large extent, theater in itself is a visual medium, the audience can the actions taken by individual characters and these movements can inform the plot, characters and even themes. Oedipus the King and The Wild Duck use stage directions of differing magnitudes to achieve separate but substantial effects.
In The Wild Duck, Ibsen's stage directions are very detailed, fully describing both the settings in which the play takes place and almost every action and word spoken by the characters. This excessive direction would, in a theater, give the director and actors very little ability to change their portrayals of the characters and themes and force them to stick to an authentic version of Ibsen's vision. Within the play, especially when reading it, the stage directions serve to create a more fleshed out and detailed scene for the audience to connect with. The directions allow for greater depth in the portrayal of Ibsen's ideas. It is as if you are looking in on an actual family with lives removed from the play rather than watching actors stand and speak with little motion or backdrop.
Oedipus the King is more traditional in regards to the use of stage directions. They are sparse and simplistic and portray mostly the entrances and exits with few descriptions of specific character actions. It is in these actions that I believe we can find significance, for Sophocles to have included them they must of held some sort of importance. An example of this is when Oedipus is questioning a messenger and he references Laius, here the stage directions indicate that "Jocasta turns sharply". This simple action stands out in a play that has little depicted action within it and thus gains importance. Jocasta has not been shown to have any knowledge of the blood relations between herself and Oedipus and here, in the visual action upon the stage, it is suggested the possibility has dawned on her and from this point her attitude toward the whole investigation changes.
Oedipus - Journal 3
Diary,
I know not what I shall do, for my life has become unto the greatest sin. The gods, led me along with that accursed prophecy, mocking my blindness to my fate. And it is now that an an actual blindness has been chosen, in my one act of self determination, as my mortal punishment. Imprisoned within the recesses of my mind I have no sense but all is calm, clear to me. The divine have chosen my soul as a savior and scapegoat, destined my mortal soul to an unknowing horror, whose grand intentions and precautionary measures wither to ruin. And my poor children! Antigone and Eteocles! Ismene and Polynices! Woe to you that has been a product of such a monstrous union of man and mother. I hold no doubt in my breast that no good will come of your lives, the only escape in following blood's course: suicide of the mother or self ordained imprisonment of the father.
Now I become a hermit and nomad, exiled from the ancient land and populace I won through my own merit and skill. There is no path for my eyes or mind to follow in my exile, the gods' prophecy holds no more weight on my actions but the implications of my atrocity will haunt me until the end of my days. The sin bears heavily about me, both physically and within my spirit, it is slowly draining my life but death is my greatest fear and punishment; for to die is to face my parents, my father whom I killed in coldest blood and my mother who I defiled in ignorance. Better to live; deaf, dumb and blind; than to face the judgement of the gods and see those that my prophetic actions have ruined. I must wander, healing and atoning for my misdeeds. I can only hope that my fears concerning my children never come to pass, but this in itself is too great a gift for the divine to bestow on a miserable figure such as myself. I weep for their eventual failures, caused by my tainted blood.
Oedipus
I know not what I shall do, for my life has become unto the greatest sin. The gods, led me along with that accursed prophecy, mocking my blindness to my fate. And it is now that an an actual blindness has been chosen, in my one act of self determination, as my mortal punishment. Imprisoned within the recesses of my mind I have no sense but all is calm, clear to me. The divine have chosen my soul as a savior and scapegoat, destined my mortal soul to an unknowing horror, whose grand intentions and precautionary measures wither to ruin. And my poor children! Antigone and Eteocles! Ismene and Polynices! Woe to you that has been a product of such a monstrous union of man and mother. I hold no doubt in my breast that no good will come of your lives, the only escape in following blood's course: suicide of the mother or self ordained imprisonment of the father.
Now I become a hermit and nomad, exiled from the ancient land and populace I won through my own merit and skill. There is no path for my eyes or mind to follow in my exile, the gods' prophecy holds no more weight on my actions but the implications of my atrocity will haunt me until the end of my days. The sin bears heavily about me, both physically and within my spirit, it is slowly draining my life but death is my greatest fear and punishment; for to die is to face my parents, my father whom I killed in coldest blood and my mother who I defiled in ignorance. Better to live; deaf, dumb and blind; than to face the judgement of the gods and see those that my prophetic actions have ruined. I must wander, healing and atoning for my misdeeds. I can only hope that my fears concerning my children never come to pass, but this in itself is too great a gift for the divine to bestow on a miserable figure such as myself. I weep for their eventual failures, caused by my tainted blood.
Oedipus
Oedipus - Journal 2
To what extent would you agree that plot should be valued more highly than style in the work. In you answer you should refer to two or three works you have studied.
I would agree in some cases that plot is more important than style when regarding a specific work, however this is wholly dependent on the work itself. In the tragic plays we are currently reading I believe the plot needs to be viewed in greater focus due their nature; a tragedy focuses on human suffering and their fall from happiness/power/etc. To do so a playwright must bring attention to the actions and occurrences that brought the individual to ruin. This is evident in Oedipus the King, Sophocles brings much of the focus on the plot. All of the characterization that goes on is based around the driving actions the propel the plot forward, for example Oedipus' well meaning but arrogant nature being explored in his declaration to hunt down Laius' killer. Sophocles use of literary techniques, namely foreshadowing and allusion, also supports this. Admittedly, the techniques are partially a reference to the common knowledge of the audience, but nevertheless they draw attention to the plot's ideas and direction. In contrast would a be a more serious novel such as The Stranger, which is designed to present ideas and views rather than to entertain. Here there is a much stronger case for a greater attention to style; the actual plot of The Stranger seems mundane but it is in the details of the novel that we are able to decipher Albert Camus' worldview. Our ideas and opinions of Meursault are formed to a greater extent through Camus' use of language than the actions taken by the characters; we learn more in Meursault's description of the beach and sun than through his (seemingly random) murder of the Arab. Ultimately it would be a fruitless effort to focus singularly on either plot or style, both must be considered to create a full understanding of the work. Although we may see Oedipus the King as plot driven, it must be understood that Sophocles was neither the first nor last to tell the story of Oedipus, and looking beyond plot can flesh out our understanding of the work.
I would agree in some cases that plot is more important than style when regarding a specific work, however this is wholly dependent on the work itself. In the tragic plays we are currently reading I believe the plot needs to be viewed in greater focus due their nature; a tragedy focuses on human suffering and their fall from happiness/power/etc. To do so a playwright must bring attention to the actions and occurrences that brought the individual to ruin. This is evident in Oedipus the King, Sophocles brings much of the focus on the plot. All of the characterization that goes on is based around the driving actions the propel the plot forward, for example Oedipus' well meaning but arrogant nature being explored in his declaration to hunt down Laius' killer. Sophocles use of literary techniques, namely foreshadowing and allusion, also supports this. Admittedly, the techniques are partially a reference to the common knowledge of the audience, but nevertheless they draw attention to the plot's ideas and direction. In contrast would a be a more serious novel such as The Stranger, which is designed to present ideas and views rather than to entertain. Here there is a much stronger case for a greater attention to style; the actual plot of The Stranger seems mundane but it is in the details of the novel that we are able to decipher Albert Camus' worldview. Our ideas and opinions of Meursault are formed to a greater extent through Camus' use of language than the actions taken by the characters; we learn more in Meursault's description of the beach and sun than through his (seemingly random) murder of the Arab. Ultimately it would be a fruitless effort to focus singularly on either plot or style, both must be considered to create a full understanding of the work. Although we may see Oedipus the King as plot driven, it must be understood that Sophocles was neither the first nor last to tell the story of Oedipus, and looking beyond plot can flesh out our understanding of the work.
Tuesday, May 17, 2011
Oedipus -Journal 1
Setting: This includes cultural as well as geographical and historical setting. What effect does the setting have on story, character, theme?
Oedipus takes place in the historic and religious lore of Ancient Greece. Sophocles, the playwright, lived in the fifth century BC and the events of the play supposedly took place well before his time. What I find interesting, historically, is the audience to which Sophocles writes. It is evident that he expected to only have the play performed in Greece (rather than surrounding countries such as Italy or Egypt across the Mediterranean) due the enormous amount of references to their mythology and history without any introduction or exposition. This is important to note because it gives an honest account of the ancient Greek worldview and mindset, Sophocles was unrestricted in writing as he catered to an audience of people with an understanding of Greek culture and religion and thus presents an accurate depiction of their values through his writing. The play itself takes place in Thebes, and while Sophocles had no real choice in his depiction of the setting Thebes plays a major role in how characters, specifically Oedipus are viewed. Thebes was one of the major city-states of Greece and one of the more commonly known locations to the average Greek and Oedipus, through his kingship is elevated greatly in importance. This importance is one of the greatest factors in creating the tragedy that befalls Oedipus, Greek Tragedy relies on a fall from power or virtue which would only occur to a much lesser extent if Oedipus was a lord or leader of a smaller town/city. Mythologically Thebes also plays an important role, the average Greek citizen at the time would have a limited knowledge of the locations within Greece so the well known setting provides an anchor point to which individuals can view the play.
Oedipus takes place in the historic and religious lore of Ancient Greece. Sophocles, the playwright, lived in the fifth century BC and the events of the play supposedly took place well before his time. What I find interesting, historically, is the audience to which Sophocles writes. It is evident that he expected to only have the play performed in Greece (rather than surrounding countries such as Italy or Egypt across the Mediterranean) due the enormous amount of references to their mythology and history without any introduction or exposition. This is important to note because it gives an honest account of the ancient Greek worldview and mindset, Sophocles was unrestricted in writing as he catered to an audience of people with an understanding of Greek culture and religion and thus presents an accurate depiction of their values through his writing. The play itself takes place in Thebes, and while Sophocles had no real choice in his depiction of the setting Thebes plays a major role in how characters, specifically Oedipus are viewed. Thebes was one of the major city-states of Greece and one of the more commonly known locations to the average Greek and Oedipus, through his kingship is elevated greatly in importance. This importance is one of the greatest factors in creating the tragedy that befalls Oedipus, Greek Tragedy relies on a fall from power or virtue which would only occur to a much lesser extent if Oedipus was a lord or leader of a smaller town/city. Mythologically Thebes also plays an important role, the average Greek citizen at the time would have a limited knowledge of the locations within Greece so the well known setting provides an anchor point to which individuals can view the play.
Sunday, April 10, 2011
WE - Journal 3, Topic A
"Well, what then? I'm waiting. Choose: the Operation and its hundred-percent happiness or..."
"I can't go on without you, I can't, I must not be without you," I said, or only thought it-- I don't know which-- but I-330 heard it.
"Yes, I know," she answered. And then, her hands still holding me by the shoulders, and her eyes not letting mine go: "In that case--until tomorrow. Tomorrow at twelve. Remember?"
"No. It's put off for one more day... The day after tomorrow..."
"Even better for us. At twelve. The day after tomorrow..."
I walked alone along the dusky street. The wind twirled, carrying and chasing me like a piece of paper. Fragments of cast-iron sky were flying down, flying down through infinity-- but they have a day or two to go... Oncoming unifs grazed against me but I walked alone. It was clear to me: everyone was saved, but there was to be no saving me, I don't want saving. (page 163)
I find this passage to be important because it is the first instance D-503 feels a distinct separation from the one state and understanding of its inherent issues. Before, D-503 acted out of obedience to whatever I-330 said out of love/desire for her, even when he had reservations about his actions. He is still thinking with the logical and precise manner of the One-State. Here, when forced to make a choice between his ideals/thoughts and his desire for I-330 he breaks down and realizes that he does not want to be a part of the society. I believe that he comes to the realization that the main problem with the one-state is that it devalues great portions of the human experience. While it provides happiness it ignores and blocks the rest of human emotions, (desire, sadness, creativity) and so, while he sees the value of the one-state and its "happiness" he understands that it is shallow and ultimately chooses to take a more organic, as well as more painful route.D-503 has shed himself of the mindset that has contained him throughout the novel and throughout his life, which is shown in Zamyatin's portrayal of the environment, near this point the book shifts describing the sky as calm and pristine with blue (representing the one-state) to a turbulent and violent mass (that mirrors his new emotional and turbulent style of thinking)
"I can't go on without you, I can't, I must not be without you," I said, or only thought it-- I don't know which-- but I-330 heard it.
"Yes, I know," she answered. And then, her hands still holding me by the shoulders, and her eyes not letting mine go: "In that case--until tomorrow. Tomorrow at twelve. Remember?"
"No. It's put off for one more day... The day after tomorrow..."
"Even better for us. At twelve. The day after tomorrow..."
I walked alone along the dusky street. The wind twirled, carrying and chasing me like a piece of paper. Fragments of cast-iron sky were flying down, flying down through infinity-- but they have a day or two to go... Oncoming unifs grazed against me but I walked alone. It was clear to me: everyone was saved, but there was to be no saving me, I don't want saving. (page 163)
I find this passage to be important because it is the first instance D-503 feels a distinct separation from the one state and understanding of its inherent issues. Before, D-503 acted out of obedience to whatever I-330 said out of love/desire for her, even when he had reservations about his actions. He is still thinking with the logical and precise manner of the One-State. Here, when forced to make a choice between his ideals/thoughts and his desire for I-330 he breaks down and realizes that he does not want to be a part of the society. I believe that he comes to the realization that the main problem with the one-state is that it devalues great portions of the human experience. While it provides happiness it ignores and blocks the rest of human emotions, (desire, sadness, creativity) and so, while he sees the value of the one-state and its "happiness" he understands that it is shallow and ultimately chooses to take a more organic, as well as more painful route.D-503 has shed himself of the mindset that has contained him throughout the novel and throughout his life, which is shown in Zamyatin's portrayal of the environment, near this point the book shifts describing the sky as calm and pristine with blue (representing the one-state) to a turbulent and violent mass (that mirrors his new emotional and turbulent style of thinking)
Wednesday, April 6, 2011
WE- Journal 2, Topic B
Inaudible, hasty droplets brimming over blue saucers, down her cheeks and words, hastily brimming over, too: "I can't anymore, I must go now... I won't ever come here again, never. But the only thing I want... All I need is a baby from you-- give me a baby and I will go, I'll go!"
I could see: she was all atremble under her unif, and I could feel myself start to -- I put my hands behind me and smiled: "What? Now you're after the machine of the Benefactor?"
And back at me with another word-torrent over a dam: "Fine! But, you see I would still get to feel it inside me. And even if I only get to see it for a few days... Just to see its little wrist-crease, just here-- like that baby on the stage. Just for one day!" (page 99)
With her relationship to D-503, O-90 presents a foil to the relationship between I-330 and D, showing affection rather than desire. There are specific attributes to each Cipher letter we see in the novel and O is consistently described as round in both appearance and in manner. The repeated use of circles and circular objects serves to reinforce D's view of her as simple and childlike, a circle is the simplest of shapes and O-90 is the simplest of the Ciphers in regards to logic and mathematical thinking. D's relationship with O after he meets I-330 is one of affection, he even says later in the novel that his feelings for her are akin to an ancient parent's feelings for their child. By having a childlike figure as one of the main characters, Zamyatin portrays O-90 feelings, emotions and desires and less calculated and more organic (she is also described as pink, which is strongly associated with sex- one of the most instinctual processes). Thus, her desire to create and hold onto a unique experience (Parenthood) is natural. It shows that humans inherently desire to create and produce for themselves. This is further compounded by D-503, who states his journal is created for the state. He, being logical and complex, is the opposite of an analog for innate human desire, and thus it is shown that the desire to create for society is merely a product of that society.
I could see: she was all atremble under her unif, and I could feel myself start to -- I put my hands behind me and smiled: "What? Now you're after the machine of the Benefactor?"
And back at me with another word-torrent over a dam: "Fine! But, you see I would still get to feel it inside me. And even if I only get to see it for a few days... Just to see its little wrist-crease, just here-- like that baby on the stage. Just for one day!" (page 99)
With her relationship to D-503, O-90 presents a foil to the relationship between I-330 and D, showing affection rather than desire. There are specific attributes to each Cipher letter we see in the novel and O is consistently described as round in both appearance and in manner. The repeated use of circles and circular objects serves to reinforce D's view of her as simple and childlike, a circle is the simplest of shapes and O-90 is the simplest of the Ciphers in regards to logic and mathematical thinking. D's relationship with O after he meets I-330 is one of affection, he even says later in the novel that his feelings for her are akin to an ancient parent's feelings for their child. By having a childlike figure as one of the main characters, Zamyatin portrays O-90 feelings, emotions and desires and less calculated and more organic (she is also described as pink, which is strongly associated with sex- one of the most instinctual processes). Thus, her desire to create and hold onto a unique experience (Parenthood) is natural. It shows that humans inherently desire to create and produce for themselves. This is further compounded by D-503, who states his journal is created for the state. He, being logical and complex, is the opposite of an analog for innate human desire, and thus it is shown that the desire to create for society is merely a product of that society.
Sunday, April 3, 2011
WE- Journal 1, Topic C
Again, something's not right here. Again, I've been talking to you, my unknown reader, as though ... well, let's say, as though you were my old comrade R-13, the poet with African lips, a person everyone knows. Meanwhile, you -- on the moon, on Venus, on Mars, on Mercury-- who knows you?
Here's the thing: imagine a quadrilateral-- a living, beautiful square. And this quadrilateral is asked to describe itself, its existence. But you see, the last thing that would occur to the quadrilateral mind would be to mention its four equal angles: it just doesn't see them--They're just a given, every day. Well, that's me, permanently in that same sort of quadrilateral predicament. Whether it's the business of the pink ticket or something similar: to me, it's all the equivalent of four angles, but for you, it may be more vividly evident than Newton's binomial theorem. (page 20)
I find this passage interesting because it helps to reveal deeper ideas within society than first may be assumed. When reading WE there is a strong sense of the conflict between individual and society and how the two interact. D-503 routinely states that everyone thinks and acts alike but the opposite is shown in his descriptions of other Ciphers. Each person he knows has specific attributes, many relating to their Cipher letter, and there is a distinct focus on the same features, (the mouth, for example) in which everyone is described differently. O has a round, pink mouth, R has African lips and I has white teeth. By differentiating between individuals Zamyatin may be suggesting that Individuality is not the main problem with their society. In this passage D-503 then goes on to describe how he cannot describe the society in which he lives precisely because he lives there, the connotations and experience prevent him from objectively explaining things. Because of this it may be possible that Zamyatin is speaking the impossibility of objectively judging society from within a showing an exaggerated case where no can see the problems all around them. I can definitely believe and relate to this, in America, where I have grown up I have trouble recognizing fundamental issues with the way things are designed or run, things have always been that way so I don't even see an alternative, it is as if the problem does not exist.
Here's the thing: imagine a quadrilateral-- a living, beautiful square. And this quadrilateral is asked to describe itself, its existence. But you see, the last thing that would occur to the quadrilateral mind would be to mention its four equal angles: it just doesn't see them--They're just a given, every day. Well, that's me, permanently in that same sort of quadrilateral predicament. Whether it's the business of the pink ticket or something similar: to me, it's all the equivalent of four angles, but for you, it may be more vividly evident than Newton's binomial theorem. (page 20)
I find this passage interesting because it helps to reveal deeper ideas within society than first may be assumed. When reading WE there is a strong sense of the conflict between individual and society and how the two interact. D-503 routinely states that everyone thinks and acts alike but the opposite is shown in his descriptions of other Ciphers. Each person he knows has specific attributes, many relating to their Cipher letter, and there is a distinct focus on the same features, (the mouth, for example) in which everyone is described differently. O has a round, pink mouth, R has African lips and I has white teeth. By differentiating between individuals Zamyatin may be suggesting that Individuality is not the main problem with their society. In this passage D-503 then goes on to describe how he cannot describe the society in which he lives precisely because he lives there, the connotations and experience prevent him from objectively explaining things. Because of this it may be possible that Zamyatin is speaking the impossibility of objectively judging society from within a showing an exaggerated case where no can see the problems all around them. I can definitely believe and relate to this, in America, where I have grown up I have trouble recognizing fundamental issues with the way things are designed or run, things have always been that way so I don't even see an alternative, it is as if the problem does not exist.
Monday, March 14, 2011
The Stranger - Thesis
In The Stranger, Albert Camus contrasts black and white to show the conflict between individual and societal perceptions, and through Meresault's actions develop the idea that an individual has the ability to alter society through actions that contradict what is accepted.
The Stranger - Journal 8
Journal #8: Personal response to The Stranger + what literary value do you ascribe to the novel (what makes a book a great work of literature and does this book achieve that)
Before reading The Stranger the second time I cannot honestly say that I had any sort of positive feeling for the book, I did not find the plot or characters interesting on a personal level and I felt the book as a whole seemed flat. In the second reading, however, I felt a lot more connected to Meresault and understanding of his thoughts than I had previously. I still feel like the plot and characters are mostly flat, but I enjoyed attempting to unravel Meresault as a person and a thinker in the analysis of the novel. Personally, I would not choose to read a book like The Stranger on my own but I feel that being "forced" to read it was overall a good experience, it exposed me to a different viewpoint and style of thinking, which can never be bad for me as an individual.
To me, "literature" is any work that attempts to convey a message as opposed to a story. Literature is designed to make us think instead of gratifying us as a reader. "Great" literature is just this same idea with much grander and well designed execution where the writer sends a variety of messages through (almost) everything they do within the work. Using this definition, The Stranger would definitely qualify as a great work of literature. Specifically to students at a high school level, The Stranger is valuable because it brings along with it philosophical ideals which most students at our age have limited exposure to.
Before reading The Stranger the second time I cannot honestly say that I had any sort of positive feeling for the book, I did not find the plot or characters interesting on a personal level and I felt the book as a whole seemed flat. In the second reading, however, I felt a lot more connected to Meresault and understanding of his thoughts than I had previously. I still feel like the plot and characters are mostly flat, but I enjoyed attempting to unravel Meresault as a person and a thinker in the analysis of the novel. Personally, I would not choose to read a book like The Stranger on my own but I feel that being "forced" to read it was overall a good experience, it exposed me to a different viewpoint and style of thinking, which can never be bad for me as an individual.
To me, "literature" is any work that attempts to convey a message as opposed to a story. Literature is designed to make us think instead of gratifying us as a reader. "Great" literature is just this same idea with much grander and well designed execution where the writer sends a variety of messages through (almost) everything they do within the work. Using this definition, The Stranger would definitely qualify as a great work of literature. Specifically to students at a high school level, The Stranger is valuable because it brings along with it philosophical ideals which most students at our age have limited exposure to.
Sunday, March 13, 2011
The Stranger - Journal 7
Journal 7- Post your topic and 15 quotes that connect to your topic (these quotes can connect thematically or by technique). Once collected and analyzed, write a thesis statement.
Topic: Contrast between black and White
Topic: Contrast between black and White
- "I felt a little lost between the blue and white of the sky and the monotony of the colors around me - the sticky black of the tar, the dull black of all the clothes, and the shiny black of the hearse" p. 17
- "his forearms were all white under the black hairs." p.47
- "he had on a dark suit, a wing collar, and an odd-looking tie with broad black and white stripes." p. 64
- "She had put on a white linen dress and let her hair down. I told her she was beautiful and she laughed with delight." p. 47
- " the blood-red earth spilling over Maman's casket, the white flesh of the roots mixed in with it" p. 18
- 'She seemed very surprised to see I was wearing a black tie and she asked me if I was in mourning."p.20
- "a long gray moustache, and lots of thick, almost white hair." p. 64
- "The glare on the white walls was making me drowsy" p. 9
- "I wanted her so bad when I saw her in that pretty red-and-white striped dress" p.34
- "One of them, however, much younger than the others, wearing gray flannels and a blue tie" p. 85
- "a black tie with a knot [...] fine, white hair." p. 15
- "Céleste was there, as always, with his big belly, his apron, and his white moustache." p.26
- Near the casket was an Arab nurse in a white smock" p. 6
- "small houses behind green or white fences" p. 49
- "I still had to go up to Emmanuel's place to borrow a black tie and an arm band. He lost his uncle a few months back" p. 4
Thursday, March 10, 2011
The Stranger - Journal 6
Journal #6 Post 5 significant literary questions on The Stranger. The more authentic these are (i.e. questions you really have been pondering) the more insightful the answers will have to be. These questions should not be directed toward a right or wrong answer; rather, it should lead to personal interpretation of the text. You can revise a few of the questions you wrote for chapter six to include concepts from the entire book.
Why does Camus' use of language evolve from being simplistic and plain to complex and flowing by the end of the novel?
Why is the beach described in more detailed exotic language than Camus generally uses in description?
Why is Meresault so focused on color when he describes people and places?
Why is Meresault so uncharacteristically decisive in regards to Raymond's conflict with the Arab and the use of the gun?
Is the emphasis put on Meresault's "character" in the trial indicative of what society thinks of him?
Anthony Quach- 3. I do not think that she is representative of a more extreme Meresault in that she is described as "robotic" and meticulous, where as Meresault is more physically oriented (a robot does not feel tired or hot) and is definitely unsure of himself and his actions on multiple occasions. I think her purpose is that she provides one catalyst for Meresault's eventual thought processes when he is in prison. As pointed out by Sean, I think a reason Meresault has such an interest in her is that she has created a purpose for herself and even though that purpose cannot be seen it is evident that one can be created for the individual.
Jarrad Schulte 2. Camus' use of the word "Arab", while having racial implications, is primarily to develop Meresault as an outsider in society by drawing attention to the setting. Not only is he an individual with a thought process different than most people, he also is from an entirely different background than the majority of the people that inhabit the setting in which he lives. (Meresault is white and of french descent while most are Arabs)
Matt Merckling 5. The lack of outward emotion serves to characterize Meresault as someone who emotional events (or at least the ones he experiences) hold no greater meaning and should not be dwelt on. He has gotten to the point where he acknowledges the events but understands they are ultimately of no importance. His thoughts on his mother's death and on marriage reflect this, they don't ultimately mean anything and so warrant little attention.
Montana Agnew 3. Camus' lack of extensive background information regarding Meresault is intended to emphasize his inherent distance from the reader and through them, society. By not having a connection with Meresault as a character we can more easily analyze him through his unique world view and understand the basis of his personal philosophies.
Isabel Harger 2. I would argue that Meresault as a character is not precise and straightforward. Although what he says may be blunt there is a definite repetition of him being unsure of what drives him as an individual, such as when he is killing the Arab. Furthermore he is also unsure of himself when he responds to his boss, he expresses doubts over whether what he said was appropriate. Because of this I think the ambiguous language just helps in characterizing Meresault as uncertain (at least until the end of the book)
Why does Camus' use of language evolve from being simplistic and plain to complex and flowing by the end of the novel?
Why is the beach described in more detailed exotic language than Camus generally uses in description?
Why is Meresault so focused on color when he describes people and places?
Why is Meresault so uncharacteristically decisive in regards to Raymond's conflict with the Arab and the use of the gun?
Is the emphasis put on Meresault's "character" in the trial indicative of what society thinks of him?
Anthony Quach- 3. I do not think that she is representative of a more extreme Meresault in that she is described as "robotic" and meticulous, where as Meresault is more physically oriented (a robot does not feel tired or hot) and is definitely unsure of himself and his actions on multiple occasions. I think her purpose is that she provides one catalyst for Meresault's eventual thought processes when he is in prison. As pointed out by Sean, I think a reason Meresault has such an interest in her is that she has created a purpose for herself and even though that purpose cannot be seen it is evident that one can be created for the individual.
Jarrad Schulte 2. Camus' use of the word "Arab", while having racial implications, is primarily to develop Meresault as an outsider in society by drawing attention to the setting. Not only is he an individual with a thought process different than most people, he also is from an entirely different background than the majority of the people that inhabit the setting in which he lives. (Meresault is white and of french descent while most are Arabs)
Matt Merckling 5. The lack of outward emotion serves to characterize Meresault as someone who emotional events (or at least the ones he experiences) hold no greater meaning and should not be dwelt on. He has gotten to the point where he acknowledges the events but understands they are ultimately of no importance. His thoughts on his mother's death and on marriage reflect this, they don't ultimately mean anything and so warrant little attention.
Montana Agnew 3. Camus' lack of extensive background information regarding Meresault is intended to emphasize his inherent distance from the reader and through them, society. By not having a connection with Meresault as a character we can more easily analyze him through his unique world view and understand the basis of his personal philosophies.
Isabel Harger 2. I would argue that Meresault as a character is not precise and straightforward. Although what he says may be blunt there is a definite repetition of him being unsure of what drives him as an individual, such as when he is killing the Arab. Furthermore he is also unsure of himself when he responds to his boss, he expresses doubts over whether what he said was appropriate. Because of this I think the ambiguous language just helps in characterizing Meresault as uncertain (at least until the end of the book)
Wednesday, March 9, 2011
The Stranger - Journal 5
Journal 5 - The Stranger is split into two parts divided by Meresault's murder of the Arab. Why did Camus choose to write the book in two parts? What is parallel or contrasting between the two parts? Use quotes to support your argument.
I believe that Camus separated the book into two parts in order for a multitude of reasons. First off, it provides a clear distinction between Meresault's life before and after the murder of the Arab. I think another reason might be to draw attention and to emphasize the closing action of part one. By ending the part right after Meresault shoots the Arab it gives a sense of finality, it emphasizes Meresault's choice to shoot and kill and definitely sets the end of part one as the true climax of the book. The way Camus wrote it the book could almost have ended at that exact moment, without the trial or Meresault's stay in prison. I think if Camus had done this it would have created an interesting effect: the reader would have less insight to Meresault's personal thoughts and philosophies that are expressed in the second part and thus would read deeper and become more intimate with Meresault as they try to understand how he views the world.
In both parts Meresault style of interacting with those around stays consistent, he says little and what he does say is blunt and to the point. This is in contrast with his more complex thoughts and descriptions.
I believe that Camus separated the book into two parts in order for a multitude of reasons. First off, it provides a clear distinction between Meresault's life before and after the murder of the Arab. I think another reason might be to draw attention and to emphasize the closing action of part one. By ending the part right after Meresault shoots the Arab it gives a sense of finality, it emphasizes Meresault's choice to shoot and kill and definitely sets the end of part one as the true climax of the book. The way Camus wrote it the book could almost have ended at that exact moment, without the trial or Meresault's stay in prison. I think if Camus had done this it would have created an interesting effect: the reader would have less insight to Meresault's personal thoughts and philosophies that are expressed in the second part and thus would read deeper and become more intimate with Meresault as they try to understand how he views the world.
In both parts Meresault style of interacting with those around stays consistent, he says little and what he does say is blunt and to the point. This is in contrast with his more complex thoughts and descriptions.
- "The presiding judge asked me if I had anything to say. I thought about it. I said 'no'"(107)
- "I said, 'It's dirty. Lots of pigeons and dark courtyards. Everybody's pale.
- "It seems your mother often expressed to her friends her desire for a religious burial" (6)
- "I had only a little time left and I didn't want to waste it on god" (120)
Monday, March 7, 2011
The Stranger - Journal 4
Journal 4: Write six questions regarding chapter 6 of The Stranger. These questions should show a deeper understanding and appreciation of the text.
-Camus makes use of quite a lot of imagery in his description of the beach (p. 49), much more than he has done anywhere in the book. His choice of words is also much more specific and exotic than his other descriptions throughout the book. Why does he do this? What purpose does it serve?
-Camus also makes another description of the beach using various forms of imagery on page 52. This description has a noticeably harsher mood to it. Is there significance in this description of the beach? Do the contrasting images of the beach between then two passages help to reveal anything about Meresault or this thoughts?
-When Raymond and Meresault go back to the beach after their fight with the Arabs, Meresault acts with uncharacteristic decisiveness in regards to how and when the gun should be used. What is his motivation for doing so? Generally, Meresault does not initiate action or challenge what is going on. Furthermore his motivations are generally described as purely physical, when there is little description in this passage of his physical wants.
-In the very next passage Meresault remarks that "you could either shoot or not shoot" (p.56). To me this seems like an odd choice of words. Does this sentence, especially in relation to the previous passage mark a change in Meresault? He seems more decisive and it feels like he is coming to the realization that his actions have impact.
-The very last passage of the chapter really interests me. It has sharp focus on specific elements of the scene, describing them in great detail to the extent that the impact of the whole is partially lost, giving the passage a sort of dreamlike feeling. Is this reflective of Meresault's frame of mind? Does it tell us anything about why he shot the Arab?
-Finally, this is not exactly part of chapter six but I believe it is important nonetheless. Why does Camus choose to split his book into two parts? Are the two parts created to compare or contrast in some way? Were they made to be read together or are they meant to function as individual pieces? Why no just continue at chapter seven?
-Camus makes use of quite a lot of imagery in his description of the beach (p. 49), much more than he has done anywhere in the book. His choice of words is also much more specific and exotic than his other descriptions throughout the book. Why does he do this? What purpose does it serve?
-Camus also makes another description of the beach using various forms of imagery on page 52. This description has a noticeably harsher mood to it. Is there significance in this description of the beach? Do the contrasting images of the beach between then two passages help to reveal anything about Meresault or this thoughts?
-When Raymond and Meresault go back to the beach after their fight with the Arabs, Meresault acts with uncharacteristic decisiveness in regards to how and when the gun should be used. What is his motivation for doing so? Generally, Meresault does not initiate action or challenge what is going on. Furthermore his motivations are generally described as purely physical, when there is little description in this passage of his physical wants.
-In the very next passage Meresault remarks that "you could either shoot or not shoot" (p.56). To me this seems like an odd choice of words. Does this sentence, especially in relation to the previous passage mark a change in Meresault? He seems more decisive and it feels like he is coming to the realization that his actions have impact.
-The very last passage of the chapter really interests me. It has sharp focus on specific elements of the scene, describing them in great detail to the extent that the impact of the whole is partially lost, giving the passage a sort of dreamlike feeling. Is this reflective of Meresault's frame of mind? Does it tell us anything about why he shot the Arab?
-Finally, this is not exactly part of chapter six but I believe it is important nonetheless. Why does Camus choose to split his book into two parts? Are the two parts created to compare or contrast in some way? Were they made to be read together or are they meant to function as individual pieces? Why no just continue at chapter seven?
Sunday, March 6, 2011
The Stranger - Journal 3
Read chapters 4 and 5
Generally, I am not a huge fan of philosophy. While I believe that deeper thought and mediation can lead to great ideas and observations that can help shape our lives, I feel there is often too much emphasis put on the hypothetical and general, with too little thought put into the practical and personal. But for the sake of the assignment I have attempted to find some of the principals I live my life by and have created a collective world view, which I call Perspectivism. These guiding principals have developed from my own experiences and observations of both myself and others.
-Consciousness is the only way we can look at and interpret the world in a meaningful way. More importantly a continuous stream of consciousness is what defines you as an individual. That is not to say consciousness is purely created by the physical, that is another argument entirely.
-Higher Concepts such as equality and morality are innate to humans to an extent. But are put in place through their environment and developed through personal life experiences. No two people, regardless of how similar completely share the way in which they view the world, morality will always be valued in regards to perspective.
-No individual has an innate purpose in life from birth that can be observed to any extent. Each person must find and create their own purpose. By finding a purpose in life the individual finds both happiness and personal fulfillment.
-Personal success is achieved through how much an individual is able to become happy and spread happiness to others. Humans are social creatures and even though there is a great focus on each person, decisions need to be made with regards to a balance between self and others.
-Personal strength comes from the ability to face one's fears and doubts and overcomes them. The most courageous people are those who are able to define what they fear most and accept their fear and failures instead of trying to hide them.
-Growth comes from experience, while the teachings of others are of vital importance and help define and develop us, personal connections must be made. Our world is defined but what happens to us and to us alone, our experiences bring about both knowledge and wisdom.
- Humans are made to interact with one another. Along with finding purpose, our interactions with others are among the most fulfilling experiences we experience. Sharing our individual thoughts and emotions with others through any medium is emotionally gratifying to both the creator and the observer (thus art in all of its forms)
-Individuals are ultimately unique and cannot be defined as a universal whole. It is necessary to look upon and value each person as an individual, looking at their motivations and unique viewpoint.
Journal #3: Personal Philosophy
You will demonstrate your understanding of the importance of one's world view by scrutinizing your thoughts on how the world works and identifying guiding principles for your own philosophy.
establishes and introduces your philosophy
Generally, I am not a huge fan of philosophy. While I believe that deeper thought and mediation can lead to great ideas and observations that can help shape our lives, I feel there is often too much emphasis put on the hypothetical and general, with too little thought put into the practical and personal. But for the sake of the assignment I have attempted to find some of the principals I live my life by and have created a collective world view, which I call Perspectivism. These guiding principals have developed from my own experiences and observations of both myself and others.
-Consciousness is the only way we can look at and interpret the world in a meaningful way. More importantly a continuous stream of consciousness is what defines you as an individual. That is not to say consciousness is purely created by the physical, that is another argument entirely.
-Higher Concepts such as equality and morality are innate to humans to an extent. But are put in place through their environment and developed through personal life experiences. No two people, regardless of how similar completely share the way in which they view the world, morality will always be valued in regards to perspective.
-No individual has an innate purpose in life from birth that can be observed to any extent. Each person must find and create their own purpose. By finding a purpose in life the individual finds both happiness and personal fulfillment.
-Personal success is achieved through how much an individual is able to become happy and spread happiness to others. Humans are social creatures and even though there is a great focus on each person, decisions need to be made with regards to a balance between self and others.
-Personal strength comes from the ability to face one's fears and doubts and overcomes them. The most courageous people are those who are able to define what they fear most and accept their fear and failures instead of trying to hide them.
-Growth comes from experience, while the teachings of others are of vital importance and help define and develop us, personal connections must be made. Our world is defined but what happens to us and to us alone, our experiences bring about both knowledge and wisdom.
- Humans are made to interact with one another. Along with finding purpose, our interactions with others are among the most fulfilling experiences we experience. Sharing our individual thoughts and emotions with others through any medium is emotionally gratifying to both the creator and the observer (thus art in all of its forms)
-Individuals are ultimately unique and cannot be defined as a universal whole. It is necessary to look upon and value each person as an individual, looking at their motivations and unique viewpoint.
Thursday, March 3, 2011
The Stranger - Journal 2
The title, L'Etranger, is often translated as The Stranger, The Foreigner, and The Outsider. E'tranger can also mean "foreign", "overseas", "unknown", "extraneous", "outsider", "stranger", "alien", "unconnected", and "irrelevant".
Journal #2: 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?
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.
Because I have read a limited amount of Stuart Gilbert's translation of The Stranger, I find it hard to assess the literary value of his translation in comparison to Matthew Ward's. But from I read in class I would say that I personally find more value in Matthew Ward's translation. In the selected passages we read, Gilbert's translation contained much more description in regards to the environment that Meresault was in, this seems to distract from the development of Meresault and his unique way of thinking. Ward's simpler use of words and sentences aids in showing the progression and style of thinking that defines Meresault. Gilbert also uses the passive voice to a larger extent (at least, in the first passage), which makes Meresault seem unsure in his actions and thoughts. To me this seems somewhat unfaithful to the character of Meresault, who is sure of his thoughts and view on the world even as he faces execution.
Of the three titles, The Stranger, The Outsider and The Foreigner, I prefer The Stranger as chosen by both of the translators we looked at. The word foreigner in place of the word stranger gives a emphasis on the setting of the book and Meresault's place within it. While this can have a great deal of value, Meresault is not a native of the African-Arabian country in which he lives and race (Arabs especially) places a major role in the story, I feel that The Stranger places a higher emphasis on Meresault's ideas and philosophies. This is further cemented by the fact that there is very little mention of the global setting other than the names of cities, a reader who does not know where the cities in the book are located could easily mistake it as being in France or really many other countries. Between the word "stranger" and the word "outsider" I find little difference, both could do an equally fine job of framing the book and Meresault as an individual. However, personal connotations make me see an "outsider" as one who does not conform to societies rules and cannot comprehend the general structure of a place that they suddenly find themselves in. Meresault certainly does not conform to traditional thoughts or ideas, but he is understanding of the way other people and society runs. This leads me to choose the word "stranger" as opposed to either "foreigner" or "outsider".
Monday, February 28, 2011
The Stranger - Journal 1
For The Stranger by Albert Camus, I mainly plan to tab by motifs, this seemed to work well when tabbing Their Eyes Were Watching God and I think that now that I have had some practice and will know what to look for it will be much easier to tab.
My first three tabs (blue, green and yellow) will be dedicated to the tabbing of motifs within the stranger. These motifs will be determined as I read through the book and may include (but are not limited to) Meresault's use of racial identification (as in the case of the Arabs), sleep and other forms of escapism from emotional thoughts and Meresault's indifference to religion.
My fourth tab (Orange) will be focused on the use of literary techniques within Camus' writing (or lack thereof) including diction, parallelism, sentence structure and figurative language.
The fifth and final tab (Red) will be dedicated to a variety of things that do not fit with other tabbing sections, this includes important passages, characterization and lines or passages important to the development of theme.
My first three tabs (blue, green and yellow) will be dedicated to the tabbing of motifs within the stranger. These motifs will be determined as I read through the book and may include (but are not limited to) Meresault's use of racial identification (as in the case of the Arabs), sleep and other forms of escapism from emotional thoughts and Meresault's indifference to religion.
My fourth tab (Orange) will be focused on the use of literary techniques within Camus' writing (or lack thereof) including diction, parallelism, sentence structure and figurative language.
The fifth and final tab (Red) will be dedicated to a variety of things that do not fit with other tabbing sections, this includes important passages, characterization and lines or passages important to the development of theme.
Wednesday, February 23, 2011
Their Eyes Were Watching God - Journal 10
Note: This journal is late because I was in Las Vegas without Internet connection. Journal was copied directly from English notebook.
Journal: Identify a theme within Their Eyes Were Watching God (if you know it still has some weaknesses, make a list of questions or concerns you have about your theme below it - it doesn't have to be perfect yet). 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 upset the structure of societal standing ultimately end up isolating themselves.
Questions:
Journal: Identify a theme within Their Eyes Were Watching God (if you know it still has some weaknesses, make a list of questions or concerns you have about your theme below it - it doesn't have to be perfect yet). 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 upset the structure of societal standing ultimately end up isolating themselves.
Questions:
- Is this theme too broad?
- Does "upset" work in the sentence?
- "Janie was standing by the stove washing up the dishes when he spoke to her in a queer, cold voice" (p.183)
- "But anyway, she went down the road behind him that night feeling cold. He strode along invested with his new dignity, thought and planned out loud, unconscious of her thoughts." (p.43)
- Repetition of the word cold creates a feeling of separation, isolation.
- "They murmured hotly about slavery being over, but every man filled his assignment." (p.47)
- "Take for instance that new home of his. [...] It made the village feel funny talking to him. (p.80)
- "If Ah kin haul de wood heuh and chop it fuh yuh, look lak you oughta be able to tote it inside. Mah fust wife never bothered me 'bout choppin' no wood no how." (p.27)
- "You got uh town so you freed uh mule. You have tuh power tuh free things and dat makesyou lak a king uh something."(p.58)
- "There was nothing to do in life anymore. Ambition was useless. And the cruel deceit of Janie! Laughing at him, and now putting the town up to do the same."(p.80)
Wednesday, February 16, 2011
Their Eyes Were Watching God - Journal 9
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.
"Anne."
"Yeh Georgia?"
"Yuh done been mah friend right near ten years."
"Ah 'pose it been 'bout that."
"Welh Anne, ah'm worried 'bout Jake."
"Whuts about? He workin' hard."
"Yeh, and ah'm mighty grateful fo' dat, Anne. But he git futhah way from me every day."
"What'ch yuh mean Georgia?"
"He done be workin' dose fields all da time. He plow da field. He plant da seeds. He reap da crops. He take him'n his mule down tuh mahket. Feel lak he ain't got no mo' time fo' romancin'."
"But he doin' so well Georgia! Yuh be able to 'ford some land soon. Yuh inna mighty fine place right now."
"Ah kno' Anne. But it feel lak the mo' money we has, de poorer we gets."
"why dontcha just talk witem Georgia?"
"He ain't got no time fo' talking, be working dem fields till da day he die."
In this pastiche I attempted to mimic Hurston's use of dialect. When Hurston uses dialect there is never speaker tags and the speaker is instead identified through each character addressing the other by name. I also tried to mirror the use of a confidant and the use of short, repetitive sentence structure to enhance the feeling that time is passing. Overall I wanted to mirror one of Hurston's themes (people who attempt to advance themselves through society in a capitalistic system end up isolating themselves.) in my pastiche.
"Anne."
"Yeh Georgia?"
"Yuh done been mah friend right near ten years."
"Ah 'pose it been 'bout that."
"Welh Anne, ah'm worried 'bout Jake."
"Whuts about? He workin' hard."
"Yeh, and ah'm mighty grateful fo' dat, Anne. But he git futhah way from me every day."
"What'ch yuh mean Georgia?"
"He done be workin' dose fields all da time. He plow da field. He plant da seeds. He reap da crops. He take him'n his mule down tuh mahket. Feel lak he ain't got no mo' time fo' romancin'."
"But he doin' so well Georgia! Yuh be able to 'ford some land soon. Yuh inna mighty fine place right now."
"Ah kno' Anne. But it feel lak the mo' money we has, de poorer we gets."
"why dontcha just talk witem Georgia?"
"He ain't got no time fo' talking, be working dem fields till da day he die."
In this pastiche I attempted to mimic Hurston's use of dialect. When Hurston uses dialect there is never speaker tags and the speaker is instead identified through each character addressing the other by name. I also tried to mirror the use of a confidant and the use of short, repetitive sentence structure to enhance the feeling that time is passing. Overall I wanted to mirror one of Hurston's themes (people who attempt to advance themselves through society in a capitalistic system end up isolating themselves.) in my pastiche.
Their Eyes Were Watching God - 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.
"It sho is. Still Ah ain't Mis' Tyler and Tea Cake ain't no Who flung, and he ain't no stranger tuh me. We'se just as good as married already. But Ah ain't puttin' it in de street. Ah'm tellin' you" (p.114)
"It sho is. Still Ah ain't Mis' Tyler and Tea Cake ain't no Who flung, and he ain't no stranger tuh me. We'se just as good as married already. But Ah ain't puttin' it in de street. Ah'm tellin' you" (p.114)
- This quotation takes place during the end of Tea Cake's courtship of Janie. Pheoby, Janie's friend inquires into the relationship between the two, warning her that Tea Cake may be using her and that relationship is seen as improper by others in the community. In response Janie tells Pheoby about her relationship with Tea Cake and their future plans. Here, Zora Neale Hurston makes use of Pheoby, a minor character with the sole distinguishing feature of being Janie's friend, as a confidant for Janie. This allows the thoughts of Janie about Tea Cake to be revealed without Janie having to talk to him or just have the thoughts alone. This also sets a framework for the book and adds to its circular nature, the beginning of the book has Janie arriving back in Eatonville and finding Pheoby to whom she begins to tell her life story.
- After Janie's intimate moments with Tea Cake throughout the eleventh chapter, he leaves for a number of days and does not return. Janie expresses doubt and uncertainty of her feelings for him as well a fear that he will not return. When he does, Hurston uses a paradoxical statement to express the nature of their relationship. At first it may seem contradictory for Janie to both adore and hate Tea Cake, it really defines how Janie views her interactions with Tea Cake. Hurston possibly could have used this to parallel an internal conflict within Janie. The rules of society and of the community that judges her is coming into conflict for her attraction to Tea Cake and the freedom that he brings.
- This passage comes after Janie and Tea Cake attend the picnic and summarizes the events of the following weeks. Although it may not seem important and mostly there to move the plot, Hurston's use of syntax allows it to show the community's opinion on Janie and Tea Cake's relationship. The use of simple repetitive sentences gives the passage a tone of annoyance, as if someone is listing all of the things Janie and Tea Cake are doing that they should not. Furthermore the choppy sentences help to emphasize the passing of time and the short installments that we see of their relationship.
Monday, February 14, 2011
Their Eyes Were Watching God - Journal 7
Journal #7: create a pastiche, matching Hurston' style and themes as closely as possible. After you complete your pastiche, write a statement explaining some of the decisions you made in order to match Hurston's writing and objectives.
And thus George started to reflect on Fear. Fear, that ancient companion with deep unnerving eyes who brooded just beyond reach. The primal one who lived on the whisperings of the wind, and in the whisper of a thought.What desire has Fear for physicality, and what rationalizations can hold him back? He waits in his web of shadows that surround the mind. Waits silently and patiently for the creeping of doubt to call him forth. Been waiting there since the first thought, the first action, the first night. He knew he too would soon hear the skittering of his eight legs soon enough. He was cold and alone too. God-forsaken Lennie! He ain't got no need to battle by his lonesome. He offered a last evening of food and of light, but Lennie refused. These folk wuz right about the weather, but they wuz ignorant of his ability. He would weather the storm and put up the light as long as his poor boat could hold together. That was the idea in his head. But the driftwood rising with the monstrous swells told a different story, and so he could tell. And regardless, the coming of morning would reveal the truth, for fog began to gather among the rocks and shoals. Wood that had never yet come with the tide before collected in the water just off shore under circling gulls. Floated, broken and mangled, in the now calm waves. Duty, that buzzing insect, had gone and left an eerie silence on the beach.
I actually had a very hard time writing in the style of Zora Neale Hurston. I found it difficult to write in a tone and voice that was fundamentally different than my own. Other than the use of the same sort of sentence structure, I tried to keep some of the motifs that Hurston uses such as eyes and birds accompanying death. I attempted to keep the same sort of tone of detached emotion and sadness from the original passage but I feel that was met with mixed success.
And thus George started to reflect on Fear. Fear, that ancient companion with deep unnerving eyes who brooded just beyond reach. The primal one who lived on the whisperings of the wind, and in the whisper of a thought.What desire has Fear for physicality, and what rationalizations can hold him back? He waits in his web of shadows that surround the mind. Waits silently and patiently for the creeping of doubt to call him forth. Been waiting there since the first thought, the first action, the first night. He knew he too would soon hear the skittering of his eight legs soon enough. He was cold and alone too. God-forsaken Lennie! He ain't got no need to battle by his lonesome. He offered a last evening of food and of light, but Lennie refused. These folk wuz right about the weather, but they wuz ignorant of his ability. He would weather the storm and put up the light as long as his poor boat could hold together. That was the idea in his head. But the driftwood rising with the monstrous swells told a different story, and so he could tell. And regardless, the coming of morning would reveal the truth, for fog began to gather among the rocks and shoals. Wood that had never yet come with the tide before collected in the water just off shore under circling gulls. Floated, broken and mangled, in the now calm waves. Duty, that buzzing insect, had gone and left an eerie silence on the beach.
I actually had a very hard time writing in the style of Zora Neale Hurston. I found it difficult to write in a tone and voice that was fundamentally different than my own. Other than the use of the same sort of sentence structure, I tried to keep some of the motifs that Hurston uses such as eyes and birds accompanying death. I attempted to keep the same sort of tone of detached emotion and sadness from the original passage but I feel that was met with mixed success.
Sunday, February 13, 2011
Their Eyes Were Watching God - 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. 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
Death, that strange being with the huge square toes who lived way in the West. The great one who lived in the straight house like a platform without sides to it, and without a roof. What need has Death for a cover, and what winds can blow against him? He stands in his high house that overlooks the world. Stands watchful and motionless all day with his sword drawn back, waiting for the messenger to bid him come. Been standing there before there was a where or a when or a then. She was liable to find a feather from his wings lying in her yard any day now. She was sad and afraid too. Poor Jody! He ought not to have to wrassle in there by himself. She sent Sam in to suggest a visit, but Jody said No. These medical doctors wuz all right with the Godly sick, but they didn't know a thing about a case like his. He'd be all right just as soon as the two-headed man found what had been buried against him. He wasn't going to die at all. That was what he thought. But Sam told her different, so she knew. And then if he hadn't, the next morning she was bound to know, for people began to gather in the big yard under the palm and china-berry trees. People who would not have dared to foot the place before crept in and did not come to the house. Just squatted under the trees and waited. Rumor, the wingless bird, had shadowed over the town. (p.84)
- The contrast between the use of more eloquent/academic and spiritual language while talking about death with small portions of Janie's dialect in the middle of the passage while she talks about Jody creates a feeling of distinction between life and death and emphasizes the transition between the two.
- Hurston capitalizes the word "Death" which implies that it is a name. This personifies Death, making it feel as though it is a person rather than an event. The capitalization of the word also gives a greater feeling of importance and weight to death.
- Hurston emphasizes how "Death" is different and strange. ("strange being with the huge square toes") This brings into focus the unknown quality that death has. People know of it but it is still strange mysterious to them.
- The motif of power and control reappears in this passage. Death is personified as being powerful, "what winds can blow against him" as well as above normal humans "his high house that overlooks the world"/description of having wings would mean death is above the earth on which humans exist. This gives death a feeling of control over all people, even Jody who had more power than anyone in Eatonville, and reaffirms the idea of structures of power that people live under.
- in the passage, Hurston does not use any direct dialogue in the present tense, instead she has it occur in the past. This gives a feeling of emotional detachment from what is happening to Jody.
- The motif of "Trees" is reused, although there is no direct comparison or description of the trees, the idea that people are like trees follows from early in life up into death.
- Hurston again uses ambiguous terms in her descriptions, she does not refer to people by name or make direct allusions to events, making the reader want more information and allows a more broad understanding and application of what she says.
- Hurston repeats the idea of those who are under the control or power of others coming out when that power begins to wane. It was seen in the first passage of the book with people coming out as the sun and "bossman" leave, and is seen here when "People who would not have dared to foot the place before crept in and did not come to the house." The appearance of those without power can be seen to show people's desire for control, especially when they have none.
- Personification of the word "Rumor" through the use of capitalization. This gives the impression that a rumor is more human, having ideas and control of its own. The comparison of it to a bird parallels in part the description of death, making a rumor seem above human control.
Their Eyes Were Watching God - 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 Neale Hurston makes use of a change in chronological order (telling the story from the end in flashbacks) to create a sense of confidence and finality within Janie, thus showing how each event in a person's life builds and develops their attitudes and beliefs while moving towards an acceptance of self.
3 Comment: Visit three blogs and give them some feedback that will help them refine and clarify their thesis statement. You can ask a question or point out a portion of the book that contradicts or clarifies what they are saying. You can offer a rewording that would clarify their point.
Comments on: Andy Luu, Matt Merckling and Cara Mitchell
Zora Neale Hurston makes use of a change in chronological order (telling the story from the end in flashbacks) to create a sense of confidence and finality within Janie, thus showing how each event in a person's life builds and develops their attitudes and beliefs while moving towards an acceptance of self.
3 Comment: Visit three blogs and give them some feedback that will help them refine and clarify their thesis statement. You can ask a question or point out a portion of the book that contradicts or clarifies what they are saying. You can offer a rewording that would clarify their point.
Comments on: Andy Luu, Matt Merckling and Cara Mitchell
Thursday, February 10, 2011
Their Eyes Were Watching God - Journal 4
Identify three patterns that appear in these chapters (but may extend through the entire book) and record the examples for each (include page numbers)
1. A recurring image seems to be the sun, specifically the sun in how it is described as having power and control over people due to the giving of light. This is first seen in the very first page of the book "But now, the sun and the bossman were gone, so the skins felt powerful and human." (p.1) This also appears in the fifth chapter of the book during the lamp lighting ceremony. "Folkses, de sun is goin' down. [...] Us poor weak humans can't do nothin' tuh hurry it up nor slow it down." (p. 45)
2. A second pattern I seemed to notice is the description of people as animals. It shows up in chapter six when describing the Eatonville residents' reactions to Joe and Janie's new home. "It was like seeing your sister turn into the 'gator. A familiar strangeness." (p. 48) Just like the first pattern, it appears in the opening page of the book. "Mules and other brutes had occupied their skins" (p.1)
3. Finally, a recurring idea seems to be the word "bloom" as Janie's representation of love and marriage, rather than just blossoming as it is typically used. It is first used when Janie has her "revelation" under the pear tree. "She saw a dust-bearing bee sink into the sanctum of a bloom; [...] So this was a marriage!" (p.11) Then later Hurston uses the word bloom in a way that makes little sense if thought of as blossoming/growing. "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." (p.43)
1. A recurring image seems to be the sun, specifically the sun in how it is described as having power and control over people due to the giving of light. This is first seen in the very first page of the book "But now, the sun and the bossman were gone, so the skins felt powerful and human." (p.1) This also appears in the fifth chapter of the book during the lamp lighting ceremony. "Folkses, de sun is goin' down. [...] Us poor weak humans can't do nothin' tuh hurry it up nor slow it down." (p. 45)
2. A second pattern I seemed to notice is the description of people as animals. It shows up in chapter six when describing the Eatonville residents' reactions to Joe and Janie's new home. "It was like seeing your sister turn into the 'gator. A familiar strangeness." (p. 48) Just like the first pattern, it appears in the opening page of the book. "Mules and other brutes had occupied their skins" (p.1)
3. Finally, a recurring idea seems to be the word "bloom" as Janie's representation of love and marriage, rather than just blossoming as it is typically used. It is first used when Janie has her "revelation" under the pear tree. "She saw a dust-bearing bee sink into the sanctum of a bloom; [...] So this was a marriage!" (p.11) Then later Hurston uses the word bloom in a way that makes little sense if thought of as blossoming/growing. "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." (p.43)
Their Eyes Were Watching God - Journal 3
Journal #3: Step 1-research a prominent figure from the Harlem Renaissance and write a short summary of who they are. Step 2-make a list of rules for a dialect of your creation (at least 3 for each category: pronunciation, grammar, and vocabulary). Step 3-pick a setting and create a dialogue between your historical figure and your imaginative figure using at least seven exchanges and correctly punctuated speaker tags.
A jazz musician born in New Orleans, Louis Armstrong was one of the single greatest influences on jazz music from the 1920's onward. As both a singer and trumpet player he rose to prominence in Chicago's jazz scene through his inventive, improvised solos that began to shift jazz as a whole to focus on individual talent and creativity. Touring in New York, Chicago and New Orleans, Louis became one of the leading figures in jazz, finding success with both white and black audiences. After the end of the Harlem Renaissance he continued his musical career through the 1960's, recording his most popular works which he is known for today, such as "What a Wonderful World".
Dialect Rules
Pronunciation:
D- changes to Th- (Down - Thown)
-at changes to -ut (What - Whut)
In most cases S changes to Z (This - Thiz)
Grammar:
Refer to self in third person
"and" is unused (replaced by a comma)
No use of past tense
Vocabulary:
Hotzide - down, below ground
Coldzide - up, above ground
Nobbing - eating
Louis Armstrong walked down the dimly lit alley with his trumpet case tucked securely under one arm. He entered a low doorway to his left, believing it to be the house of a band mate who had offered a bed and hot meal. Instead, the door led to stairs and a dark cellar from which a dull crunching noise emanated. Unsure of what could be making such a noise, Louis called out,
"Hello, anyone there?" To his surprise, a deep, rumbling voice returned his inquiry from the dark,
"Juzt Thragg, zitting, nobbing."
"Nobbing?" asked Louie, the crunching had ceased and Louis could begin to make out a small and oddly proportioned figure squatting in the corner of the cellar.
"Yez, nobbing a rut" Thragg answered.
"What are you?" asked Louie in fascination, "Are you alone?"
"Thragg iz Thwarfz. Throgg, Thrup went hotzide to thig. Thragg come coldzide to nobb." grumbled Thragg. As his eyes adjusted, Louis made out a gaping hole in the wall near Thragg's position.
"Did you make that?" Louis inquired, gesturing in the hole's general direction.
"Yez, Thragg thig thuring thay, nobb at night." Thragg replied, and then with sudden interest called out to Louis "Whut are you thoing here? Only Thragg comez here."
"I'm Louis, I just took a wrong turn down an alley." said Louis warily, he could now see Thragg's eyes hungrily staring at him from the darkness.
"Thragg hungry, Louiz have zomething thut Thragg can nob?" said Thragg.
"Not unless you like cold metal trumpets for dinner." Louis answered with a nervous chuckle, Thragg had stood began slowly shuffling toward him.
"Thragg like metal very much, find it hotzide, give Tragg thut trumpet to nobb" Thragg said as continued his uneven advance toward Louis.
"No, I need this, and I best be going now." Louis did not wait for a response, quickly exiting the door and walking briskly out the alley.
Louis Armstrong
Dialect Rules
Pronunciation:
D- changes to Th- (Down - Thown)
-at changes to -ut (What - Whut)
In most cases S changes to Z (This - Thiz)
Grammar:
Refer to self in third person
"and" is unused (replaced by a comma)
No use of past tense
Vocabulary:
Hotzide - down, below ground
Coldzide - up, above ground
Nobbing - eating
Louis Armstrong walked down the dimly lit alley with his trumpet case tucked securely under one arm. He entered a low doorway to his left, believing it to be the house of a band mate who had offered a bed and hot meal. Instead, the door led to stairs and a dark cellar from which a dull crunching noise emanated. Unsure of what could be making such a noise, Louis called out,
"Hello, anyone there?" To his surprise, a deep, rumbling voice returned his inquiry from the dark,
"Juzt Thragg, zitting, nobbing."
"Nobbing?" asked Louie, the crunching had ceased and Louis could begin to make out a small and oddly proportioned figure squatting in the corner of the cellar.
"Yez, nobbing a rut" Thragg answered.
"What are you?" asked Louie in fascination, "Are you alone?"
"Thragg iz Thwarfz. Throgg, Thrup went hotzide to thig. Thragg come coldzide to nobb." grumbled Thragg. As his eyes adjusted, Louis made out a gaping hole in the wall near Thragg's position.
"Did you make that?" Louis inquired, gesturing in the hole's general direction.
"Yez, Thragg thig thuring thay, nobb at night." Thragg replied, and then with sudden interest called out to Louis "Whut are you thoing here? Only Thragg comez here."
"I'm Louis, I just took a wrong turn down an alley." said Louis warily, he could now see Thragg's eyes hungrily staring at him from the darkness.
"Thragg hungry, Louiz have zomething thut Thragg can nob?" said Thragg.
"Not unless you like cold metal trumpets for dinner." Louis answered with a nervous chuckle, Thragg had stood began slowly shuffling toward him.
"Thragg like metal very much, find it hotzide, give Tragg thut trumpet to nobb" Thragg said as continued his uneven advance toward Louis.
"No, I need this, and I best be going now." Louis did not wait for a response, quickly exiting the door and walking briskly out the alley.
Wednesday, February 9, 2011
Their Eyes Were Watching God-Journal 2
Journal #2 (Analytic): Pick a passage from your reading (between one paragraph and half a page). Copy the passage onto your blog and make a list of the decisions that Hurston made in writing that passage. What techniques, what patterns, what questions, what tone, what word choice, etc.
After a while she got up from where she was and went over the little garden field entire. She was seeking confirmation of the voice and vision, and everywhere she found and acknowledged answers. A personal answer for all other creations except herself. She felt and answer seeking her, but where? When? How? She found herself at the kitchen door and stumbled inside. In the air of the room were flies tumbling and singing, marrying and giving in marriage. When she reached the narrow hallway she was reminded that he grandmother was home with a sick headache. She was lying across the bed asleep so Janie tipped on out the front door. Oh to be a pear tree- any tree in bloom! With kissing bees singing of the beginning of the world! She was sixteen. She had glossy leaves and bursting buds and she wanted to struggle with life but it seemed to elude her. Where were the singing bees for her? Nothing on the place nor in her grandmother's house answered her. She searched as much of the world as she could from the top of the front steps and then went on down to the front gate and leaned over to gaze up and down the road. Looking, waiting, breathing short with impatience. Waiting for the world to be made. (pg 11)
After a while she got up from where she was and went over the little garden field entire. She was seeking confirmation of the voice and vision, and everywhere she found and acknowledged answers. A personal answer for all other creations except herself. She felt and answer seeking her, but where? When? How? She found herself at the kitchen door and stumbled inside. In the air of the room were flies tumbling and singing, marrying and giving in marriage. When she reached the narrow hallway she was reminded that he grandmother was home with a sick headache. She was lying across the bed asleep so Janie tipped on out the front door. Oh to be a pear tree- any tree in bloom! With kissing bees singing of the beginning of the world! She was sixteen. She had glossy leaves and bursting buds and she wanted to struggle with life but it seemed to elude her. Where were the singing bees for her? Nothing on the place nor in her grandmother's house answered her. She searched as much of the world as she could from the top of the front steps and then went on down to the front gate and leaned over to gaze up and down the road. Looking, waiting, breathing short with impatience. Waiting for the world to be made. (pg 11)
- Second sentence makes allusion to god or some sort of religious experience, the "voice and vision" from which she received her revelations
- Use of ambiguity, unknown to the reader both what the answers are that Janie is finding, and what the question that those answers are answering.
- Short series of questions parallel an earlier passage ( pg 10)
- Repetition of the word and idea of marriage and the idea of marrying in both this passage and the previous one.
- Repetition of the idea of blossoming and growing- bloom, bursting buds.
- Personification of the bees and flies- kissing and being married.
- Janie is symbolized by a growing tree, just beginning to blossom.
- Contrast between the personification of animals and nature in both this passage and the previous ones, and Janie's characterization/description as a non-human tree.
- "Singing of bees" symbol of love or marriage.
- Passage ends with short, choppy sentences that create anxiety.
- Overall, the passage is calm and almost detached from Janie, feels more ethereal or spiritual
Tuesday, February 8, 2011
Their Eyes Were Watching God-Journal 1
Journal #1 (Reflective): If you could tell your life story to one person, to whom would it be? Where would you begin (moment that changed your world view)?
If given the chance to tell my life story, I do not believe that who I told it would be of critical importance. Although in reality there is a good chance I would end up telling a close friend or family member who may have a more extensive knowledge of my background, I feel like the general point of telling this kind of story is much more introspective and I could tell my story to even a complete stranger. Through telling a story about my own life I would force myself to remember and consolidate the things that greatest affected me as I grew and developed as a person.Through facing these memories, both good and bad, you begin to come to an understanding of how much you have grown as a person. You do not often have an opportunity to reflect on yourself as a changing individual, and because of the very gradual shift in ideals and attitudes toward the world you may not notice how much you have progressed. Because of this I believe the value in telling your own life story is not what someone else takes from it, especially when it might be irrelevant and forgotten by them, but addressing your past and confirming who you are in the present.
The question of where to begin such a story is much harder to answer. I don't feel like my life, at least so far, has had many defining moments or periods of time that have drastically changed who I am as a person or how I view the world. If anything, my academic and social experiences through school have slowly changed my attitude about the world and myself. Thus, if I was telling my life story I would probably begin with my current thoughts and beliefs as a high school student, then work my way forward chronologically from my early years in elementary school and the experiences that shaped me. This way there would be a clear endpoint that my story steered toward, giving it some sort of direction as I told it.
If given the chance to tell my life story, I do not believe that who I told it would be of critical importance. Although in reality there is a good chance I would end up telling a close friend or family member who may have a more extensive knowledge of my background, I feel like the general point of telling this kind of story is much more introspective and I could tell my story to even a complete stranger. Through telling a story about my own life I would force myself to remember and consolidate the things that greatest affected me as I grew and developed as a person.Through facing these memories, both good and bad, you begin to come to an understanding of how much you have grown as a person. You do not often have an opportunity to reflect on yourself as a changing individual, and because of the very gradual shift in ideals and attitudes toward the world you may not notice how much you have progressed. Because of this I believe the value in telling your own life story is not what someone else takes from it, especially when it might be irrelevant and forgotten by them, but addressing your past and confirming who you are in the present.
The question of where to begin such a story is much harder to answer. I don't feel like my life, at least so far, has had many defining moments or periods of time that have drastically changed who I am as a person or how I view the world. If anything, my academic and social experiences through school have slowly changed my attitude about the world and myself. Thus, if I was telling my life story I would probably begin with my current thoughts and beliefs as a high school student, then work my way forward chronologically from my early years in elementary school and the experiences that shaped me. This way there would be a clear endpoint that my story steered toward, giving it some sort of direction as I told it.
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