A letter from Bride to Leonard from when they were a couple. (I'm assuming they used to be)
Dearest Leonardo,
Why do you leave me to burn away to nothing trapped in these walls I know so well? Come, my dear, and soothe my fiery anguish with your cool touch. Like a river swelled with the rains of many years, you crash and tumble down to the sea, away from me. And I need you. Run back, run up, great river of mine, come and take me to the sea with you. Te querido. My father, he loves me, and he wants what is best, but he is too attached to this land of his. I am not meant to plow these dead fields. If I were a man, I could go with you, and leave all this dust behind. But I am here, in the scorching nothingness doing a man's work without a man's freedom. Leonardo, I miss you. Please come home! You never write! You never tell me where you are going! Do you ever think about me? Do you even care!? I can't keep up this one sided relationship. Choose me or get out of my life. Only, I don't know if I could live without you. You are the sacred water that christens my undeserving body, and you are my life. So come to me. Come home safe, and love me like you once did. Leonardo, we can sit in amongst the trees of my father and picnic and be merry until death. Never again will we want or need or desire. We will have everything. Just you and me. I love you with all of my being.
Sincerely, Bride
P.S. I do not blame you for your family's actions when you were young and naïve. If that is why you are avoiding me, you don't need to worry about such notions. I love you.
Thursday, May 26, 2011
Wednesday, May 25, 2011
Wild Duck Journal 7
Comments!!!!
Wow, that was really insightful! The ping-pong effect part was something I have never thought of, and it makes a lot of sense. You went very in depth in both books, and I liked how you used specific examples from TEWWG. (to Kylee)
Jarrad, That was Jocasta. Oedipus was not ever married to Laius. It was perfect though. You got her language, and her feelings. That is exactly something her character would say, but only to herself, and it is a journal so it is great! She would never confess that sort of thing out loud. That was very well written. (to Tania)
That was really good. You chose great examples to prove your point. It is a cool take on the actions that it applies even to action you don't see. How Oedipus clawing his eyes out is so much more meaningful than words even though the audience doesn't see it happen, that is an interesting idea. (to Shannon)
Wow, that was really insightful! The ping-pong effect part was something I have never thought of, and it makes a lot of sense. You went very in depth in both books, and I liked how you used specific examples from TEWWG. (to Kylee)
Jarrad, That was Jocasta. Oedipus was not ever married to Laius. It was perfect though. You got her language, and her feelings. That is exactly something her character would say, but only to herself, and it is a journal so it is great! She would never confess that sort of thing out loud. That was very well written. (to Tania)
That was really good. You chose great examples to prove your point. It is a cool take on the actions that it applies even to action you don't see. How Oedipus clawing his eyes out is so much more meaningful than words even though the audience doesn't see it happen, that is an interesting idea. (to Shannon)
Monday, May 23, 2011
Wild Duck Journal 6
I think the plot is not as important as the style of the pieces. The plot's only purposes are to keep the audience engaged, and to connect the stylistic choices in a coherent manner. Of course plays need plots, otherwise they would be lectures, but the plot is not as important as how it is laid out.
The plot of Oedipus was not important. He could have done some other crime, or not even committed a crime, and the message would still get across to the audience. The character traits of Oedipus are more important than the plot. His flaws, such as pride and anger and ignorance, and his strengths, such as intelligence, perseverance, and braveness all lead to his down fall.
All of the allusions to the gods are also important because they tie in the main issue of the time; whether prophesies and oracles and gods were real, and had supreme power. The reactions of the characters to the prophecies reveals their true natures. Jocasta seems like a normal god-fearing woman at the beginning, but when she blatantly disrespects the gods by dissing their prophecies, she is shown to be logical rather than spiritual, and independent, as well as protective of Oedipus.
In "The Wild Duck" the tensions that build between the characters is a very important part of the play. This is reflected through the register of the characters, the foreshadowing, and who the audience perceives as the protagonist. The plot could be completely disregarded if the audience could pick up on all the subtle stylistic choices with out it.
The plot of Oedipus was not important. He could have done some other crime, or not even committed a crime, and the message would still get across to the audience. The character traits of Oedipus are more important than the plot. His flaws, such as pride and anger and ignorance, and his strengths, such as intelligence, perseverance, and braveness all lead to his down fall.
All of the allusions to the gods are also important because they tie in the main issue of the time; whether prophesies and oracles and gods were real, and had supreme power. The reactions of the characters to the prophecies reveals their true natures. Jocasta seems like a normal god-fearing woman at the beginning, but when she blatantly disrespects the gods by dissing their prophecies, she is shown to be logical rather than spiritual, and independent, as well as protective of Oedipus.
In "The Wild Duck" the tensions that build between the characters is a very important part of the play. This is reflected through the register of the characters, the foreshadowing, and who the audience perceives as the protagonist. The plot could be completely disregarded if the audience could pick up on all the subtle stylistic choices with out it.
Wild Duck Journal 5
""What is drama but life with the dull bits cut out?" I think this statement is true, that theatre focuses on the exciting moments of a story. Of course, this does not count in fantasy plays or little kid plays in magical lands, but any realistic play is only going to have scenes that move the plot along. If every moment of a a story had to be included in a play, it would be way too long, and would not keep the audience's attention.
It applies to "Oedipus the King", not in a literal sense, although I guess this could have happened, it is unlikely. The situation though applies. Of a person's struggle to find out the truth, and everyone is holding back information, only to find out some extreme twist on what they thought. The religious aspect also applies. Oedipus and Jocasta indirectly said there are no gods when they dismissed the oracle, which is the word of Apollo. In the end, both were severely punished. Many religions also have punishment awaiting those who do not believe in them.
So it is very much real life, and as for the dull bits cut out, that is also true. Oedipus spent no time waiting for people to be summoned, and things happened at the most convenient times. The plot never stops moving, and he never stops finding out information. This play ignores the waiting and the puzzling and focuses on the conflict.
"The Wild Duck" kind of defies this quote, but it is for a reason, not just to bore the audience. Ibsen included rather dull boring conversation in his plays to let the audience know the characters and their situations. Also, the information the audience learns comes back later. For example when Gina and Hedvig are talking about the rented room, it seems trivial at first, but then is important to the story. So although he does include some of the dull bits in life, it is for the purpose of moving the story along, and so must be included. Ibsen made these parts dull on purpose, as well. He wants to show the family dynamic of the Ekdals.
It applies to "Oedipus the King", not in a literal sense, although I guess this could have happened, it is unlikely. The situation though applies. Of a person's struggle to find out the truth, and everyone is holding back information, only to find out some extreme twist on what they thought. The religious aspect also applies. Oedipus and Jocasta indirectly said there are no gods when they dismissed the oracle, which is the word of Apollo. In the end, both were severely punished. Many religions also have punishment awaiting those who do not believe in them.
So it is very much real life, and as for the dull bits cut out, that is also true. Oedipus spent no time waiting for people to be summoned, and things happened at the most convenient times. The plot never stops moving, and he never stops finding out information. This play ignores the waiting and the puzzling and focuses on the conflict.
"The Wild Duck" kind of defies this quote, but it is for a reason, not just to bore the audience. Ibsen included rather dull boring conversation in his plays to let the audience know the characters and their situations. Also, the information the audience learns comes back later. For example when Gina and Hedvig are talking about the rented room, it seems trivial at first, but then is important to the story. So although he does include some of the dull bits in life, it is for the purpose of moving the story along, and so must be included. Ibsen made these parts dull on purpose, as well. He wants to show the family dynamic of the Ekdals.
Friday, May 20, 2011
Wild Duck Journal 4
I think visual action is just as important as speech on stage. In Oedipus, there was little action on stage, but that is mainly because the audience was huge, so those in the back would miss a lot of action, but they could hear the speech, so Sophocles had to rely on speech to carry the plot. Also, he was trying to stay consistant with the way those stories were told, which is orally, so there would have been no acting then.
In the Wild Duck, there is a lot of talking, but there are some stage directions. On page 124, Gregers grips Hjalmar's arm. It may seem like a tiny thing, but when you talk to someone, you don't normally do that, so it shows the intensity of the moment. You can tell from Gregers' action more than his words, that this is a very serious matter. Also it reveals the difference between what he is saying and what he thinks. He is telling Hjalmar that maybe he misjudged his father, and maybe he is a good person, but through the arm gripping, the audience can see that it is not a pleasant happy moment, revealing that he doesn't actually believe his father is a nice person.
So while neither plays use much action, it is still incredibly important in showing the audience the true thoughts of characters. Also, it keeps the audience engaged. The few actions that are mentioned in "The Wild Duck" are not trivial actions to make the play look better, that is the director's job, the stage directions are important insights into characters and help to move the plot forward.
In the Wild Duck, there is a lot of talking, but there are some stage directions. On page 124, Gregers grips Hjalmar's arm. It may seem like a tiny thing, but when you talk to someone, you don't normally do that, so it shows the intensity of the moment. You can tell from Gregers' action more than his words, that this is a very serious matter. Also it reveals the difference between what he is saying and what he thinks. He is telling Hjalmar that maybe he misjudged his father, and maybe he is a good person, but through the arm gripping, the audience can see that it is not a pleasant happy moment, revealing that he doesn't actually believe his father is a nice person.
So while neither plays use much action, it is still incredibly important in showing the audience the true thoughts of characters. Also, it keeps the audience engaged. The few actions that are mentioned in "The Wild Duck" are not trivial actions to make the play look better, that is the director's job, the stage directions are important insights into characters and help to move the plot forward.
Wednesday, May 18, 2011
Oedipus Journal 3
Oh to see
the first time a baby
takes a step
or the sun god glinting
above the glittering path of Iris
as she bounds toward her
Mother, rich and strong
Oh to see, to know, to have
in my possession, like a gold coin
the power of the lightning bringer:
truth
I yearn for the musky scent of it
the papery thin reed that
grows wild and proud above
the swamp.
To hold it in my arms
as a mother holds a child,
tenderly, pure and simple
To fold it up smooth and
tuck it safe in my ever growing
ever wanting mind
It is a monster, a savior
it transcends even those who
would call themselves immortal
they too, bow to its will and fear
I wrote this as something Oedipus would write before the whole story began. He craves truth, so that is what I wrote it about. I tried to use some of Sophocles's elements in it. I used references to gods, and some foreshadowing. I also put in lines that seem one way if you don't know the story, but once you know what happens, the meaning of the lines changes completely. I made it formal diction, because Oedipus talks formally to the chorus, he mirrors their formality and rhythm, so by that you can tell that the audience of this poem is the chorus. I also added a little bit of the life cycle, because that is so important to Greek culture and to this story in particular. I didn't use any punctuation because it messes with the flow of the poem, because it grows and if there were periods, that would stop the emotional growth. It would prevent the climax of the poem, which is Oedipus calling the gods weak. I think this poem is kind of a synopsis of the whole play. He starts out wanting knowledge, then the emotion escalates and he needs it more, then he makes unknowing double entendres about mothers and children, then he calls truth a monster, and insults the gods. The same thing happens in the play.
the first time a baby
takes a step
or the sun god glinting
above the glittering path of Iris
as she bounds toward her
Mother, rich and strong
Oh to see, to know, to have
in my possession, like a gold coin
the power of the lightning bringer:
truth
I yearn for the musky scent of it
the papery thin reed that
grows wild and proud above
the swamp.
To hold it in my arms
as a mother holds a child,
tenderly, pure and simple
To fold it up smooth and
tuck it safe in my ever growing
ever wanting mind
It is a monster, a savior
it transcends even those who
would call themselves immortal
they too, bow to its will and fear
I wrote this as something Oedipus would write before the whole story began. He craves truth, so that is what I wrote it about. I tried to use some of Sophocles's elements in it. I used references to gods, and some foreshadowing. I also put in lines that seem one way if you don't know the story, but once you know what happens, the meaning of the lines changes completely. I made it formal diction, because Oedipus talks formally to the chorus, he mirrors their formality and rhythm, so by that you can tell that the audience of this poem is the chorus. I also added a little bit of the life cycle, because that is so important to Greek culture and to this story in particular. I didn't use any punctuation because it messes with the flow of the poem, because it grows and if there were periods, that would stop the emotional growth. It would prevent the climax of the poem, which is Oedipus calling the gods weak. I think this poem is kind of a synopsis of the whole play. He starts out wanting knowledge, then the emotion escalates and he needs it more, then he makes unknowing double entendres about mothers and children, then he calls truth a monster, and insults the gods. The same thing happens in the play.
Oedipus Journal 2
The narrative structure is unique, because or the fact that the audience already knows the story. Oedipus's realization that he has killed his father and married his mother is the climax, but it happens early in the play, because there is no suspense to build for the audience. Sophocles instead chooses to build the emotion of Oedipus. The reason he gets so angry is because there needs to be a build of some kind, but it can't be suspense.
There are definately sub plots. The whole play is not action, as much as hearing a bunch of people's stories. So each new piece of information Oedipus learns is accompanied by a subplot about the character revealing it. We learn about the shepherds' lives, Oedipus's background, and Jocasta's early life.
The period of time covered is interesting. It is just one continuous scene, so it would seem that time has passed the same for the audience as for Oedipus, so about two hours. But the play kind of defies time, because the shepherd that live so far away off in the hills, are summoned to the palace, and get there in a matter of minutes. So in fact, the play might be up to months long, but there is no indication of the passage of time, so I assume the audience is just supposed to accept that the shepherd could come so fast.
The end is important. It sets the stage for Oedipus at Colonus and Antigone. All the questions are answered except why all of this happened to him. I think that does not have to be addressed, because the audience would know about hubris, and fate, and all of the other elements that add up to why this happened. He was cursed from before his birth. That is a concept that would have made more sense in ancient Greese than it does now.
There are definately sub plots. The whole play is not action, as much as hearing a bunch of people's stories. So each new piece of information Oedipus learns is accompanied by a subplot about the character revealing it. We learn about the shepherds' lives, Oedipus's background, and Jocasta's early life.
The period of time covered is interesting. It is just one continuous scene, so it would seem that time has passed the same for the audience as for Oedipus, so about two hours. But the play kind of defies time, because the shepherd that live so far away off in the hills, are summoned to the palace, and get there in a matter of minutes. So in fact, the play might be up to months long, but there is no indication of the passage of time, so I assume the audience is just supposed to accept that the shepherd could come so fast.
The end is important. It sets the stage for Oedipus at Colonus and Antigone. All the questions are answered except why all of this happened to him. I think that does not have to be addressed, because the audience would know about hubris, and fate, and all of the other elements that add up to why this happened. He was cursed from before his birth. That is a concept that would have made more sense in ancient Greese than it does now.
Monday, May 16, 2011
Oedipus Journal 1
The story does not have a narrator, so it is not from one point of view. If anyone, it leans toward the chorus' point of view, even though Oedipus is the main character. This is because the chorus represents the people, the general population, and therefore the audience. The whole play is written to make the audience identify with the chorus. Oedipus is the lesson and the tragedy, but the focus of the play is on the chorus. In the end when he says nothing can be beautiful again, he still appreciates that the chorus stays loyal to him. They can see what a great ruler he is, that he cares about his city and is willing to do anything to save it. But they can also see his flaws. He is very easy to enrage and slow to forgive. The story is objective and just shows the facts. This might not be significant, because almost all plays are written with just the facts. It is hard to write a play from a person's point of view rather than just laying it all out on the table. Sophocles does a good job of presenting strengths and flaws of every character, so there is not one that the audience is supposed to sympathize with more than the others, except the chorus.
Since the characters' bad sides are shown, they are more realistic and less idealistic. Sophocles made a king, almost godlike, into a regular man by giving him a short fuse, strong curiosity, and unfaithfulness. The audience can see that rulers are just people too, and fall prey to the same, or worse fates as the people themselves.
Oedipus's children are interesting characters. They have no lines and are only on stage for a few minutes, and only one of their names is revealed, but they are very important characters. They give the message that even in hard times, a person's family will be there to support them, and a person can always find happiness in their family. These girls are presented as weak by Oedipus, yet he exposes them to his tragedy, and on top of that, tells them that they are destined for sad existences. Sophocles has these two contrasting images of the girls to further show the tragedy, that a person is helpless, but happy being ignorant, or very unhappy, but can have some say in their destiny by knowing the truth. He wants his children to, if not change their fates, at least go into them prepared for whatever comes.
Since the characters' bad sides are shown, they are more realistic and less idealistic. Sophocles made a king, almost godlike, into a regular man by giving him a short fuse, strong curiosity, and unfaithfulness. The audience can see that rulers are just people too, and fall prey to the same, or worse fates as the people themselves.
Oedipus's children are interesting characters. They have no lines and are only on stage for a few minutes, and only one of their names is revealed, but they are very important characters. They give the message that even in hard times, a person's family will be there to support them, and a person can always find happiness in their family. These girls are presented as weak by Oedipus, yet he exposes them to his tragedy, and on top of that, tells them that they are destined for sad existences. Sophocles has these two contrasting images of the girls to further show the tragedy, that a person is helpless, but happy being ignorant, or very unhappy, but can have some say in their destiny by knowing the truth. He wants his children to, if not change their fates, at least go into them prepared for whatever comes.
Sunday, April 10, 2011
Journal # 3
Last one! Topic C
Atwood's vision is very believable. She uses a lot of flashbacks to show the old life, so you can compare. By making her character a normal person in the flashbacks, it is easier to believe the switch, as opposed to meeting a character who was born in that society or rarely thinks of the past. Offred had one memory that was particularly convincing. She is remembering the assassination of the government officials and the change to a man dominated world. That was so believable, I can see that happening. Especially how the government blamed it on the radical Muslims, as our government is doing today. And in history we are learning about world war one, and the kinds of things governments can get away with during times of war and fear and uncertainty. The alternative to this reality would be to cut back assimilation, and accept and embrace the differences in people. Also, people need to fight for their rights no matter the circumstances. I think a viable alternative is a more limited government. Not just more protesting and sort of anarchy and millions of opinions fighting. A government that mostly stays out of personal affairs, but stands up for the minorities. And peaceful acceptance of ideas instead of violently proving your way is the best way.
Atwood's vision is very believable. She uses a lot of flashbacks to show the old life, so you can compare. By making her character a normal person in the flashbacks, it is easier to believe the switch, as opposed to meeting a character who was born in that society or rarely thinks of the past. Offred had one memory that was particularly convincing. She is remembering the assassination of the government officials and the change to a man dominated world. That was so believable, I can see that happening. Especially how the government blamed it on the radical Muslims, as our government is doing today. And in history we are learning about world war one, and the kinds of things governments can get away with during times of war and fear and uncertainty. The alternative to this reality would be to cut back assimilation, and accept and embrace the differences in people. Also, people need to fight for their rights no matter the circumstances. I think a viable alternative is a more limited government. Not just more protesting and sort of anarchy and millions of opinions fighting. A government that mostly stays out of personal affairs, but stands up for the minorities. And peaceful acceptance of ideas instead of violently proving your way is the best way.
Wednesday, April 6, 2011
Journal # 2
I choose the mama. She is a feminist, pro-choice activist. She tries to persuade people, and maybe the government, to let abortion be legal, even though birth rates are dramatically low. She is hated by the "modern" society that Offred is in now. She was probably hated back then too for being so radical and not supporting her country in its time of need. She was a little bit treasonous, because she did accept the possible end of mankind by being pro-choice. She went to rallies and protested. She was not successful at all. She was trying to get more freedom for women. But she was looking for freedom to and equality, and instead she got freedom from, which is the opposite. Everything she stood for is seen as sacrilegious. Her activism had a profound effect on her. In her old age, she is a miserable, lonely, old curmudgeon. She still vehemently believes she is right, but she has run out of steam to fight for it, so she drinks and complains. If she had not been so opposed to society she could have had friends or a husband or something to be happy about, but she alienated all men and mainstream people with her radical views, and doesn't feel a connection to her fellow protesters because they probably all ended up just like her.
Sunday, April 3, 2011
Journal # 1
"There's no longer any hand lotion or face cream, not for us. Such things are considered vanities. We are containers, it's only the insides of our bodies that are important. The outside can become hard and wrinkled, for all they care, like the shell of a nut. This was a decree of the Wives, this absence of hand lotion. They don't want us to look attractive. For them, things are bad enough as it is." (Atwood 96)
This reveals that the society is very class based. All women are oppressed. The wives are the highest class women and the most power they have is to deny lotion. The primary goal of the entire society is reproduction, much more so than creating equality or keeping personal rights. It is not acceptable to say things that disagree with the government, or to do something outside a person's prescribed routine.
This relates to this portion of the book because Offred is oppressed, and Serena Joy hates her and does anything to make her life miserable. Serena Joy is only lashing out at Offred because she is mad at the government for putting a handmaid in her life. Offred is only there to have a baby, so no one really cares about her, and that is creating the conflict. This also relates to this part because Offred is remembering all the little freedoms she used to have in normal life, and her daughter and husband, envying her old life, compared with her new strict degrading life.
Tuesday, March 15, 2011
Thesis
Camus' focus on time changes from recent and distinct days in part one to large grupings with no indication of how long ago they were. He does this because time is a societal value, without a society time does not matter, and he uses it to show Meursault's gradual seperation from society.
Monday, March 14, 2011
Journal # 8
The first time, I disliked The Stranger, but the second time through, I really enjoyed it, and I got so much more out of it. The thing that I enjoyed the most was all of the irony. Maybe that is not the right word, because I don't mean irony in the literary sense of the word. I mean more of a semi-ironic juxtaposition sort of thing. First of all, there were some interesting paradoxes. For example "The whole time there was nothing but the sun and the silence, with the low gurgling from the spring and the three notes." (Camus, 55) and right after that "the double silence of the flute and the water." (Camus, 56). These are really intriguing to me. In the court, I missed this the first time I read it, the lawyers are ripping Meursault apart and he admires their logic. Same with the jailer and the magistrate. He always examines people objectively. Most people would hate the person simply for being against them, but Meursault does not allow emotions to get in the way of his logic and appreciation of a job well done. I love that about him.
I am glad that we read this book as a part of the curriculum. Especially right after Their Eyes Were Watching God. The two books are so different in style, in atmosphere, in figurative language. I think by reading the two back to back, my view of literature has been widened. Earlier in school, it is all about using big vocabulary and long sentences, but then The Stranger is a wonderful book, and it uses short sentences and not too much fancy vocab.
A great piece of literature is one that you can read and forget that it is a book and get caught up in the plot. Also it needs a universal theme. It needs complex characters and everything in the book has a purpose, it is not to be funny or because they couldn't think of a better word. And you can tell all these things. I used to think that there was no way the authors thought of all the stuff we analyzed, but after writing my pastiche, I know that they do. The Stranger definitely achieves these criteria. (On a random side note, my favorite three books I've read in high school, The Stranger, Fiela's Child, and Cry, The Beloved Country all take place in Africa. That's cool.)
I am glad that we read this book as a part of the curriculum. Especially right after Their Eyes Were Watching God. The two books are so different in style, in atmosphere, in figurative language. I think by reading the two back to back, my view of literature has been widened. Earlier in school, it is all about using big vocabulary and long sentences, but then The Stranger is a wonderful book, and it uses short sentences and not too much fancy vocab.
A great piece of literature is one that you can read and forget that it is a book and get caught up in the plot. Also it needs a universal theme. It needs complex characters and everything in the book has a purpose, it is not to be funny or because they couldn't think of a better word. And you can tell all these things. I used to think that there was no way the authors thought of all the stuff we analyzed, but after writing my pastiche, I know that they do. The Stranger definitely achieves these criteria. (On a random side note, my favorite three books I've read in high school, The Stranger, Fiela's Child, and Cry, The Beloved Country all take place in Africa. That's cool.)
Sunday, March 13, 2011
Journal # 7
My topic is time. This includes time of day and day of the week/date.
"Maman died today. Or yesterday maybe, I don't know." (Camus, 3)
"Night had fallen suddenly." (Camus, 8)
"Dawn was creeping up over the skylight." (Camus, 11)
"After that, everything seemed to happen so fast, so deliberately, so naturally that I don't remember any of it anymore." (Camus, 17)
"Today is Saturday." (Camus, 19)
"I remembered that it was Sunday, and that bothered me: I don't like Sundays." (Camus, 21)
"It was a beautiful afternoon." (Camus, 21)
"At five o'clock some streetcars pulled up, clanging away." (Camus, 23)
"I worked hard at the office today." (Camus, 25)
"I really like doing this [washing my hands] at lunchtime. I don't enjoy it so much in the evening, because the roller towel you use is soaked through: one towel has to last all day." (Camus, 25)
"Twice a day, at eleven and six, the old man takes the dog out foe a walk." (Camus, 27)
"The four o'clock sun wasn't to hot, but the water was warm, with slow, gently lapping waves." (Camus, 34)
"She left at one o'clock and I slept awhile. Around three o'clock there was a knock on my door and Raymond came in." (Camus, 37)
"That evening Marie came by to see me and asked me if I wanted to marry her." (Camus, 41)
"I had a herd time waking up on Sunday, and Marie had to call me and shake me." (Camus, 47)
"He told me that he spent Saturdays and Sundays and all his days off there." (Camus, 50)
"'Do you know what time it is? It's only eleven-thirty!' We were all surprised, but Masson said that we'd eaten very early and that it was only natural because lunchtime was whenever you were hungry." (Camus, 52)
"Raymond came back with Masson around one-thirty." (Camus, 54)
"It was two o'clock in the afternoon, and this time his office was filled with sunlight barely softened by a flimsy curtain." (Camus, 66)
"It was only after Marie's first and last visit that it all started." (Camus, 72)
"The day of my arrest I was first put in a room where there were already several other prisoners, most of them Arabs." (Camus, 72)
"All night I felt bugs crawling over my face. A few days later I was put in a cell by myself, where I slept on wooden boards suspended from the wall." (Camus, 72)
"Afterwards [...] The first months were hard." (Camus, 77)
"Once again the main problem was killing time." (Camus, 78)
"So, with all the sleep [...] no one can imagine what nights in prison are like." (Camus, 80-81)
"But I can honestly say that the time from summer to summer went very quickly." (Camus, 82)
"Gentlemen of the jury, the day after his mother's death this man was out swimming, starting up a dubious liaision, and going to the movies, a comedy, for laughs." (Camus, 94)
"As I was leaving the courthouse on my way back to the van, I recognized for a brief moment the smell and color of the summer evening. [...] as easily to prison as to the sleep of the innocent." (Camus, 97)
"My mind was always on what was coming next, today or tomorrow." (Camus, 100)
"'Tommorrow, gentlemen, this same curt is to sit in judgement of the most monstrous of crimes: the murder of a father.'" (Camus, 101)
"That afternoon the big fans were still churning the thick air in the courtroom and the jurors' brightly colored fans were all moving in unison." (Camus, 103)
"I spend my days watching how the dwindling of color turns day into night." (Camus, 108)
"The fact that the sentence [...] seriousness of the decision." (Camus, 109)
"They always came at dawn, I knew that." (Camus, 113)
"That evening I thought about it and told myself that maybe she had gotten tired of being the girlfriend of a condemned man." (Camus, 115)
"It was at that exact moment [...] his usual time." (Camus, 115)
"'But if you don't die today, you'll die tomorrow, or the next day." (Camus, 117)
"For the first time in a long time [...] live it all again too." (Camus, 122)
I have no idea about a thesis statement. I will come back and add one to this post later.
"Maman died today. Or yesterday maybe, I don't know." (Camus, 3)
"Night had fallen suddenly." (Camus, 8)
"Dawn was creeping up over the skylight." (Camus, 11)
"After that, everything seemed to happen so fast, so deliberately, so naturally that I don't remember any of it anymore." (Camus, 17)
"Today is Saturday." (Camus, 19)
"I remembered that it was Sunday, and that bothered me: I don't like Sundays." (Camus, 21)
"It was a beautiful afternoon." (Camus, 21)
"At five o'clock some streetcars pulled up, clanging away." (Camus, 23)
"I worked hard at the office today." (Camus, 25)
"I really like doing this [washing my hands] at lunchtime. I don't enjoy it so much in the evening, because the roller towel you use is soaked through: one towel has to last all day." (Camus, 25)
"Twice a day, at eleven and six, the old man takes the dog out foe a walk." (Camus, 27)
"The four o'clock sun wasn't to hot, but the water was warm, with slow, gently lapping waves." (Camus, 34)
"She left at one o'clock and I slept awhile. Around three o'clock there was a knock on my door and Raymond came in." (Camus, 37)
"That evening Marie came by to see me and asked me if I wanted to marry her." (Camus, 41)
"I had a herd time waking up on Sunday, and Marie had to call me and shake me." (Camus, 47)
"He told me that he spent Saturdays and Sundays and all his days off there." (Camus, 50)
"'Do you know what time it is? It's only eleven-thirty!' We were all surprised, but Masson said that we'd eaten very early and that it was only natural because lunchtime was whenever you were hungry." (Camus, 52)
"Raymond came back with Masson around one-thirty." (Camus, 54)
"It was two o'clock in the afternoon, and this time his office was filled with sunlight barely softened by a flimsy curtain." (Camus, 66)
"It was only after Marie's first and last visit that it all started." (Camus, 72)
"The day of my arrest I was first put in a room where there were already several other prisoners, most of them Arabs." (Camus, 72)
"All night I felt bugs crawling over my face. A few days later I was put in a cell by myself, where I slept on wooden boards suspended from the wall." (Camus, 72)
"Afterwards [...] The first months were hard." (Camus, 77)
"Once again the main problem was killing time." (Camus, 78)
"So, with all the sleep [...] no one can imagine what nights in prison are like." (Camus, 80-81)
"But I can honestly say that the time from summer to summer went very quickly." (Camus, 82)
"Gentlemen of the jury, the day after his mother's death this man was out swimming, starting up a dubious liaision, and going to the movies, a comedy, for laughs." (Camus, 94)
"As I was leaving the courthouse on my way back to the van, I recognized for a brief moment the smell and color of the summer evening. [...] as easily to prison as to the sleep of the innocent." (Camus, 97)
"My mind was always on what was coming next, today or tomorrow." (Camus, 100)
"'Tommorrow, gentlemen, this same curt is to sit in judgement of the most monstrous of crimes: the murder of a father.'" (Camus, 101)
"That afternoon the big fans were still churning the thick air in the courtroom and the jurors' brightly colored fans were all moving in unison." (Camus, 103)
"I spend my days watching how the dwindling of color turns day into night." (Camus, 108)
"The fact that the sentence [...] seriousness of the decision." (Camus, 109)
"They always came at dawn, I knew that." (Camus, 113)
"That evening I thought about it and told myself that maybe she had gotten tired of being the girlfriend of a condemned man." (Camus, 115)
"It was at that exact moment [...] his usual time." (Camus, 115)
"'But if you don't die today, you'll die tomorrow, or the next day." (Camus, 117)
"For the first time in a long time [...] live it all again too." (Camus, 122)
I have no idea about a thesis statement. I will come back and add one to this post later.
Thursday, March 10, 2011
Journal # 6
My five questions
1) Throughout the book, why does time get less and less important and less mentioned?
2) Why does Camus include so much ambiguous language and paradox when his character is so precise and straightforward?
3) Why are Arabs and women portrayed in an unflattering way?
4) How does the culture impact the book?
5)When the legal system is so absurd and conflicting with Meurault's own beliefs, why does Camus make Meursault accept and appreciate it?
Camus's book The Stranger has a lack of emotion and focuses instead on physical sensations and logical thought to characterize Meursault in order to demonstrate the philosophy of existentialism. Matt
Salamano's dog is significant because the fact that it replaced his wife, and the fact that Salamano hates it, but is still crushed when it runs away show the human need for companionship and fear of lonliness. Andy
The victim of Meursault's crime as well as most of the inmates are Arab to show the ineffectiveness of the legal system and the hypocritical aspect of society as a whole. Isabella
Camus uses the symbols of coffee and cigarettes as the vices of society. They are habits that tie society together. When Meursault finally separates himself fully from those around him, he no longer participates in those habitual "needs". Megan
Camus only says the name of the day if it is a weekend to parallel Meursault's attitude. He does not enjoy his work, and on the weekends he experiences a freedom to choose his own activity. He can do whatever he feels like, and is not pressured into doing things he doesn't want to do. So Camus, like Meursault, ignores and disregards the week days and focuses on the weekends. Tate
1) Throughout the book, why does time get less and less important and less mentioned?
2) Why does Camus include so much ambiguous language and paradox when his character is so precise and straightforward?
3) Why are Arabs and women portrayed in an unflattering way?
4) How does the culture impact the book?
5)When the legal system is so absurd and conflicting with Meurault's own beliefs, why does Camus make Meursault accept and appreciate it?
Camus's book The Stranger has a lack of emotion and focuses instead on physical sensations and logical thought to characterize Meursault in order to demonstrate the philosophy of existentialism. Matt
Salamano's dog is significant because the fact that it replaced his wife, and the fact that Salamano hates it, but is still crushed when it runs away show the human need for companionship and fear of lonliness. Andy
The victim of Meursault's crime as well as most of the inmates are Arab to show the ineffectiveness of the legal system and the hypocritical aspect of society as a whole. Isabella
Camus uses the symbols of coffee and cigarettes as the vices of society. They are habits that tie society together. When Meursault finally separates himself fully from those around him, he no longer participates in those habitual "needs". Megan
Camus only says the name of the day if it is a weekend to parallel Meursault's attitude. He does not enjoy his work, and on the weekends he experiences a freedom to choose his own activity. He can do whatever he feels like, and is not pressured into doing things he doesn't want to do. So Camus, like Meursault, ignores and disregards the week days and focuses on the weekends. Tate
Wednesday, March 9, 2011
Journal # 5
Camus presented the book in two parts to emphasize the differences between the two. Also, by making the differences so pronounced, he highlights the parallels. One parallel is the description of the setting. In both parts Camus goes into great detail explaining the surroundings. In part one, however, it is mostly the natural environment that is described. "The sky was already filled with light. [...] and the crackling of grass." (Camus, 15-16) In part two, the descriptions are of inside places. One description is of the visiting room. "To get to the visiting room [...]brought on a kind of dizziness." (Camus, 73) Another parallel is the attention Meursault pays to very minor characters. Meursault watches the little robot woman and notices every detail about her. "I had dinner at Céleste's. [...] so I left too and followed her for a while." (Camus, 43) In part two, he describes all the prisoners in the visiting room. "The man on my left [...] staring intently at each other."(Camus, 75) A minor parallel is Meursault's mention of eyes. On page 64 and page 4, for example. Another is how people re described as looking like they are feeling an emotion instead of being described as feeling that emotion. On page 65 and 37 this happens. People feel comfortable talking to Meursault in both parts. Raymond and the prison guard do not know Meursault that well, but they both talk to him like a friend. The prison guard says "'Right. You see, you understand these things. The rest of them don't. '" (Camus, 79). On pages 28-33 Raymond tells very personal things to Meursault, and trusts him even though they don't usually talk.
Monday, March 7, 2011
Journal # 4
*Why is Marie portrayed with childish qualities?
*Why are the paradoxes included? (the silence of the Arab tooting his reed, Meursault was tired so he swam back strongly with even breath)
*What effect is produced by the choices on page 56 and 57? (shoot or not shoot, to stay or to go)
*Is the sun a motif or symbol? Why?
*Why are there parallels between the day at the beach and Maman's funeral? (Meursault wears a funeral face on page 47, the sun was the same as it was at the funeral)
*Why did Meursault shoot the man?
*What do the repetitions of the sky and sleep mean?
*Why are the paradoxes included? (the silence of the Arab tooting his reed, Meursault was tired so he swam back strongly with even breath)
*What effect is produced by the choices on page 56 and 57? (shoot or not shoot, to stay or to go)
*Is the sun a motif or symbol? Why?
*Why are there parallels between the day at the beach and Maman's funeral? (Meursault wears a funeral face on page 47, the sun was the same as it was at the funeral)
*Why did Meursault shoot the man?
*What do the repetitions of the sky and sleep mean?
Sunday, March 6, 2011
Journal # 3
"I wish I could bake a cake filled with rainbows and smiles and everyone would eat and be happy..."-ism (from Mean Girls)
Well, my philosophy is a mish mash of a lot of different types. Mostly though, I am Lockean. I am kind of naturalistic, because I don't think things have a purpose or meaning. That doesn't mean nothing matters, it just means that things matter to individuals or societies, but not to history as a whole, and there is no purpose of existing, it simply happens. I am deterministic. If anything happens, you can definitely find a reason for that thing to happen. In that way, that everything has a cause, I guess I am nihilistic. You can't change "destiny" because if you try to, the fact that you try to is caused by something. I think also that everyone is born with a blank slate mind, like Locke said. Certain things are affected by genes, of course, but principles, morals, ideals, personality, and everything else that defines a person are all based on their environment. Because of this, I think that everyone has the potential to be good people, and in fact that everyone tries to. It is just a difference in morals, or an inability to act on your morals, or being brought up with out morals that creates all the turmoil and conflict.
My guiding principles are
1. Every living thing is of equal importance and should be treated with respect.
2. If you know there is a problem, then you are responsible for fixing it.
3. Personal happiness and that of others is the most important thing to strive for.
4. It is your character more than an event that influences how you react to the event.
5. Work to better the world or your society, not just yourself.
6. Instead of hating people, try to understand where they are coming from.
7. Don't make up a personality or hide your personality.
8. Don't do things that will hurt other people.
All of these ideas I got from my parents and other people who I grew up around. (Obviously, because that is what my whole philosophy is about.)
Well, my philosophy is a mish mash of a lot of different types. Mostly though, I am Lockean. I am kind of naturalistic, because I don't think things have a purpose or meaning. That doesn't mean nothing matters, it just means that things matter to individuals or societies, but not to history as a whole, and there is no purpose of existing, it simply happens. I am deterministic. If anything happens, you can definitely find a reason for that thing to happen. In that way, that everything has a cause, I guess I am nihilistic. You can't change "destiny" because if you try to, the fact that you try to is caused by something. I think also that everyone is born with a blank slate mind, like Locke said. Certain things are affected by genes, of course, but principles, morals, ideals, personality, and everything else that defines a person are all based on their environment. Because of this, I think that everyone has the potential to be good people, and in fact that everyone tries to. It is just a difference in morals, or an inability to act on your morals, or being brought up with out morals that creates all the turmoil and conflict.
My guiding principles are
1. Every living thing is of equal importance and should be treated with respect.
2. If you know there is a problem, then you are responsible for fixing it.
3. Personal happiness and that of others is the most important thing to strive for.
4. It is your character more than an event that influences how you react to the event.
5. Work to better the world or your society, not just yourself.
6. Instead of hating people, try to understand where they are coming from.
7. Don't make up a personality or hide your personality.
8. Don't do things that will hurt other people.
All of these ideas I got from my parents and other people who I grew up around. (Obviously, because that is what my whole philosophy is about.)
Friday, March 4, 2011
Journal # 2
Matthew Ward has the most literary value as a translator. The most important reason is that he kept closer to the real book than Gilbert did. For example the kilometers versus the miles and maman versus mother. He is also better because he creates more of a distance between the reader and Meursault, and between Meursault and his society. Both translators added their own voice to the novel, but I think Ward's voice is closer to what Camus wrote.
I think the best title is The Stranger because Meursault is not an outsider. He has many friends. He us not a foreigner, he is from Algeria just like everyone else in the story. He is a stranger though. He doesn't understand anybody and nobody can understand him. For example when he is talking to his boss, he says that it isn't his fault. He doesn't understand social customs of people. He tries to though
I think the best title is The Stranger because Meursault is not an outsider. He has many friends. He us not a foreigner, he is from Algeria just like everyone else in the story. He is a stranger though. He doesn't understand anybody and nobody can understand him. For example when he is talking to his boss, he says that it isn't his fault. He doesn't understand social customs of people. He tries to though
Monday, February 28, 2011
Journal # 1
I am going to tab the categories in the second level of the pink sheet. I am going to write the technique from the bottom of the pink sheet that was used to make that effect on the sticky so I can easily go back through. I am also going to tab, in a different color, anything that stands out or catches my attention or may contribute to a theme. Just random things that seem important.
Thursday, February 17, 2011
Journal # 10
People who are oppressed or taken advantage of are as much to blame for their condition as those who oppress them, because they shirk responsibility, and do not stand up to abuse from the oppressors. I am not sure if it is too vague or if it is focused enough, or if "taken advantage of" is a metaphor.
On page 234 the passage beginning with "The folks in the quarters and the people in the big houses" and ending with "The bossman might have the thing stopped before morning anyway." illustrates this because the oppressed people don't make their own decisions, they just follow the rich peoples' examples. Personification is used in this passage to show power. The atmosphere is worried. I saw it as them pawning responsibility off on those in charge.
On page 210, Mrs. Turner says, "De black ones is holdin' us back." She means it as the very dark people are ruining the reputation of the lighter black people, but I took it as that the blacks are holding progress back. Hurston used situational irony, because Mrs. Turner herself is one of the hinderences to progress. The ambiguity of the statement makes stand out.
On page 58, Hicks says, "Ah did think about it one day, but then Ah forgot it and ain't thought about it since then." He is talking about a mayor of Eatonville. The oppressed men all dream of power, but few of them act on this want.
On page 75, the passage, "They had murmured hotly about slavery being over, but every man filled his assignment." shows exactly the thesis. They think it is oppression, but they refuse to stand up to it. Hurston uses auditory imagery to show the mens' feelings.
On pages 85-86, The passage that begins with "Janie noted that while he didn't talk the mule himself," and ends with, "That was the rock she was battered against" shows Janie's internal struggle against Joe's oppression, but she does not try to change her condition, just grumps about it. Hurston uses a lot of frustrated and mad diction.
On pages 69-70 the passage that begins, "Thank yuh for yo' compliments, but mah wife don't know nothin' 'bout no speech makin'." and ends with, "He strode along invested with his new dignity, thought and planned out loud, unconscious of her thoughts." shows Janie's silent fuming. This quote, however, also tells why she is mad. She wants to make her own decisions, but does not even let Joe know that. "Janie made her face laugh" is diction that first alerts the reader of her rage. The motif of the tree in bloom is continued, but this time it is in a negative light because the bloom was missing.
On page 234 the passage beginning with "The folks in the quarters and the people in the big houses" and ending with "The bossman might have the thing stopped before morning anyway." illustrates this because the oppressed people don't make their own decisions, they just follow the rich peoples' examples. Personification is used in this passage to show power. The atmosphere is worried. I saw it as them pawning responsibility off on those in charge.
On page 210, Mrs. Turner says, "De black ones is holdin' us back." She means it as the very dark people are ruining the reputation of the lighter black people, but I took it as that the blacks are holding progress back. Hurston used situational irony, because Mrs. Turner herself is one of the hinderences to progress. The ambiguity of the statement makes stand out.
On page 58, Hicks says, "Ah did think about it one day, but then Ah forgot it and ain't thought about it since then." He is talking about a mayor of Eatonville. The oppressed men all dream of power, but few of them act on this want.
On page 75, the passage, "They had murmured hotly about slavery being over, but every man filled his assignment." shows exactly the thesis. They think it is oppression, but they refuse to stand up to it. Hurston uses auditory imagery to show the mens' feelings.
On pages 85-86, The passage that begins with "Janie noted that while he didn't talk the mule himself," and ends with, "That was the rock she was battered against" shows Janie's internal struggle against Joe's oppression, but she does not try to change her condition, just grumps about it. Hurston uses a lot of frustrated and mad diction.
On pages 69-70 the passage that begins, "Thank yuh for yo' compliments, but mah wife don't know nothin' 'bout no speech makin'." and ends with, "He strode along invested with his new dignity, thought and planned out loud, unconscious of her thoughts." shows Janie's silent fuming. This quote, however, also tells why she is mad. She wants to make her own decisions, but does not even let Joe know that. "Janie made her face laugh" is diction that first alerts the reader of her rage. The motif of the tree in bloom is continued, but this time it is in a negative light because the bloom was missing.
Journal # 9
"It all started one Monday in June," said Abby, "I realized something that changed my life forever." Emily leaned in, eager to hear why Abby had all the sudden quit school and become a dog boarder.
"Well," started Abby, "I was in my econ class and Watson, you remember her, the really old woman with the nose like a beak and fingers like claws, always mad and hated students? She was going on and on about the Great Depression and I was taking notes like mad." Mrs. Watson was impressed by Abby's attitude toward school. She took notice of Abby's constant lack of being stoned, asleep, or absent, the only one with a passing grade in the class. She paid attention, and showed interest and talent in economics. She might become more than a worker at a local fast food joint. As for the rest of these, there was no hope for any of them to get anywhere in life. After class on that Monday in June, Watson called Abby to her desk.
"Abigail, I noticed your interest and enthusiasm in economics and I want to encourage you to do more with your life. Are you planning on attending college?" Abby shrugged her shoulders, looking at the floor instead of Mrs. Watson. Of course she was going to college. She just didn't want Mrs. Watson poking her pointy nose in Abby's business.
"Well," Declared Mrs. Watson, "That is unacceptable! As my only student worth my spit, you will go to college, and you will become a business woman! I refuse to see any intelligence or talent thrown away. While you are a little lacking in both cases, you have more than anybody else at this God forsaken school!"
Abby stood silently.
"You may go now" Mrs. Watson dissmissed her with a flip of her hand.
Abby, stunned, walked quickly out of the class and never looked back. She kept on walking right out of the school, and right past her house, right out of town. When it got dark she stopped to think. She couldn't go to college now. Mrs. Watson's ghost would follow her for the rest of her life, judging her actions and choosing her life for her. What was she supposed to do now? A man walked past her with his German Shepard, and it bounded up to her and licked her on the arm. Then it stood there wagging its tail until the owner dragged it away, still wagging.
"All of the sudden, it hit me! I was going to work with dogs. I slept in a hotel that night and went around the next day and applied for jobs in pet stores, dog training camps, dog daycare centers, and dog grooming shops. The daycare center was low on staff and hired me the next day, and I've worked there ever since. As the years went on I moved up. Assistant, manager, then one day the owner decided to move to Honolulu, and she gave the place to me."
Emily was baffled. "You didn't go to college because Watson told you to? You quit high school because of that?"
"It wasn't my decision anymore. It was already my parents and my counselor and everybody else's decision. They were the ones that wanted me to go to college. I just never realized that I didn't want to go until Mrs. Watson enlightened me. So, I decided to do what I wanted instead of what the world wanted for me," explained Abby.
Emily nodded. It made sense now.
I used a confidant to tell the whole story to, just as Pheoby is used for Janie to tell her story to. I used a bird as the symbol of oppression, like Hurston uses bird imagery for all bad things. I used third person omniscient to show everyone's feelings. My theme was that it is human nature that what someone does is less important than them choosing it for themselves.
"Well," started Abby, "I was in my econ class and Watson, you remember her, the really old woman with the nose like a beak and fingers like claws, always mad and hated students? She was going on and on about the Great Depression and I was taking notes like mad." Mrs. Watson was impressed by Abby's attitude toward school. She took notice of Abby's constant lack of being stoned, asleep, or absent, the only one with a passing grade in the class. She paid attention, and showed interest and talent in economics. She might become more than a worker at a local fast food joint. As for the rest of these, there was no hope for any of them to get anywhere in life. After class on that Monday in June, Watson called Abby to her desk.
"Abigail, I noticed your interest and enthusiasm in economics and I want to encourage you to do more with your life. Are you planning on attending college?" Abby shrugged her shoulders, looking at the floor instead of Mrs. Watson. Of course she was going to college. She just didn't want Mrs. Watson poking her pointy nose in Abby's business.
"Well," Declared Mrs. Watson, "That is unacceptable! As my only student worth my spit, you will go to college, and you will become a business woman! I refuse to see any intelligence or talent thrown away. While you are a little lacking in both cases, you have more than anybody else at this God forsaken school!"
Abby stood silently.
"You may go now" Mrs. Watson dissmissed her with a flip of her hand.
Abby, stunned, walked quickly out of the class and never looked back. She kept on walking right out of the school, and right past her house, right out of town. When it got dark she stopped to think. She couldn't go to college now. Mrs. Watson's ghost would follow her for the rest of her life, judging her actions and choosing her life for her. What was she supposed to do now? A man walked past her with his German Shepard, and it bounded up to her and licked her on the arm. Then it stood there wagging its tail until the owner dragged it away, still wagging.
"All of the sudden, it hit me! I was going to work with dogs. I slept in a hotel that night and went around the next day and applied for jobs in pet stores, dog training camps, dog daycare centers, and dog grooming shops. The daycare center was low on staff and hired me the next day, and I've worked there ever since. As the years went on I moved up. Assistant, manager, then one day the owner decided to move to Honolulu, and she gave the place to me."
Emily was baffled. "You didn't go to college because Watson told you to? You quit high school because of that?"
"It wasn't my decision anymore. It was already my parents and my counselor and everybody else's decision. They were the ones that wanted me to go to college. I just never realized that I didn't want to go until Mrs. Watson enlightened me. So, I decided to do what I wanted instead of what the world wanted for me," explained Abby.
Emily nodded. It made sense now.
I used a confidant to tell the whole story to, just as Pheoby is used for Janie to tell her story to. I used a bird as the symbol of oppression, like Hurston uses bird imagery for all bad things. I used third person omniscient to show everyone's feelings. My theme was that it is human nature that what someone does is less important than them choosing it for themselves.
Tuesday, February 15, 2011
Journal # 8
The passage on the first page on chapter 12 is when the townspeople first start to realize Janie and Tea Cake are together. The atmosphere is annoyed and outraged. The townspeople kind of whine about all the stuff Tea Cake and Janie are doing. It affects the text because it shows the hypocrisy of judgment. The people think he is shameless for wooing her, but they all would have done the same thing. This passage really shows their jealousy through the atmosphere.
Later in chapter 12, Phoeby's husband tells her to go see if Janie is serious about Tea Cake. Phoebe tries to make it look like a coincidence that she is there. The narrator says that Janie acts glad to see Phoeby. This is specific diction that Hurston used. Janie was not really glad, she was just pretending. It shows how infatuated she is. When people get really close with their significant others, they tend to lose emotion for friends. Also it shows how both women were putting on an act. Janie saw right through Phoeby's apparently random appearance at her house, and she appears happy.
In chapter 11 Tea Cake thought Janie was mad at him and might kick him out. Using third person omniscient the reader can see that Tea Cake actually felt scared that she would ahte him. That is really important, because up until that point, the reader is unsure of if they should trust Tea Cake. With one sentence, The entire tone the author uses for Tea Cake is shifted and the reader accepts him. This is important because the reader had to not trust him to see from the townspeople's' view, but also had to trust him to see from Janie's, so the sudden switch accommodates both needs.
Later in chapter 12, Phoeby's husband tells her to go see if Janie is serious about Tea Cake. Phoebe tries to make it look like a coincidence that she is there. The narrator says that Janie acts glad to see Phoeby. This is specific diction that Hurston used. Janie was not really glad, she was just pretending. It shows how infatuated she is. When people get really close with their significant others, they tend to lose emotion for friends. Also it shows how both women were putting on an act. Janie saw right through Phoeby's apparently random appearance at her house, and she appears happy.
In chapter 11 Tea Cake thought Janie was mad at him and might kick him out. Using third person omniscient the reader can see that Tea Cake actually felt scared that she would ahte him. That is really important, because up until that point, the reader is unsure of if they should trust Tea Cake. With one sentence, The entire tone the author uses for Tea Cake is shifted and the reader accepts him. This is important because the reader had to not trust him to see from the townspeople's' view, but also had to trust him to see from Janie's, so the sudden switch accommodates both needs.
Monday, February 14, 2011
Journal # 7
Then Charlie began to understand despair. Despair, the murky black figure who drowned so many. The insidious parasite that seeps into the hearts of people, warps and contorts them, and never leaves. Why would she leave her gracious host , and how would one purge them self of her? She lurks in her dank grotto that used to radiate health and joy. Lurks and silently reaches out to corrupt the world with her slimy fingers, spreading her filth to the people. Had started out a trickle and grew to flood the whole human race. He expected to find a putrid puddle signaling her arrival any time. He was worried and helpless as well. Oh Aurora! She did not deserve this grisly future. He tried to vanquish Despair, but she had already consumed Aurora's heart. The doctors tried to save her, but hers was not a physical illness. She would get better when she dislodged Despair's tentacles. Bliss would once again light up her face. That was what he told her. But he knew the reality was different. And even if he had believed his lies, the coming days would paint the gruesome picture for him, with her emaciation and the anguish in her eyes. Dark feelings the once blessed girl had never felt before welled up and rotted away any sense of hope that had remained flitting feebly in the back of her mind. Easily corroded the survivors. Gossip, the stinking bog, had claimed another victim.
I decided to use a lot of water and sewage language, because for me, despair is watery (that sinking feeling) and gross in an unhealthy way. I made the girl's name Aurora because that seems firey and she is getting beaten by water.
I decided to use a lot of water and sewage language, because for me, despair is watery (that sinking feeling) and gross in an unhealthy way. I made the girl's name Aurora because that seems firey and she is getting beaten by water.
Sunday, February 13, 2011
Journal # 6
-Death is personified making it more intimate and personal.
-Birds symbolize bad things showing the author's tone toward birds.
-Trees are repeated foreshadowing a brighter future.
-Wingless bird is an oxymoron to show that rumor is powerful and is deeper than just talk.
-The atmosphere is thoughtful and brooding to make the reader identify with Janie.
-The character Death is shown as all powerful to show that no one can escape it.
-The character of the two headed man shows how desperate people are, even if they don't admit it. Joe is desperate to live, and the two headed man is desperate for money.
-The people squatting in the yard waiting are parallel to death waiting for his messengers to bid him come.
-The dialect is included even though the narrator is narrating to show that this particular idea is Joe's. ("These medical doctors waz all right with the Godly sick... He wasn't going to die at all.")
-Death's house is similar to a bird's nest and he has feathers. Birds are a symbol for death.
-The atmosphere is thoughtful and brooding to make the reader identify with Janie.
-The character Death is shown as all powerful to show that no one can escape it.
-The character of the two headed man shows how desperate people are, even if they don't admit it. Joe is desperate to live, and the two headed man is desperate for money.
-The people squatting in the yard waiting are parallel to death waiting for his messengers to bid him come.
-The dialect is included even though the narrator is narrating to show that this particular idea is Joe's. ("These medical doctors waz all right with the Godly sick... He wasn't going to die at all.")
-Death's house is similar to a bird's nest and he has feathers. Birds are a symbol for death.
Saturday, February 12, 2011
Journal # 5
Okaly Dokaly Neighborinos, here we go. Hurston set the plot up in the form of Janie telling a story in order to let the reader completely know Janie while still seeing form other characters' points of view as well. The reader can see what points of her life she considers significant. Hurston does this to emphasize the importance of judgment in the novel, and because it is necessary to have a complete understanding of Janie and all of her thoughts.
Thursday, February 10, 2011
Journal # 4
Pattern numero uno: Men want more power, but don't actively try to get it. An example is on page 58 in my book. The men are talking about how they don't have a mayor, but they didn't even think of becoming the mayor themselves.
Pattern numero dos: Ambiguity. On page 70 Joe says, "Dis town needs some light right now." He is talking about a street lamp, but I think it implies that the town needs help and progress in general.
Pattern numero tres: Men have direct power over women, but women have indirect power over men. For example, Mrs. Bogle made her husbands change proffessions so they could woo her.
Pattern numero dos: Ambiguity. On page 70 Joe says, "Dis town needs some light right now." He is talking about a street lamp, but I think it implies that the town needs help and progress in general.
Pattern numero tres: Men have direct power over women, but women have indirect power over men. For example, Mrs. Bogle made her husbands change proffessions so they could woo her.
Wednesday, February 9, 2011
Journal # 3
Ella Fitzgerald was a jazz and scat singer during the Harlem Renaissance. She had a rough childhood, and was even homeless for a while. These hardships helped shape her into the singer and person that she was. She drew on these hard memories to put emotion into her songs. She won 13 grammies over her 59 year career. She had a very wide vocal range, and sang various styles of music. On stage she was confident and loud, but off stage she was quite shy.
My dialect is Vampire/Transylvanian. Grammar: No contractions, use lots of commas, long sentances. Vocabulary: Use a large intellectual vocabulary, very dark imagery, speak formally, distant, and old fashioned. Pronunciation: W is pronounced as V, consonants are short and vowels are long, enunciate very clearly, i as in wish becomes ee (weesh).
"Shoo boop be do bop bop bop ba da-," Ella scatted to herself in her sleep.
"Mees Ella. My name ees Vlad, and I vant you to know that I am quite an afeecionado of your vork," said Vlad calmly, sweeping into the room.
"Well, um, Hello again Mr. Dragos. I must still be dreaming. Um, thank you sir," Sputtered Ella confusedly, waking up, "I always, um, appreciate a fan-"
"Yes, you are dreaming. I have a proposal for you. Eef you agree to geeve to me all of the music that I desire, I veell give you something vonderful in return, something sought after, keelled for, eenvaluable. I veell give you, ETERNAL LIFE!," Vlad proclaimed.
Ella inched away and nervously replied, "Well, when you, when you told me you were a talent scout earlier today, that's not exactly the offer I was expecting." She giggled lamely.
"Do not vaste my time. Answer me, or I veell lose my patience. I do not appreciate people who vaste my time, and people I do not appreciate do not end up vell," snarled Vlad.
"I, I want, you should, please leave," Ella muttered quickly getting scared, "I'll call the cops!"
"You are not scared. You veell take my offer," Vlad said, his voice smooth and soft.
"Ok, yeah. I'll take your offer," Ella said sleepily.
"Good. Now I vill bestow upon you the most vonderful geeft anyvone can geeve," said Vlad, preparing to bite.
Ella's eyes snapped open. "What?," she asked, "No, what am I saying? Who are you? Get out!"
Vlad's voice was like honey again as he said, "Go back to sleep. Eet ees just a dream, afterall."
She quietly mumbled about calling the police as she fell back asleep, "And you'll go to jail, and..."
"Finally. After all these years! A companion to join me een death," exclaimed Vlad.
My dialect is Vampire/Transylvanian. Grammar: No contractions, use lots of commas, long sentances. Vocabulary: Use a large intellectual vocabulary, very dark imagery, speak formally, distant, and old fashioned. Pronunciation: W is pronounced as V, consonants are short and vowels are long, enunciate very clearly, i as in wish becomes ee (weesh).
"Shoo boop be do bop bop bop ba da-," Ella scatted to herself in her sleep.
"Mees Ella. My name ees Vlad, and I vant you to know that I am quite an afeecionado of your vork," said Vlad calmly, sweeping into the room.
"Well, um, Hello again Mr. Dragos. I must still be dreaming. Um, thank you sir," Sputtered Ella confusedly, waking up, "I always, um, appreciate a fan-"
"Yes, you are dreaming. I have a proposal for you. Eef you agree to geeve to me all of the music that I desire, I veell give you something vonderful in return, something sought after, keelled for, eenvaluable. I veell give you, ETERNAL LIFE!," Vlad proclaimed.
Ella inched away and nervously replied, "Well, when you, when you told me you were a talent scout earlier today, that's not exactly the offer I was expecting." She giggled lamely.
"Do not vaste my time. Answer me, or I veell lose my patience. I do not appreciate people who vaste my time, and people I do not appreciate do not end up vell," snarled Vlad.
"I, I want, you should, please leave," Ella muttered quickly getting scared, "I'll call the cops!"
"You are not scared. You veell take my offer," Vlad said, his voice smooth and soft.
"Ok, yeah. I'll take your offer," Ella said sleepily.
"Good. Now I vill bestow upon you the most vonderful geeft anyvone can geeve," said Vlad, preparing to bite.
Ella's eyes snapped open. "What?," she asked, "No, what am I saying? Who are you? Get out!"
Vlad's voice was like honey again as he said, "Go back to sleep. Eet ees just a dream, afterall."
She quietly mumbled about calling the police as she fell back asleep, "And you'll go to jail, and..."
"Finally. After all these years! A companion to join me een death," exclaimed Vlad.
Tuesday, February 8, 2011
Journal # 2
In the last stages of Nanny's sleep, she dreamed of voices. Voices far-off but persistent, and gradually coming nearer. Janie's voice. Janie talking in low whispery snatches with a male voice she couldn't quite place. That brought her wide awake. She bolted upright and peered out of the window and saw Johnny Taylor lacerating her Janie with a kiss.
"Janie!"
The old woman's voice was so lacking in command and reproof, so full of crumbling dissilution,-that Janie half believed that Nanny had not seen her. So she extended herself outside of her dream and went inside of the house. That was the end of her childhood.
Nanny's head and face looked like the standing roots of some old tree that had been torn away by storm. Foundation of ancient power that no longer mattered. The cooling palma christi leaves that Janie had bound about her grandma's head with a white rag had wilted down and become part and parcel of the woman. Her eyes didn't bore and pierce. They diffused and melted Janie, the room and the world into one comprehension.
"Janie, youse uh 'oman, now, so-"(Hurston, 25-26)
1) Choice of the word lacerate
2) The qualities given to Nanny's eyes
3) The verbage goes from fast and powerful to weak and pathetic
4) Both womens' thoughts are shown
5) The short sentences stand out
6) Foreshadowing the storm
7) "Voice" is reoccurring
8) Simile of the tree
9) Motif of things ending (dream, sleep, childhood)
10) Dissolving is reoccurring
11) Dead tree symbolizes loss of power
12) Nanny's dream is real, and what Janie thinks is a dream is real
"Janie!"
The old woman's voice was so lacking in command and reproof, so full of crumbling dissilution,-that Janie half believed that Nanny had not seen her. So she extended herself outside of her dream and went inside of the house. That was the end of her childhood.
Nanny's head and face looked like the standing roots of some old tree that had been torn away by storm. Foundation of ancient power that no longer mattered. The cooling palma christi leaves that Janie had bound about her grandma's head with a white rag had wilted down and become part and parcel of the woman. Her eyes didn't bore and pierce. They diffused and melted Janie, the room and the world into one comprehension.
"Janie, youse uh 'oman, now, so-"(Hurston, 25-26)
1) Choice of the word lacerate
2) The qualities given to Nanny's eyes
3) The verbage goes from fast and powerful to weak and pathetic
4) Both womens' thoughts are shown
5) The short sentences stand out
6) Foreshadowing the storm
7) "Voice" is reoccurring
8) Simile of the tree
9) Motif of things ending (dream, sleep, childhood)
10) Dissolving is reoccurring
11) Dead tree symbolizes loss of power
12) Nanny's dream is real, and what Janie thinks is a dream is real
Journal # 1
1)Who would I tell my life story to? I would tell a stranger. If I told someone I know, I feel that I would leave out parts of it that I am ashamed about because I wouldn't want them to see me differently or change our relationship. A stranger would be easier to open up to because their opinion of you doesn't matter that much. Also if you know a person's secrets, it is impossible to dislike them because you know that they are human and even if they do bad things, they are motivated by the same feelings, so I might even make a new, very good friend.
2) My exact starting point would depend on the mood of the story. If I was going to focus on the good of my life, I would start at a different place than if I was focusing on the "tragedy". Overall, though, I think I would start most recent and work my way back. That just strikes me as a good way to lay out my life.
2) My exact starting point would depend on the mood of the story. If I was going to focus on the good of my life, I would start at a different place than if I was focusing on the "tragedy". Overall, though, I think I would start most recent and work my way back. That just strikes me as a good way to lay out my life.
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