Dear Diary-
Soon, my son is getting married. I don't like this, because I still do not trust that family. I do not care how long it has been, and I do not care if I should leave the past in the past. I felt my son's blood on my hands because of that family. And because of knives! Oh knives, what terrible instruments of destruction. I curse the man who invented them, and guns too. No, I do not trust that family, to lose both my son and my husband is something that you cannot imagine. And not only that, but also that girl that he is marrying. I do not trust her either, I heard...Well, perhaps I should not say it. It is not right for people to know such things about each other, they really ought to just leave each other alone.
Although, it does nag at me. Alright, my neighbor told me the other day that this...girl that he is marrying, well it seems she was engaged in the past to another man. Can you believe that? To be engaged to another man, and then to simply leave him. I tried to tell this to my son, but he simply does not care. It would seem that he believes her to be of the highest virtue. Regardless, tomorrow we are going to meet this family, and then I will be able to see her with my own eyes. My son thinks that I am too protective, too rooted in the past. But he does not understand what it is to lose someone so close, to lose everything you have. Well, not everything. He is all that I really have left. And perhaps that is why I am so reluctant to let him go, because I can't leave. I have to watch this place, to make sure that those fiends don't come and defile my husband's and my son's graves with their own bodies. Yes, I have to watch this place, because he is all I have.
Thursday, May 26, 2011
Tuesday, May 24, 2011
Comments on Others' Blogs
Comments on others' blogs:
1. You have some really good insights here, especially about the how the family may be trying to "trap" hope within their attic. I'd never thought of that before. (Ben Webster's Wild Duck Journal 3)
2. I saw the blindness connection between these books pretty early on, but I never really thought of how Hedvig's blindness could have led to the truth about her father. Good job! (Kyla Padbury's Wild Duck Journal 1)
3. I wouldn't necessarily disagree with what you are saying, but I'm not really sure if the narrator in The Wild Duck uses metaphors or similes. It seems to me that he/she just gives stage directions. And I'm not sure if this is third person omniscient, because we can't hear the characters' thoughts. (Ivan Kalliveg's Wild Duck Journal 2)
1. You have some really good insights here, especially about the how the family may be trying to "trap" hope within their attic. I'd never thought of that before. (Ben Webster's Wild Duck Journal 3)
2. I saw the blindness connection between these books pretty early on, but I never really thought of how Hedvig's blindness could have led to the truth about her father. Good job! (Kyla Padbury's Wild Duck Journal 1)
3. I wouldn't necessarily disagree with what you are saying, but I'm not really sure if the narrator in The Wild Duck uses metaphors or similes. It seems to me that he/she just gives stage directions. And I'm not sure if this is third person omniscient, because we can't hear the characters' thoughts. (Ivan Kalliveg's Wild Duck Journal 2)
Monday, May 23, 2011
The Wild Duck: Journal Three
Personal convictions and shared beliefs, the private and public life, sometimes seem at odds in the modern world. How did you find your chosen works touched with this conflict?
In The Wild Duck by Henrik Ibsen, the character of Gregers seems to be at odds with the rest of the characters of the play. Gregers believes that his father is corrupt, and his corruption has formed a lie around his friend Hjalmar's life. However, it is difficult to determine if Gregers seriously cares about his friend, or if he is trying to expose the lies solely to spite his father:
"Gregers. I'm planning to open Hjalmar Edkal's eyes. He's going to see his situation just as it is- that's all. Werle. Is that thte mission in life you talked about yesterday?" (Ibsen 175).
From this quote, we can see that Gregers has the desire to help Hjalmar, but it is also apparent that there are feelings of negativity towards his father. Gregers' moral crusade is also frowned upon by other characters in the play:
"Relling. All right, I'll tell you, Mrs. Edkal. He's suffering from an acute case of moralistic fever. [...] Gina (walking restlessly around the room). Ugh, that Gregers Werle- he always was a cold fish." (Ibsen 178).
In this quote, the other characters express there dislike of Gregers' moral actions. However, Ibsen may not only be critiquing the other characters, but Gregers as well, whose possibly selfish actions ultimately bring the Edkal's downfall.
In Oedipus the King by Sophocles, Oedipus and his wife Jocasta attempt to challenge Oedipus' prophecy regarding his parents:
"Tiresias: I say you are the murderer you hunt.
Oedipus: That obscenity, twice- by god, you'll pay."
Here, Oedipus is told explicitly by Tiresias that he is the murder of King Laius. However, Oedipus does not believe Tiresias, and even threatens him in his outrage. In this way, Oedipus' private views challenge that of not only Tiresias but the gods as well. However, in attempting to disprove the prophecy, Oedipus ultimately fulfills it. Oedipus and Gregers are both alike in that they are both trying to do the right thing, but for perhaps no the right reasons. Gregers is motivated by revenge towards his father, and in pursuing this he undoes himself and the Edkals. Similarly, Oedipus is motivated by the desire to expose the truth to satisfy his prideful nature, and in doing so he exposes himself as the murderer, bring shame to his family and himself.
In The Wild Duck by Henrik Ibsen, the character of Gregers seems to be at odds with the rest of the characters of the play. Gregers believes that his father is corrupt, and his corruption has formed a lie around his friend Hjalmar's life. However, it is difficult to determine if Gregers seriously cares about his friend, or if he is trying to expose the lies solely to spite his father:
"Gregers. I'm planning to open Hjalmar Edkal's eyes. He's going to see his situation just as it is- that's all. Werle. Is that thte mission in life you talked about yesterday?" (Ibsen 175).
From this quote, we can see that Gregers has the desire to help Hjalmar, but it is also apparent that there are feelings of negativity towards his father. Gregers' moral crusade is also frowned upon by other characters in the play:
"Relling. All right, I'll tell you, Mrs. Edkal. He's suffering from an acute case of moralistic fever. [...] Gina (walking restlessly around the room). Ugh, that Gregers Werle- he always was a cold fish." (Ibsen 178).
In this quote, the other characters express there dislike of Gregers' moral actions. However, Ibsen may not only be critiquing the other characters, but Gregers as well, whose possibly selfish actions ultimately bring the Edkal's downfall.
In Oedipus the King by Sophocles, Oedipus and his wife Jocasta attempt to challenge Oedipus' prophecy regarding his parents:
"Tiresias: I say you are the murderer you hunt.
Oedipus: That obscenity, twice- by god, you'll pay."
Here, Oedipus is told explicitly by Tiresias that he is the murder of King Laius. However, Oedipus does not believe Tiresias, and even threatens him in his outrage. In this way, Oedipus' private views challenge that of not only Tiresias but the gods as well. However, in attempting to disprove the prophecy, Oedipus ultimately fulfills it. Oedipus and Gregers are both alike in that they are both trying to do the right thing, but for perhaps no the right reasons. Gregers is motivated by revenge towards his father, and in pursuing this he undoes himself and the Edkals. Similarly, Oedipus is motivated by the desire to expose the truth to satisfy his prideful nature, and in doing so he exposes himself as the murderer, bring shame to his family and himself.
Sunday, May 22, 2011
The Wild Duck: Journal Two
Narrative Structure
The Wild Duck's plot is structured into five acts. This makes the play -while being read- certainly feel like it was meant for a stage, which is not necessarily a bad thing. It makes the play seem more realistic, and organic. It is hard to make a complete judgement of the acts effect, since we are only two deep, however. The acts do not pick up directly where the previous left off, but offer a new perspective as each on begins. Another interesting feature of this play is that it seems to have no single protagonist, with the stories' structure switching each act from one character to the next. The first act seems to focus more on Gregers and his return/his relationship with his father, while the second act seems to focus Hjalmar/his relationship with his family. In this way it seems like the author constructs a parallel structure within the plot, subtly weaving in disagreements and illusions within what appears to be functional families.
Although we have not gotten as far as the end of the play yet, I am aware of it. It seems to me that the end of the play is quite vital, in that it is the ultimatum of all the characters' actions. In the end of the play, due to Gregers' exposure of Hjalmar's poor treatment of his family, as well as the truth about his wife, Hedvig decides to kill herself. This is interesting, because Ibsen uses this to make a critique of virtually all the characters in the play. The time period which this spans is actually unknown to me, although it takes place some time after 1875. Because the play is set so close to the turn of the century, Ibsen may have been using the time of the play to make a critique about so called "progressive" society; although I cannot make that claim for certain because my historical background of the play is limited. The actual time of which the play takes place over is also unknown to me, although I would make the guess around two or three weeks.
The Wild Duck's plot is structured into five acts. This makes the play -while being read- certainly feel like it was meant for a stage, which is not necessarily a bad thing. It makes the play seem more realistic, and organic. It is hard to make a complete judgement of the acts effect, since we are only two deep, however. The acts do not pick up directly where the previous left off, but offer a new perspective as each on begins. Another interesting feature of this play is that it seems to have no single protagonist, with the stories' structure switching each act from one character to the next. The first act seems to focus more on Gregers and his return/his relationship with his father, while the second act seems to focus Hjalmar/his relationship with his family. In this way it seems like the author constructs a parallel structure within the plot, subtly weaving in disagreements and illusions within what appears to be functional families.
Although we have not gotten as far as the end of the play yet, I am aware of it. It seems to me that the end of the play is quite vital, in that it is the ultimatum of all the characters' actions. In the end of the play, due to Gregers' exposure of Hjalmar's poor treatment of his family, as well as the truth about his wife, Hedvig decides to kill herself. This is interesting, because Ibsen uses this to make a critique of virtually all the characters in the play. The time period which this spans is actually unknown to me, although it takes place some time after 1875. Because the play is set so close to the turn of the century, Ibsen may have been using the time of the play to make a critique about so called "progressive" society; although I cannot make that claim for certain because my historical background of the play is limited. The actual time of which the play takes place over is also unknown to me, although I would make the guess around two or three weeks.
Thursday, May 19, 2011
The Wild Duck: Journal One
To what extent would you agree that plot should be valued more highly than style in the work?
I do not always agree that plot should be valued greater than style, or that style valued greater than plot. I think that it is something that can vary from work to work.
In The Wild Duck by Ibsen, the author uses a very realistic and relate able style within her characters, which helps the audience identify with them. The language in this play is very realistic and natural, which creates a unique style that puts emphasis more upon this within the work.
Gregers (who has gotten up). Yes of course he did. But not that- (Walks about the floor.) Yes, wait a minute- it may well be, now that I think of it. My father's letters are always so brief. (Sits on chair arm.) Listen, tell me, Hjalmar -this is interesting- how did you come do know Gina?-your wife, I mean.
In this quote, it can be seen that there are alot of dashes and commas, indicating hesitation and pausing within the characters speech. This makes the speech sound awkward and fast, which is how people usually talk, there speech is not perfect in reality. This is an example of how Wild Duck's style is heavily emphasized. This contradicts somewhat with Oedipus, whose emphasis seems to be more on plot structure.
In Oedipus the King by Sophocles, the play focuses heavily on the plot of the story. In the days of Ancient Greece, specifically 5th-6th Century B.C., the audience watching a classic play such as that of Oedipus would have already known the story that they were going to see. However, it is the style of the author and the way that they choose to manipulate the story that really mattered. For example, one thing that made Sophocles' Oedipus so great was that the way Oedipus discovered the truth about his family and himself was different than what had happened in past plays. Often, Oedipus would find out what he had done through divine intervention or by accident, but it is only through his painstaking detective work in Sophocles' version that he manages to discover the truth. In this respect, it is the plot of Oedipus that really makes the play a great work. Sophocles' manipulation of the elements of plot are what essentially make the work such a great tragedy.
I do not always agree that plot should be valued greater than style, or that style valued greater than plot. I think that it is something that can vary from work to work.
In The Wild Duck by Ibsen, the author uses a very realistic and relate able style within her characters, which helps the audience identify with them. The language in this play is very realistic and natural, which creates a unique style that puts emphasis more upon this within the work.
Gregers (who has gotten up). Yes of course he did. But not that- (Walks about the floor.) Yes, wait a minute- it may well be, now that I think of it. My father's letters are always so brief. (Sits on chair arm.) Listen, tell me, Hjalmar -this is interesting- how did you come do know Gina?-your wife, I mean.
In this quote, it can be seen that there are alot of dashes and commas, indicating hesitation and pausing within the characters speech. This makes the speech sound awkward and fast, which is how people usually talk, there speech is not perfect in reality. This is an example of how Wild Duck's style is heavily emphasized. This contradicts somewhat with Oedipus, whose emphasis seems to be more on plot structure.
In Oedipus the King by Sophocles, the play focuses heavily on the plot of the story. In the days of Ancient Greece, specifically 5th-6th Century B.C., the audience watching a classic play such as that of Oedipus would have already known the story that they were going to see. However, it is the style of the author and the way that they choose to manipulate the story that really mattered. For example, one thing that made Sophocles' Oedipus so great was that the way Oedipus discovered the truth about his family and himself was different than what had happened in past plays. Often, Oedipus would find out what he had done through divine intervention or by accident, but it is only through his painstaking detective work in Sophocles' version that he manages to discover the truth. In this respect, it is the plot of Oedipus that really makes the play a great work. Sophocles' manipulation of the elements of plot are what essentially make the work such a great tragedy.
Wednesday, May 18, 2011
Oedipus the King: Journal Three
Letter a character might have written
Dearest Antigone,
The greatest and heaviest misery now envelopes me. You have been taken from me, my wife has taken her own life, and I write blindly these words to you. In my pride, and my arrogance, I made the foolish mistake to think that I could escape fate. What prophecy foretold, both my father, mother, and myself all unfortunately decided to neglect; and now the gods take their retribution upon me! No, I take retribution upon myself. It is I, Oedipus Rex, that had so doggedly pursued the truth of my birth, the truth of my heritage, of my mother and father, the man whose blood I spilled, and the woman whose loins I have violated.
You cannot imagine what a pain this is. In my foolishness again, I neglected the prophet Tiresias, mocking his blindness, and now I am myself blind. I should never have left that mountainside, I wish now that that shepherd had killed me as a babe; ridding my scourge from all mankind. And to think, what horror I have brought upon you, my daughter, What man will desire you? What happiness shall you achieve? I have cursed my family and myself in my stupidity. My hubris, which drove me so strongly towards the truth, ultimately has destroyed me in my arrogance. I thought myself and my family invulnerable, I thought myself a noble man on a quest to expose the truth. I am nothing but a blind, pitying wreck.
Where I go now, I cannot say. Perhaps I shall head for the mountain, O wretched Cithaeron, where I should have been killed so many years ago. At this time, I cannot think to see another person, I curse the light of day with my presence! I consider it a blessing, though small, that I cannot see the faces of those whom I have wronged, and continue to wrong by allowing them to gaze upon me. Although, perhaps I do not curse them. Perhaps they see the broken creature that was once a man. The man that solved the riddle of the sphinx. The great, and mighty Oedipus Rex! But mighty I am no longer. Yes, I will go to Cithaeron. It is there I will spend the remainder of this life, destitute and alone.
-Oedipus
Dearest Antigone,
The greatest and heaviest misery now envelopes me. You have been taken from me, my wife has taken her own life, and I write blindly these words to you. In my pride, and my arrogance, I made the foolish mistake to think that I could escape fate. What prophecy foretold, both my father, mother, and myself all unfortunately decided to neglect; and now the gods take their retribution upon me! No, I take retribution upon myself. It is I, Oedipus Rex, that had so doggedly pursued the truth of my birth, the truth of my heritage, of my mother and father, the man whose blood I spilled, and the woman whose loins I have violated.
You cannot imagine what a pain this is. In my foolishness again, I neglected the prophet Tiresias, mocking his blindness, and now I am myself blind. I should never have left that mountainside, I wish now that that shepherd had killed me as a babe; ridding my scourge from all mankind. And to think, what horror I have brought upon you, my daughter, What man will desire you? What happiness shall you achieve? I have cursed my family and myself in my stupidity. My hubris, which drove me so strongly towards the truth, ultimately has destroyed me in my arrogance. I thought myself and my family invulnerable, I thought myself a noble man on a quest to expose the truth. I am nothing but a blind, pitying wreck.
Where I go now, I cannot say. Perhaps I shall head for the mountain, O wretched Cithaeron, where I should have been killed so many years ago. At this time, I cannot think to see another person, I curse the light of day with my presence! I consider it a blessing, though small, that I cannot see the faces of those whom I have wronged, and continue to wrong by allowing them to gaze upon me. Although, perhaps I do not curse them. Perhaps they see the broken creature that was once a man. The man that solved the riddle of the sphinx. The great, and mighty Oedipus Rex! But mighty I am no longer. Yes, I will go to Cithaeron. It is there I will spend the remainder of this life, destitute and alone.
-Oedipus
Tuesday, May 17, 2011
Oedipus the King: Journal 2
Moments of intensity in a writer's work:
In Oedipus the King by Sophocles, a moment of intensity that stands out quite plainly is when Oedipus discovers that he has killed his father and married his mother:
Shepherd: ...If you are the man he says you are, believe me,/ you were born for pain.
Oedipus: O god-/ all come true, all burst to light!/ O light- now let me look my lost on you!\ I stand revealed at last-/ cursed in my birth, cursed in marriage,/ cursed in the lives I cut down with these hands!
In this section of the play, Sophocles uses intense and vivid language to show how Oedipus' grief is demonstrated. Another way that Sophocles maximizes the intensity of this moment is the previous lines that build up to it. Oedipus' wife, Jocasta, has recently receded into the palace for some unkown reason. It is apparent that she is dishearted, however:
Jocasta: Stop- in the name of god,/ if you love your own life, call of this search!/ My suffering is enough.
This provides foreshadowing to the realization that Oedipus will soon discover that he has killed his father and married his mother.
In The Stranger by Albert Camus, the author uses similar techniques to develop the intensity of the scene in which Meursault kills the arab: "The sun was starting to burn my cheeks, and I could feel drops of sweat gathering in my eyebrows [...] It was this burning, which I couldn’t stand anymore, that made me move forward."
Here, as in Oedipus, it can be seen that Camus use of tense and violent language provide a rising action to Meursault's murder of the Arab. It is already known that Meursault is progressing down towards where the Arab was laying, and this use of expressive and violent language foreshadown Meursault's murder of him.
This leads up to Meursault's actual act: "My whole being tensed and I squeeze my hand around the revolver. The trigger gave." Here, we can see that Camus describes Meursault's whole body being involved in this murder, and this reflects how Oedipus describes the intense feelings he has after realizing his murder and crime.
In Oedipus the King by Sophocles, a moment of intensity that stands out quite plainly is when Oedipus discovers that he has killed his father and married his mother:
Shepherd: ...If you are the man he says you are, believe me,/ you were born for pain.
Oedipus: O god-/ all come true, all burst to light!/ O light- now let me look my lost on you!\ I stand revealed at last-/ cursed in my birth, cursed in marriage,/ cursed in the lives I cut down with these hands!
In this section of the play, Sophocles uses intense and vivid language to show how Oedipus' grief is demonstrated. Another way that Sophocles maximizes the intensity of this moment is the previous lines that build up to it. Oedipus' wife, Jocasta, has recently receded into the palace for some unkown reason. It is apparent that she is dishearted, however:
Jocasta: Stop- in the name of god,/ if you love your own life, call of this search!/ My suffering is enough.
This provides foreshadowing to the realization that Oedipus will soon discover that he has killed his father and married his mother.
In The Stranger by Albert Camus, the author uses similar techniques to develop the intensity of the scene in which Meursault kills the arab: "The sun was starting to burn my cheeks, and I could feel drops of sweat gathering in my eyebrows [...] It was this burning, which I couldn’t stand anymore, that made me move forward."
Here, as in Oedipus, it can be seen that Camus use of tense and violent language provide a rising action to Meursault's murder of the Arab. It is already known that Meursault is progressing down towards where the Arab was laying, and this use of expressive and violent language foreshadown Meursault's murder of him.
This leads up to Meursault's actual act: "My whole being tensed and I squeeze my hand around the revolver. The trigger gave." Here, we can see that Camus describes Meursault's whole body being involved in this murder, and this reflects how Oedipus describes the intense feelings he has after realizing his murder and crime.
Monday, May 16, 2011
Oedipus the King: Journal One
Point of View/Characters
Oedipus the King is not really told from any specific characters' point of view. Being a play, one simply reads the story as though they were observing the work being performed on a stage. This never changes throughout the play, and it remains in likewise fashion. Ultimately, Oedipus is the protagonist of the play, although his thoughts are never expressed unless verbally, which presents the play in the Third Person Limited narrative. Reading the story, one becomes fairly familiar with the characters in their roles to Oedipus' life. Aside from this however, there is not a large amount of insight into the characters' backgrounds, although their personalities and beliefs can be generally outlined through their lines in the play. There is however, an explanation of Oedipus' background and how he came to become the ruler of Thebes.
Oedipus is presented as a very well-respected and powerful man. It is known by all of Thebes that he saved them through solving the riddle of the Sphinx, and consequently he is revered highly among the general populace. Creon, who is his wife's brother is presented as being less headstrong than Oedipus, and probably more logical and thought oriented as well. Tiresias is portrayed as being a very wise old man, his blindness is ironic in that he is the most knowledgeable of all the characters, yet he is unable to see. I believe that Sophocles wants the reader to like Oedipus and identify with him, because this makes his downfall all the more terrible. Oedipus also exemplifies many of the characteristics that were seen as being typical of Athenians, such as pride, action-orientation, courageous, and quick do decision and action. In this respect, the audience of ancient Greece would have identified heavily with Oedipus, although other Greek city state members may have looked upon him scornfully.
Oedipus the King is not really told from any specific characters' point of view. Being a play, one simply reads the story as though they were observing the work being performed on a stage. This never changes throughout the play, and it remains in likewise fashion. Ultimately, Oedipus is the protagonist of the play, although his thoughts are never expressed unless verbally, which presents the play in the Third Person Limited narrative. Reading the story, one becomes fairly familiar with the characters in their roles to Oedipus' life. Aside from this however, there is not a large amount of insight into the characters' backgrounds, although their personalities and beliefs can be generally outlined through their lines in the play. There is however, an explanation of Oedipus' background and how he came to become the ruler of Thebes.
Oedipus is presented as a very well-respected and powerful man. It is known by all of Thebes that he saved them through solving the riddle of the Sphinx, and consequently he is revered highly among the general populace. Creon, who is his wife's brother is presented as being less headstrong than Oedipus, and probably more logical and thought oriented as well. Tiresias is portrayed as being a very wise old man, his blindness is ironic in that he is the most knowledgeable of all the characters, yet he is unable to see. I believe that Sophocles wants the reader to like Oedipus and identify with him, because this makes his downfall all the more terrible. Oedipus also exemplifies many of the characteristics that were seen as being typical of Athenians, such as pride, action-orientation, courageous, and quick do decision and action. In this respect, the audience of ancient Greece would have identified heavily with Oedipus, although other Greek city state members may have looked upon him scornfully.
Sunday, April 10, 2011
Dystopian Novel: We, Topic C
Personally, I do not think that the dystopian society that is presented in We is very relevant or frightening to a country like the United States. I can’t really make an accurate judgment as to whether or not Zamyatin was using a mathematical base as an example of one way a society could be structured, or if that was his actual vision. In the case of the latter, I do not believe that the United States is at any risk of such. However, in the case of the former, I do believe that Zamyatin’s warning does ring true. I personally believe that the United States is in a good position, one of the best in the world actually, regarding a relationship between a government and its people. However, I also believe that there is always room for more control, and it takes a skeptical, vigilant and politically active populace to prevent something like what is described in We.
The hope, or alternative that is given by Zamyatin is a society that is not controlled mathematically, in which individuals determine their own lives and are not under the oppressive thumb of a totalitarian regime disguised as happiness. He presents a alternative that focuses very much on humanity as a concept, separated from the restrictions of predetermined life. Zamyatin makes the point that a society without complete control is going to have crime, poverty and conflict, but he also argues that these elements are naturally part of a society in which the populace has individual freedoms.
Wednesday, April 6, 2011
Dystopian Novel: We, Topic B
The character that I have chosen for my second topic is mathematician D-503. In We, D-503 resists the society created by the One State by exploring the human emotion of love. The epitome of this can be seen when D-503 engages in sexual intercourse with cipher I-330, whom he is not registered to. This is a highly criminal action in that all sexual actions in the One State must be regulated by the use of a pink ticket. Another way in which D-503 resists the One State is in his journal, in which he becomes more and more questioning of his loyalty to the One State, which becomes more and more conflicting with his feelings of love towards cipher I-330. Finally, D's resisitance comes to a climactic point when he chooses to sabatouge his own Intregral, fully demonstrating his detatchment from the One State and his former self.
D's attempt at sabatoge fails, however, as the Integral is saved, and is brought back down to earth safely. D also wakes up in his bed following the event, which leaves the validity of the matter doubtful. Ultimately, D's resistence is successfull only temporarily, as he is soon captured by the One State who performs an operation on him that eliminates all non-logical feelings and emotions, including his imagination. To ensure that his loyalty is sound, D witnesses the death of his beloved I-330 at the hands of the Benefactor, to whom his ultimate loyalty now lies.
D's attempt at sabatoge fails, however, as the Integral is saved, and is brought back down to earth safely. D also wakes up in his bed following the event, which leaves the validity of the matter doubtful. Ultimately, D's resistence is successfull only temporarily, as he is soon captured by the One State who performs an operation on him that eliminates all non-logical feelings and emotions, including his imagination. To ensure that his loyalty is sound, D witnesses the death of his beloved I-330 at the hands of the Benefactor, to whom his ultimate loyalty now lies.
Monday, April 4, 2011
Dystopian Novel: We, Topic A
"According to old custom, a dozen women adorned the unif of the Benefactor-not yet dry from the spray-with flowers. With the majestic stride of a high priest, he slowly descended, crossing slowly among the stands-and, after Him, the soft white branches of female hands and a uni-million storm of cries arose. And then those same cries were raised in honor of the assembly of Guardians, invisibly present somewhere here, in our rows. Who knows: It may be that the Guardians were foreseen in the fantasy of the ancient person, which conceived of gentle-terrible "archangles," assigned to each person at birth." (Zamyatin 44).
An element of dystopian society that can be seen in the text of this passage is the way in which the Benefactor is revered with a God-like appreciation. One way in which this is demonstrated is that “His” is capitalized, which is also done when referring to God. Another way in which Zamyatin demonstrates the public’s deistic view of the Benefactor is describing him as having the stride of a high priest, which again has religious imagery. Finally, Zamyatin describes the thousands of adorning civilians that cry out as he walks by, accompanied by twelve women, another way in which the Benefactor is personified as having God-like reverence.
In accordance with this, Zamyatin goes on to describe how these cries also are given for the Guardians, who are essentially the secret police of the society in We. It is mentioned that they are “invisibly present”, which gives the feeling to the reader, and perhaps someone living in the society itself, that they are always watching. Zamyatin goes on to compare the Guardians to archangels, again using religious imagery in the text. In doing this, the reader again has the feeling that the Guardians are an ever-present force, always watching the civilians, which is a strong characteristic of a dystopian society.
Monday, March 14, 2011
The Stranger Journal 8: Final Thoughts and Thesis
Final Thoughts:
I would like to start out by saying that I really enjoyed this book. I think that Camus is a skilled and intelligent writer, and his writing style is something that one does not often see in literature, aside from Hemingway. The existentialist/absurdist elements of the book were something that I enjoyed as well. I have always been quite interested in philosophy, and Camus presents an interesting and intelligent approach to this. I think that The Stranger has not only ample literary value, but also philosophical and cultural values weaved into the book. Out of all the books that I have read for this class, including three of the four dystopian novels, The Stranger has become my favorite hands down, and I would say that it is now one of all time favorites. I enjoyed the book initially, but my limited knowledge of existentialism and general analysis of the book deprived me of it's true merit. Upon reading it the second time, I found that it was much greater than I had originally found it to be. I believe that The Stranger has rightfully achieved its place in Tigard's IB English Program, as well as its place in regular senior english. This book exposed me to a great author, and I thoroughly look forward to reading more by Camus.
Thesis:
In Albert Camus' The Stranger, through the use of contrast between Mersault's short, declarative sentences and the levity and complexity of Mersault's crime and trial, Camus demonstrates a critical view of the justice system and its religious influences, suggesting that society uses religious morals as its ultimate guiding system.
Map:
This can be seen during Mersault's conversation with the magistrate, Mersault's trial, and his final conversation with the chaplain preceding his execution.
I would like to start out by saying that I really enjoyed this book. I think that Camus is a skilled and intelligent writer, and his writing style is something that one does not often see in literature, aside from Hemingway. The existentialist/absurdist elements of the book were something that I enjoyed as well. I have always been quite interested in philosophy, and Camus presents an interesting and intelligent approach to this. I think that The Stranger has not only ample literary value, but also philosophical and cultural values weaved into the book. Out of all the books that I have read for this class, including three of the four dystopian novels, The Stranger has become my favorite hands down, and I would say that it is now one of all time favorites. I enjoyed the book initially, but my limited knowledge of existentialism and general analysis of the book deprived me of it's true merit. Upon reading it the second time, I found that it was much greater than I had originally found it to be. I believe that The Stranger has rightfully achieved its place in Tigard's IB English Program, as well as its place in regular senior english. This book exposed me to a great author, and I thoroughly look forward to reading more by Camus.
Thesis:
In Albert Camus' The Stranger, through the use of contrast between Mersault's short, declarative sentences and the levity and complexity of Mersault's crime and trial, Camus demonstrates a critical view of the justice system and its religious influences, suggesting that society uses religious morals as its ultimate guiding system.
Map:
This can be seen during Mersault's conversation with the magistrate, Mersault's trial, and his final conversation with the chaplain preceding his execution.
Sunday, March 13, 2011
The Stranger Journal 7: Topic, Quotes, and Thesis
Topic: Mersault's use of short, declaritive sentences.
Thesis: In Albert Camus' The Stranger, Mersault's use of short and declarative sentences provides a contrast between this and the levity and seriousness of Mersault's crime. Through this, Camus expresses a cynical view of society and it's justice system.
1. "...I had this stupid urge to cry, because I could feel how much all of these people hated me." (90).
2. "'You see, you see!' he said. 'You do believe, don't you, and you're going to place your trust in Him, aren't you?' Obviously, again I said no." (69).
3. "I thought my case was pretty simple.[...]and said he had gone over my file. My case was a tricky one." (63-64).
4. "'Wait a minute! Who's the accused here? Being accused counts for something. And I have something to say!' But on second thought, I didn't have anything to say." (98).
5. "You heard him didn't you? He knows how to answer. He knows the value of words." (100).
6. "I said, almost at random, in fact, that I never intended to kill the Arab[...]I sounded, I blurted out that it was because of the sun." (103).
7. "I thought it was a way to exclude me even further from the case, reduce me to nothing, and, in a sense, substitue himself for me." (103).
8. "...the presiding judge told me in bizarre language that I was to have my head cut off in a public square in the name of the French people[...]But the presiding judge asked me if I had anthing to say. I thought about it. I said, 'No.'" (107).
9. "He told me that I'd have to act as a witness for him. It didn't matter to be, but I didn't know what I was supposed to say." (37).
10. "Marie shouted to me that I had to have hope. I said, 'Yes.'" (75).
11. "'I am convinced, gentlement,' he added, raising his voice, 'that you will not think it too bold of me if I suggest to you that the man who is steated in the dock is also guilty of the murder to be tried in court tomorrow. He must be punished accordingly.'[...]My head was spinning with heat and astonishment." (102).
12. "...and without looking at me he stated that, with the court's permission, he would like to know whether I had gone back to the spring by myself intending to kill the Arab. 'No,' I said. Well, then why was I aarmed and why did I return precisely to that spot? I said it just happened that way. And the prosecutor noted in a nasty voice, 'That will be all for now.'" (88).
13. "The result was our discussions became more cordial. A few questions, a brief conversation with my lawyer, and the examinations were over. As the magistrate put in, my case was taking it's course." (70).
14. "On my way out, I was even going to shake his hand, but just in time, I remembered that I had killed a man." (64).
15. "He asked me if he could sat that that day I had held back my natural feelings. I said, 'No, because it's not true.' He gave me a strange look, as if he found me slightly disgusting." (65).
Thesis: In Albert Camus' The Stranger, Mersault's use of short and declarative sentences provides a contrast between this and the levity and seriousness of Mersault's crime. Through this, Camus expresses a cynical view of society and it's justice system.
1. "...I had this stupid urge to cry, because I could feel how much all of these people hated me." (90).
2. "'You see, you see!' he said. 'You do believe, don't you, and you're going to place your trust in Him, aren't you?' Obviously, again I said no." (69).
3. "I thought my case was pretty simple.[...]and said he had gone over my file. My case was a tricky one." (63-64).
4. "'Wait a minute! Who's the accused here? Being accused counts for something. And I have something to say!' But on second thought, I didn't have anything to say." (98).
5. "You heard him didn't you? He knows how to answer. He knows the value of words." (100).
6. "I said, almost at random, in fact, that I never intended to kill the Arab[...]I sounded, I blurted out that it was because of the sun." (103).
7. "I thought it was a way to exclude me even further from the case, reduce me to nothing, and, in a sense, substitue himself for me." (103).
8. "...the presiding judge told me in bizarre language that I was to have my head cut off in a public square in the name of the French people[...]But the presiding judge asked me if I had anthing to say. I thought about it. I said, 'No.'" (107).
9. "He told me that I'd have to act as a witness for him. It didn't matter to be, but I didn't know what I was supposed to say." (37).
10. "Marie shouted to me that I had to have hope. I said, 'Yes.'" (75).
11. "'I am convinced, gentlement,' he added, raising his voice, 'that you will not think it too bold of me if I suggest to you that the man who is steated in the dock is also guilty of the murder to be tried in court tomorrow. He must be punished accordingly.'[...]My head was spinning with heat and astonishment." (102).
12. "...and without looking at me he stated that, with the court's permission, he would like to know whether I had gone back to the spring by myself intending to kill the Arab. 'No,' I said. Well, then why was I aarmed and why did I return precisely to that spot? I said it just happened that way. And the prosecutor noted in a nasty voice, 'That will be all for now.'" (88).
13. "The result was our discussions became more cordial. A few questions, a brief conversation with my lawyer, and the examinations were over. As the magistrate put in, my case was taking it's course." (70).
14. "On my way out, I was even going to shake his hand, but just in time, I remembered that I had killed a man." (64).
15. "He asked me if he could sat that that day I had held back my natural feelings. I said, 'No, because it's not true.' He gave me a strange look, as if he found me slightly disgusting." (65).
Thursday, March 10, 2011
The Stranger Journal 6: Questions and Answers
Questions
1. Why does Camus create a protagonist that is seemingly a sociopath?
2. To what purpose does Camus put such emphasis on physical description and feeling, especially regarding colors?
3. Why does Camus choose to give us so little information on Mersault? (His first name, his age, what he looks like, etc.)
4. What purpose does it serve for Camus to place the climax in the middle of the novel? If disagreeable, at what point in the novel is the climax? Is there more than one climax?
5. The city of Algiers has been occupied by various groups and nations throughout history, including both the French and Arabians. What purpose does it serve for Camus to set the novel in this city?
Answers
1. In Albert Camus' The Stranger, the creation of a protagonist without motivation suggests that a lack of motivation does not deter an individual from enjoying their life. (#2 from Tanner Bean's blog)
2. In Albert Camus' The Stranger, the motif of cigarettes and coffee serve as emotional relief for Mersault, who would rather use substances than communicate with other humans. (#4 from Megan Davis' blog)
3. In Albert Camus' The Stranger, the use of short and choppy syntax reflects the emotional state of Mersault who is devastated following the death of his mother. (#2 from Matt Merckling's blog)
4. I believe that the article about the Czechoslovakian serves as another way that Camus portrays the "absurd". I came to this conclusion based off of Mersault's comment following the article: "On one hand it wasn't very likely. On the other, it was perfectly natural." (80). Mersault expresses the miraculousness of the situation, but also states it validity. Thus, life's "absurdity." (#2 on Isabella Lewis' blog)
5. I believe that Camus is not so much suggesting that everyone judges one another, rather that he is trying to portray a feeling of universal judgement towards Mersault. Later in the trial: "...I had this stupid urge to cry, because I could feel how much all these people hated me." (90). And earlier in the novel at Maman's funeral: "...I had the ridiculous feeling that they were there to judge me." (10). (#5 on Kevin Li's blog)
1. Why does Camus create a protagonist that is seemingly a sociopath?
2. To what purpose does Camus put such emphasis on physical description and feeling, especially regarding colors?
3. Why does Camus choose to give us so little information on Mersault? (His first name, his age, what he looks like, etc.)
4. What purpose does it serve for Camus to place the climax in the middle of the novel? If disagreeable, at what point in the novel is the climax? Is there more than one climax?
5. The city of Algiers has been occupied by various groups and nations throughout history, including both the French and Arabians. What purpose does it serve for Camus to set the novel in this city?
Answers
1. In Albert Camus' The Stranger, the creation of a protagonist without motivation suggests that a lack of motivation does not deter an individual from enjoying their life. (#2 from Tanner Bean's blog)
2. In Albert Camus' The Stranger, the motif of cigarettes and coffee serve as emotional relief for Mersault, who would rather use substances than communicate with other humans. (#4 from Megan Davis' blog)
3. In Albert Camus' The Stranger, the use of short and choppy syntax reflects the emotional state of Mersault who is devastated following the death of his mother. (#2 from Matt Merckling's blog)
4. I believe that the article about the Czechoslovakian serves as another way that Camus portrays the "absurd". I came to this conclusion based off of Mersault's comment following the article: "On one hand it wasn't very likely. On the other, it was perfectly natural." (80). Mersault expresses the miraculousness of the situation, but also states it validity. Thus, life's "absurdity." (#2 on Isabella Lewis' blog)
5. I believe that Camus is not so much suggesting that everyone judges one another, rather that he is trying to portray a feeling of universal judgement towards Mersault. Later in the trial: "...I had this stupid urge to cry, because I could feel how much all these people hated me." (90). And earlier in the novel at Maman's funeral: "...I had the ridiculous feeling that they were there to judge me." (10). (#5 on Kevin Li's blog)
Wednesday, March 9, 2011
The Stranger Journal 5: Part One and Part Two
I think that Camus chose to divide the book into two parts in order to create a separation between Mersault's life before and after the murder of the Arab. I believe that Camus creates this separation because he wants to show a distinction between Mersault before and after the murder, specifically, in that Mersault preceding the murder has not yet come to an existentialist belief of life's meaninglessness. However, there is parallel structure between the two parts.
Firstly, both parts 1 and 2 begin and end with a death. Part one begins with Maman's death: "Maman died today. Or yesterday, maybe, I don't know." (1). And ends with the murder of the Arab: "The trigger gave(...)then I fired four more times..." (59). Part two does not necessarily begin with death, but it does take place right after the murder when Mersault has been arrested, so in that sense the concept overlaps. However, part two does end with Mersault's death, or the implications of it: "...I had only wish that there be a large crowd of spectators on the day of my execution and that they greet me with cries of hate." (123).
Another similarity I noticed between parts one and two is that in part one, Mersault seems feel like he has to state that things are not his fault: "I even said, 'It's not my fault.'" (1). "I felt like telling her it wasn't my fault..." (20). And in part two, Mersault seems to have a hard time grasping the realization that he is a criminal, as though he feels blameless: "One my way out I was even going to shake his hand, but just in time, I remembered that I had killed a man." (64). "I was going to say that that was because they were criminals. But then I realized I was one too. It was an idea I couldn't get used to." (70).
Firstly, both parts 1 and 2 begin and end with a death. Part one begins with Maman's death: "Maman died today. Or yesterday, maybe, I don't know." (1). And ends with the murder of the Arab: "The trigger gave(...)then I fired four more times..." (59). Part two does not necessarily begin with death, but it does take place right after the murder when Mersault has been arrested, so in that sense the concept overlaps. However, part two does end with Mersault's death, or the implications of it: "...I had only wish that there be a large crowd of spectators on the day of my execution and that they greet me with cries of hate." (123).
Another similarity I noticed between parts one and two is that in part one, Mersault seems feel like he has to state that things are not his fault: "I even said, 'It's not my fault.'" (1). "I felt like telling her it wasn't my fault..." (20). And in part two, Mersault seems to have a hard time grasping the realization that he is a criminal, as though he feels blameless: "One my way out I was even going to shake his hand, but just in time, I remembered that I had killed a man." (64). "I was going to say that that was because they were criminals. But then I realized I was one too. It was an idea I couldn't get used to." (70).
Monday, March 7, 2011
The Stranger Journal 4: Six Insightful Questions
1. Why does Camus choose to put such emphasis on physical descripition? I believe that Camus puts emphasis on physical feelings and description in an effort to create a distinct separation between metaphysicality and Mersault. I believe that this is a reflection of Camus' own views, which I believe are probably atheist and materialistic, which is why he would choose to focus on physical feelings/observations.
2. Why is Mersault so reluctant to face the women (Marie and Masson's wife)? "I didn't like having to explain to them, so I shut up, smoked a cigarette, and looked at the sea." (54). "...unable to face the effort it would take to climb the wooden staircase and face the women again." (57). "I wanted to hear the murmur of its water again, to escape the sun and the strain and the women's tears." (57). I have two theories that answer this question, the first is that the women act as a representation of society, which Mersault is reluctant to face. The second is that the women remind Mersault of Maman, specifically when he references their tears, which may make him uncomfortable considering we have yet to see him shed a tear for his mother.
3. Why does Mersault put so much emphasis on the sun? I believe that Mersault often has a negative view of the sun, because it is a representation of civilized society. The sun rises and sets each day, and during the time that it is present it provides the Earth with much-needed light and nutrients. In the same way, a civilized society is what provides an individual with a sense of security and calm. This society/sun parallelism is what Mersault conflicts with throughout the novel, as he is involved in this existentialist crisis.
4. Why does Camus/Mersault often describe people's clothing? I believe that Camus often vividly and descriptively describes clothing because he may want to put more emphasis on the clothes than on the person. This may be a way of separating Mersault from other people, in that he notices what they are wearing more than the way a person acts or feels.
5. When Mersault describes action, his sentences are often very short. However, when he describes setting and imagery, his sentences become more elongated, why is this? I believe that Mersault/Camus chooses to use short, precise sentences when describing action because he does not give alot of thought to it, other than reporting what he has seen/done. When describing setting, I believe his sentences often become longer because they are showing more thought and feeling. I believe this is another way that Camus separates Mersault from the reader, and other people in general.
6. Why does Mersault choose to shoot the Arabian? I think that this is a pretty open-ended question, and that there are multiple ways to interpret this action. The best excuse that Mersault can give later in the book is something along the lines of the sun was bothering him, but this is obviously not a valid reason for murder. I personally think that there is no reason that Mersault killed the Arabian. I think that the absence of a reason, other than the heat, creates a feeling of absurdity and rediculousness, which I believe was Camus' intention. This senseless murder is absurd. But is it possible? Do people sometimes do rediculous and stupid things without really having any reason? The question is rhetorical, but I believe my point is clear. Camus is attempting to say that life is absurd.
2. Why is Mersault so reluctant to face the women (Marie and Masson's wife)? "I didn't like having to explain to them, so I shut up, smoked a cigarette, and looked at the sea." (54). "...unable to face the effort it would take to climb the wooden staircase and face the women again." (57). "I wanted to hear the murmur of its water again, to escape the sun and the strain and the women's tears." (57). I have two theories that answer this question, the first is that the women act as a representation of society, which Mersault is reluctant to face. The second is that the women remind Mersault of Maman, specifically when he references their tears, which may make him uncomfortable considering we have yet to see him shed a tear for his mother.
3. Why does Mersault put so much emphasis on the sun? I believe that Mersault often has a negative view of the sun, because it is a representation of civilized society. The sun rises and sets each day, and during the time that it is present it provides the Earth with much-needed light and nutrients. In the same way, a civilized society is what provides an individual with a sense of security and calm. This society/sun parallelism is what Mersault conflicts with throughout the novel, as he is involved in this existentialist crisis.
4. Why does Camus/Mersault often describe people's clothing? I believe that Camus often vividly and descriptively describes clothing because he may want to put more emphasis on the clothes than on the person. This may be a way of separating Mersault from other people, in that he notices what they are wearing more than the way a person acts or feels.
5. When Mersault describes action, his sentences are often very short. However, when he describes setting and imagery, his sentences become more elongated, why is this? I believe that Mersault/Camus chooses to use short, precise sentences when describing action because he does not give alot of thought to it, other than reporting what he has seen/done. When describing setting, I believe his sentences often become longer because they are showing more thought and feeling. I believe this is another way that Camus separates Mersault from the reader, and other people in general.
6. Why does Mersault choose to shoot the Arabian? I think that this is a pretty open-ended question, and that there are multiple ways to interpret this action. The best excuse that Mersault can give later in the book is something along the lines of the sun was bothering him, but this is obviously not a valid reason for murder. I personally think that there is no reason that Mersault killed the Arabian. I think that the absence of a reason, other than the heat, creates a feeling of absurdity and rediculousness, which I believe was Camus' intention. This senseless murder is absurd. But is it possible? Do people sometimes do rediculous and stupid things without really having any reason? The question is rhetorical, but I believe my point is clear. Camus is attempting to say that life is absurd.
Sunday, March 6, 2011
The Stranger Journal 3: My World Philosophy
My personal philosophy is called Apodechomaism. This comes from the Greek word apodechomai which means "accept."
2. There is no "free will", everything is determined. When debating this, "free will" often becomes a battle of terminology, so allow me to define "free will" as: "The ability for humans to think, act, feel, etc., completely free from any source of influence." By this, I simply mean that every action has a cause, every action has a reason behind it, which eventually comes down to neurological and physiological processes. Even in the belief that an omnipotent God exists, there is no free will. If God is omnipotent, and being omnipotent can see the future, then he can also see the future of humans, as individuals and as a whole. Therefore, if God knows what is already going to happen, then human fate is already determined. Every action has been decided from the day of birth. I believe that this belief is important because a belief in "free will" or a lack there of can influence an individual's lifestyle.
3. The root of all human behavior is selfish. By this, I mean that every human action has an ultimately selfish source. Think about it, even if one decides to give some spare change to a homeless person they pass on the sidewalk, why do they do this? The answer is that it is intrinsically pleasuring (it makes people feel good on the inside). This principle developed over a period of time and observation, eventually leading me to the realization that nothing is done without reward for oneself. I believe it is important to understand that human behavior is selfish because it allows for people to have a greater understanding of humanity as a whole.
4. Karma does not exist. By this, I simply mean that bad things happen to "good" people, and good things happen to "bad" people, and both these things happen much more often than they ought to. This belief developed mainly during the time that my mom worked with Medical Teams International, and I was exposed to a lot of the poverty, war, and hatred that pollutes much of the world. I believe it is important for people to understand that this is true, because it shows that sometimes the "bad guys" win, and that there is nothing really that anyone can do about it.
5. Morality and ethics are relative. This means that there is no guiding system of ethics that man is born with, everything is acquired over a period of time pertaining to the environment that one is raised in. This belief is something that I have had for a pretty long time actually, and I cannot pinpoint an exact time in which it developed. I believe that it is important to understand the relativity of morality and ethics, because it can provide a much better understanding of other cultures' practices, which may seem strange or unorthodox to one's own system of ethics.
6. Humans are animals. While we may be technologically advanced, walk on two legs, and use language, we are still animals. While evolution is technically a "theory," the amount of scientific evidence behind it is virtually undeniable, and humans possess many of the innate characteristics and instincts of our less advanced ancestors. This belief actually developed quite recently, within the last six or seven months of my life, and I don't really know what caused it. I think it is important to understand this belief because while it is enjoyable to critique, civilized society is the only thing that keeps man from his innate and often violent tendencies.
7. Life has no meaning. This sounds very pessimistic and depressing, but it is actually the opposite in my opinion. People seem to have the belief that if something does not have meaning behind it, it is bad. I disagree, and would argue that the meaninglessness of life is what makes it worth living. I believe that there is no overall purpose to human existence, and that rather, it just simply IS. I would say that this belief developed during my sophomore year, once again from a reason that I cannot identify. I believe that this pillar is important, because acceptance of life's meaningless brings about a certain peace, free from social or religious hierarchy, allowing one to enjoy life boundless.
Thursday, March 3, 2011
The Stranger Journal 2: Title and Translation
Part 1: Translation
Based off of the work that was done in class today, I personally like the translation by Matthew Ward. I think that the translation by Stuart Gilbert does not possess the authenticity of the original novel. One of the first noticeable signs of this is the fact that Ward keeps the word maman. In doing this, he preserves the connotations of the french term that do not necessarily apply to mom, mommy, or mother. Maman is similar to, but not directly translated from any of the previous terms. It is a pretty affectionate term that English doesn't have an exact word for. Another reason that I prefer Ward's translation is that I think his language is much more concise. Using another example from the first page of the text, in the Ward translation Camus writes that "[t]hat doesn't mean anything." (1). In the Gilbert translation, this same line of text is translated as "[w]hich leaves the matter doubtful." (1). In my personal opinion, I think that The Stranger as a whole is a very stark and precise novel in it's writing, and overall I think that Ward does a much better job of preserving this feeling than Gilbert.
Part 2: The Title
While I really like the title "The Stranger", I feel that the title "The Outsider" is more true to the essence of the novel, it that's not too ambiguous. What I'm trying to say is that it feels like there is a distance in this novel, not only between the reader and Mersault/Camus, but also between Mersault/Camus and the world around them. It seems as though Mersault is often observing and reporting what is going on around him, but he seems to give very little insight into his own opinions other than a short line of text, one example of this is on the bottom of page 31 and the top of page 32, when Mersault is listening to Raymond talk of his ex-mistress: "But first he wanted to ask me something. But before he did, though, he wanted to know what I thought of the whole thing. I said I didn't think anything but that it was interesting." (31-32). Another example of this feeling of "outside looking in" is seen on page 15 during Maman's funeral: "I was looking at the countryside around me. Seeing the rows of cypress trees leading up to the hills next to the sky, and the houses standing out here and there against that red and green earth, I was able to understand Maman better." (15). Again in this line, it feels as though Mersault is somewhat distanced from the world around him, thus why I believe "The Outsider" is a better title.
Based off of the work that was done in class today, I personally like the translation by Matthew Ward. I think that the translation by Stuart Gilbert does not possess the authenticity of the original novel. One of the first noticeable signs of this is the fact that Ward keeps the word maman. In doing this, he preserves the connotations of the french term that do not necessarily apply to mom, mommy, or mother. Maman is similar to, but not directly translated from any of the previous terms. It is a pretty affectionate term that English doesn't have an exact word for. Another reason that I prefer Ward's translation is that I think his language is much more concise. Using another example from the first page of the text, in the Ward translation Camus writes that "[t]hat doesn't mean anything." (1). In the Gilbert translation, this same line of text is translated as "[w]hich leaves the matter doubtful." (1). In my personal opinion, I think that The Stranger as a whole is a very stark and precise novel in it's writing, and overall I think that Ward does a much better job of preserving this feeling than Gilbert.
Part 2: The Title
While I really like the title "The Stranger", I feel that the title "The Outsider" is more true to the essence of the novel, it that's not too ambiguous. What I'm trying to say is that it feels like there is a distance in this novel, not only between the reader and Mersault/Camus, but also between Mersault/Camus and the world around them. It seems as though Mersault is often observing and reporting what is going on around him, but he seems to give very little insight into his own opinions other than a short line of text, one example of this is on the bottom of page 31 and the top of page 32, when Mersault is listening to Raymond talk of his ex-mistress: "But first he wanted to ask me something. But before he did, though, he wanted to know what I thought of the whole thing. I said I didn't think anything but that it was interesting." (31-32). Another example of this feeling of "outside looking in" is seen on page 15 during Maman's funeral: "I was looking at the countryside around me. Seeing the rows of cypress trees leading up to the hills next to the sky, and the houses standing out here and there against that red and green earth, I was able to understand Maman better." (15). Again in this line, it feels as though Mersault is somewhat distanced from the world around him, thus why I believe "The Outsider" is a better title.
Monday, February 28, 2011
The Stranger Journal 1: Tabbing Method
I will be tabbing The Stranger using five tabs, each with their own meaning:
2. The second tab will be focused on characterization, specifically ways Mersault demonstrates either indifference or feeling. (Green)
3. The third tab will focus on the setting of the book, specifically visual and physical descriptions of setting (imagery). (Pink)
4. The fourth tab will focus on repeating literary techniques. I will also be using this tab to note sentence structure (parallelism, repeating words, etc). (Purple)
5. The fifth and final tab I will use to focus on anything I find to be notable that does not fit into the previous categories. (Yellow)
I will also be highlighting anything of interest.
Thursday, February 17, 2011
Journal 10: Thesis and Quotes
Thesis: Despite societies roles and expectations for women in relationships, women are not obligated to abide by these roles and regulations.
-feels a bit short
-Maybe clarify what these roles are
Quotes in support of this thesis:
"De nigger woman is de mule uh de world so fur as Ah can see." (p.14)
"Ah was born back due in slavery so it wasn't fur me to fufill my dreams of whut a woman oughta be and do." (p.16)
"Janies first dream was dead, so she became a woman." (p.25)
"A pretty dol-baby lak you is made to sit on de front porch and rock and fan yo'self and eat p'taters dat other folks plant just special for you." (p.29)
"She must look on herself as the bell-cow, the other women were the gang." (p. 41)
"She's uh woman and her place is in de home." (...) "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 of things." (p.43)
"Ah told you in de very first beginnin' dat Ah aimed tuh be uh big voice. You oughta be glad, 'cause dat makes a big woman outa you." (p.46)
"What makes her keep her head tied up like some ole 'oman 'round de store? Nobody couldn't git me tuh tie no rag on mah head if Ah had hair lak dat." (p.49)
"She didn't change her mind but she agreed with her mouth. Her heart said, 'Even so, but you don't have to cry about it.'" (p.63)
"Somebody got to think for women and chilluns and chickens and cows." (p.76)
"Janie had robbed him of his illusion of irresistable maleness that all men cherish, which was terrible." (p. 79)
"De world picked out black and white for mournin'; Joe didn't. So Ah wasn't wearin' it for him, Ah was wearin' it for de rest of y'all." (p.113)
"And the thing that got everbody was the way Janie caught on (...) She got to be a better shot than Tea Cake." (p.131)
-feels a bit short
-Maybe clarify what these roles are
Quotes in support of this thesis:
"De nigger woman is de mule uh de world so fur as Ah can see." (p.14)
"Ah was born back due in slavery so it wasn't fur me to fufill my dreams of whut a woman oughta be and do." (p.16)
"Janies first dream was dead, so she became a woman." (p.25)
"A pretty dol-baby lak you is made to sit on de front porch and rock and fan yo'self and eat p'taters dat other folks plant just special for you." (p.29)
"She must look on herself as the bell-cow, the other women were the gang." (p. 41)
"She's uh woman and her place is in de home." (...) "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 of things." (p.43)
"Ah told you in de very first beginnin' dat Ah aimed tuh be uh big voice. You oughta be glad, 'cause dat makes a big woman outa you." (p.46)
"What makes her keep her head tied up like some ole 'oman 'round de store? Nobody couldn't git me tuh tie no rag on mah head if Ah had hair lak dat." (p.49)
"She didn't change her mind but she agreed with her mouth. Her heart said, 'Even so, but you don't have to cry about it.'" (p.63)
"Somebody got to think for women and chilluns and chickens and cows." (p.76)
"Janie had robbed him of his illusion of irresistable maleness that all men cherish, which was terrible." (p. 79)
"De world picked out black and white for mournin'; Joe didn't. So Ah wasn't wearin' it for him, Ah was wearin' it for de rest of y'all." (p.113)
"And the thing that got everbody was the way Janie caught on (...) She got to be a better shot than Tea Cake." (p.131)
Wednesday, February 16, 2011
Journal 9: Mini-Pastiche 2
Cheyanne leaned over the balcony and looked out across the lake. It was the time of the night that most people ought to be asleep, but she wasn't. She hadn't slept a wink. The cool night air blew against her nightgown, ruffling the smooth silk behind her in plume, twisting and billowing back towards the door. Then she heard footsteps. She turned around just in time to see Michael coming towards her. He was in the plaid pajamas she had bought him last Christmas. He stopped perhaps five or six feet in front of her, and waited. They stared into eachother's eyes for a long time, thoughts racing through their heads. Then she spoke.
"I can't go on doing this. It's not fair, the things you expect me to do, the person you expect me to be. It's not me. I want to be me." She closed her eyes and let out a breath, waiting for his response.
"Listen to you! Talking to me like this, you act as though this is all my fault, like I'm the one who started all this. You act lik I'm controlling you, you act like-"
"You ARE controlling me!" She yelled angrily. She was about to go on, but she stopped herself. Stay calm. Stay calm. She crossed her arms and turned to look back out at the lake.
"When I first met you, things were incredible. You were the first guy that I'd met that actually seemed to care about me, about MY thoughts, MY feelings. You were great and you- you...er..." She trailed off.
"But I what?" He asked quietly.
"You just changed! I don't even know what you did but you just changed! You started getting this, this weird vision of what we were suppossed to be like. 'Oh, Chey let's go do this' or 'Hey, Chey do it this way,' or whatever the heck you wanted me to do, and I just can't stand it anymore. You choked the life out of me with all of this, and I really can't stand it. Not now." She sighed deeply and turned back around. He stood like a statue, unwavering, the wind lightly tossed his hair.
"I need to go. I'm going home." She walked past him back into the house. Her bags were waiting.
The theme that I used in this passage was that unbalances of power in relationships will ultimately lead to failure of the relationship as time passes. This mirrors TEWWG in that it represents how Janie's first two marriages have failed. The literary techniques that I used in this passage were irony, diction, and syntax. I used irony in this passage by initially having Cheyanne state that he was a great guy, and she had initially expected alot out of him, but he ended up being one of the worst, as demonstrated through the dialogue. This mirrors Hurston's use of irony regarding Tea Cake, in that he is exactly what Janie is looking for, and she comes to trust and love him, but she is forced to kill him in the end. I used diction in this passage specifically when I used the phrase "choked the life out of me", because I believe that it evokes strong images, especially regarding power. This mirriors Hurston's use of diction who often uses this kind of strong imagery in her language. And lastly, I used syntax in this passage at the end, in which Cheyanne gives a long, complex statement regarding her feelings towards Michael, which is then followed by a short but strong sentence in which she informs him of her desire to leave. This mirrors Hurston's use of syntax which often involves complex and simple sentences together to show a shift in feeling or emotion.
"I can't go on doing this. It's not fair, the things you expect me to do, the person you expect me to be. It's not me. I want to be me." She closed her eyes and let out a breath, waiting for his response.
"Listen to you! Talking to me like this, you act as though this is all my fault, like I'm the one who started all this. You act lik I'm controlling you, you act like-"
"You ARE controlling me!" She yelled angrily. She was about to go on, but she stopped herself. Stay calm. Stay calm. She crossed her arms and turned to look back out at the lake.
"When I first met you, things were incredible. You were the first guy that I'd met that actually seemed to care about me, about MY thoughts, MY feelings. You were great and you- you...er..." She trailed off.
"But I what?" He asked quietly.
"You just changed! I don't even know what you did but you just changed! You started getting this, this weird vision of what we were suppossed to be like. 'Oh, Chey let's go do this' or 'Hey, Chey do it this way,' or whatever the heck you wanted me to do, and I just can't stand it anymore. You choked the life out of me with all of this, and I really can't stand it. Not now." She sighed deeply and turned back around. He stood like a statue, unwavering, the wind lightly tossed his hair.
"I need to go. I'm going home." She walked past him back into the house. Her bags were waiting.
The theme that I used in this passage was that unbalances of power in relationships will ultimately lead to failure of the relationship as time passes. This mirrors TEWWG in that it represents how Janie's first two marriages have failed. The literary techniques that I used in this passage were irony, diction, and syntax. I used irony in this passage by initially having Cheyanne state that he was a great guy, and she had initially expected alot out of him, but he ended up being one of the worst, as demonstrated through the dialogue. This mirrors Hurston's use of irony regarding Tea Cake, in that he is exactly what Janie is looking for, and she comes to trust and love him, but she is forced to kill him in the end. I used diction in this passage specifically when I used the phrase "choked the life out of me", because I believe that it evokes strong images, especially regarding power. This mirriors Hurston's use of diction who often uses this kind of strong imagery in her language. And lastly, I used syntax in this passage at the end, in which Cheyanne gives a long, complex statement regarding her feelings towards Michael, which is then followed by a short but strong sentence in which she informs him of her desire to leave. This mirrors Hurston's use of syntax which often involves complex and simple sentences together to show a shift in feeling or emotion.
Tuesday, February 15, 2011
Journal 8: Three Literary Techniques In Quotes
1. The first stylistic attribute I noticed was on page 106. At this time, Janie and Tea Cake have been spending increasing amounts of time together and have just woken up from a nap following dinner. Janie wakes up to Tea Cake stroking her hair, and in the following conversation Janie reveals to Tea Cake her anxiousness towards a relationship with a younger man, casuing Tea Cake to leave abruptly. Janie is upset, and the following quote is part of her thoughts as she lies in bed later in the night: "Glad Ah treated him cold. Whut do Ah want wid some trashy nigger out de streets? Bet he's livin' wid some woman or 'nother and takin' me for uh fool." The literary technique used in this passage is that of diction, specifically around the word "nigger." I believe that Hurston's choice of this word produces negative connotations within the readers mind, as opposed to man, fellow, etc. The choice of this word gives very derogatory and stereotypical feelings associated with black people, and I believe it is used to reflect the anger that Janie is feeling.
2. The second stylistic attribute I noticed was on page(s) 108-109. At this point in the story, Janie and Tea Cake have recently come to the decision of being involved with one another. Just after this, Tea Cake leaves to off to work, not specifying as to when he will return. Janie becomes doubtful that he has made a fool out of her and does not plan to return, however, he comes back four days later in an old car that he has recently bought. He tells Janie that he wants to take her out to a picnic, and she is once again doubtful of his true feelings. The following quote is his response: "Me scramble 'round tuh git de money tuh take yuh- been workin' lak uh dawg for two whole weeks- and she come astin' me if Ah want her tuh go! Puttin' mahself tuh uh whole heap uh trouble tuh git dis car so you kin go over tuh Winter Park or Orlandah tuh buy de things you might need and dis woman set dere and ast me if Ah want her tuh go!" The literary technique used here is syntax, specifically, a complex sentence. I believe that Hurston chooses to use large, complex sentences in this instance to convey effectively the rambling nature of someone that might be angry. It gives the sentence a very realistic, appalled feeling. Had Hurston chose to use a shorter sentence, I believe that the feelings expressed here would have been much more limited and much less realistic.
3. The third stylistic attribute I noticed was on page 114. At this point in time, Janie and Tea Cake have been openly spending more time together, doing various activities such as fishing, dancing, and seeing movies. The rest of the town has taken eager notice to this, and has not been hesitant to begin gossiping. Following a conversation with her husband regarding Janie and Tea Cake, Phoeby goes to talk to Janie about her relationship with Tea Cake. During the course of their conversation, Janie tells Phoeby that her and Tea Cake plan to get married, and sell the store she has been working in since moving to the area. When Phoeby asks why Janie would want to sell the store, she responds with the following: "Cause Tea Cake ain't no Jody Starks, and if he tried tuh be, it would be uh complete flommuck." The literary technique being used here is dialect, specifically towards the word "flommuck." The choice of this slang term instead of something such as mess, issue, etc. shows that Hurston has made a deliberate choice in using this slang. I believe Hurston does this to give the reader a more authentic feeling of the setting, as well as revealing and/or implying certain attributes that may be associated with people of that region. Bottom line, it changes the sentence from a general statement to something that makes one wonder, thus differentiating itself from other forms of language.
Monday, February 14, 2011
Journal 7: Mini-Pastiche
And Jonathan hoped for Freedom. Freedom, the majestic being with the great, iron hooves who lived far away in the North. The one whose home was the great, open fields of the West. What restraints can hold Freedom, what code is he bound to follow? He gazes across the plains, across the world into eternity. He gallops through blistering heat and bitter cold, his great hammer ready, waiting for the cries of the forlorn and the meek. His powerful back has carried them to salvation since the sun first rose over the earth. He was sure to hear his hooves soon, to see the scorched earth from the heat of his breath. But he was also terrified. Oh, Sampson! His back breaking under the cruel crack of a whip! He begged Josiah to protect the boy, but he was far too old. A doctor could heal Sampson's wounds, but they had little to offer for a broken spirit. He would recover once the bearded man had made due on his word. His scars would heal. This he believed. And if they did not, then he would bear eternally the marks of his chains, for they became heavier each day. Men toiled in the fields day in and day out. Wasting away under blinding heat of the sun. Slavery, that diseased, eyeless mule that had founded this plantation.
I chose to use freedom because I thought that it would be an interesting and enjoyable noun to write about. I personified freedom as a horse, because there is a strong image of freedom associated with wild horses and the plains. I also mentioned that freedom possessed a hammer, which I chose because it possesses the implication that it could be used to break chains, a prevalent symbol of slavery/oppression. Conflict within the passage surrounds a boy who is a slave in the Antebellum South, which I thought was a good contrast for freedom. In describing my second noun, I chose slavery, which I see as being the complete opposite of freedom. I described slavery as being a "diseased, eyeless mule" because of the feelings that slavery implies. It is diseased, because slavery itself is a disease, and it is eyeless because the act of slavery is blind to human emotion/compassion. It is represented as a mule because of the work that a mule does, much like the slave labor in the South.
Sunday, February 13, 2011
Journal 6: Analysis of Death Passage in Chapter Eight
Analysis of the following passage:
"So Janie began to think of Death (...) Rumor, that wingless bid, had shadowed over the town." (p.84)
Stylistic choices in this passage and their motivation:
1. Firstly and most obviously Hurston makes death a proper noun, thereby making it a person. I believe that she treats death as a person so that there can be emotion and feeling directed towards him. When someone dies, there is obviously grief and anger. With a personification of death, this can be directed at something. I believe she does this to allow more identification with the reader in this regard.
2. Hurston describes Death as having square toes, again personifying it. I do not really know why Hurston mentions him as having square toes. Perhaps other than that it is an abnormality, which sets him apart from being human.
3. Hurston describes deaths house as "a platform without sides to it, and without a roof." I believe that Hurston does this to give the feeling that death is almost omnipotent, clearly visible of all that is below him, without anything obstructing his vision.
4. There is a recurring theme throughout this passage of of watching and looking. I believe that Hurston does this again to make death seem omnipotent, but I also believe it has a greater meaning relating to the title of the book. Perhaps Hurston is comparing death and God, maybe she is saying that they are the same person, or that God is the cause of death. This may also be the source of personification in the first place.
5. Hurston also tells of death standing, waiting for the "messenger" to come, with his sword drawn back. In this death is perceived similar to a warrior, much like angels are in the Bible. Perhaps Hurston is suggesting Death as being an angel?
6. Hurston mentions being liable to find a feather from Death's wings. I have noticed a recurring pattern of wings and feathers throughout the book, often relating to people. One such instance is when Janie's grandmother is talking to her, saying she doesn't want people "crumpling her feathers" or something to that effect. I believe Hurston mentions this again to perhaps dehumanize death, but at the same time personify it.
7. It says in the passage that medical doctors are alright with the "Godly sick", but that they could not help Jody. I think this is interesting because normally I would have assumed the opposite, thinking medical doctors would not be help to a case of "spiritual sickness." Perhaps Hurston is suggesting that Jody is not a spiritual man, or that he is not "right" with God?
8. This passage is narration, and generally the narrator does not speak with any dialect. However, during the passage the narrator says "wuz", both using incorrect spelling and incorrect subject/verb agreement. I believe Hurston does this to set a certain mood in the passage, in which the reader feels more close towards Janie, in that the narrator is using her dialect, perhaps in a sympathetic sense?
9. Hurston again chooses to mention trees in this passage: "...for people began to gather in the big yard under the palm and china-berry trees." I have noticed trees, especially living and fruit bearing trees, as being a recurring theme in this book. I believe that the tree is a symbol for life, and the blooming is a symbol for marriage. The townspeople gathering under trees as Jody dies presents a sort of parallel structure between life and death.
10. Lastly, Hurston mentions Jody would "be alright as soon as the two-headed man found what had been buried against him." I'm not certain but I believe that this is a reference to witch doctors. It mentions earlier in the book that Jody had been seeing witch doctors of some sort to help him with his illness. I've heard somewhere that in that culture certain items can be buried that will cause pain/misfortune to people until they are discovered. I think that is what Hurston is referencing. I believe that she does this to show how paranoid Jody is becoming, perhaps she is hinting that he is looking for something that he believes Janie buried, showing how greatly he mistrusts her
"So Janie began to think of Death (...) Rumor, that wingless bid, had shadowed over the town." (p.84)
Stylistic choices in this passage and their motivation:
1. Firstly and most obviously Hurston makes death a proper noun, thereby making it a person. I believe that she treats death as a person so that there can be emotion and feeling directed towards him. When someone dies, there is obviously grief and anger. With a personification of death, this can be directed at something. I believe she does this to allow more identification with the reader in this regard.
2. Hurston describes Death as having square toes, again personifying it. I do not really know why Hurston mentions him as having square toes. Perhaps other than that it is an abnormality, which sets him apart from being human.
3. Hurston describes deaths house as "a platform without sides to it, and without a roof." I believe that Hurston does this to give the feeling that death is almost omnipotent, clearly visible of all that is below him, without anything obstructing his vision.
4. There is a recurring theme throughout this passage of of watching and looking. I believe that Hurston does this again to make death seem omnipotent, but I also believe it has a greater meaning relating to the title of the book. Perhaps Hurston is comparing death and God, maybe she is saying that they are the same person, or that God is the cause of death. This may also be the source of personification in the first place.
5. Hurston also tells of death standing, waiting for the "messenger" to come, with his sword drawn back. In this death is perceived similar to a warrior, much like angels are in the Bible. Perhaps Hurston is suggesting Death as being an angel?
6. Hurston mentions being liable to find a feather from Death's wings. I have noticed a recurring pattern of wings and feathers throughout the book, often relating to people. One such instance is when Janie's grandmother is talking to her, saying she doesn't want people "crumpling her feathers" or something to that effect. I believe Hurston mentions this again to perhaps dehumanize death, but at the same time personify it.
7. It says in the passage that medical doctors are alright with the "Godly sick", but that they could not help Jody. I think this is interesting because normally I would have assumed the opposite, thinking medical doctors would not be help to a case of "spiritual sickness." Perhaps Hurston is suggesting that Jody is not a spiritual man, or that he is not "right" with God?
8. This passage is narration, and generally the narrator does not speak with any dialect. However, during the passage the narrator says "wuz", both using incorrect spelling and incorrect subject/verb agreement. I believe Hurston does this to set a certain mood in the passage, in which the reader feels more close towards Janie, in that the narrator is using her dialect, perhaps in a sympathetic sense?
9. Hurston again chooses to mention trees in this passage: "...for people began to gather in the big yard under the palm and china-berry trees." I have noticed trees, especially living and fruit bearing trees, as being a recurring theme in this book. I believe that the tree is a symbol for life, and the blooming is a symbol for marriage. The townspeople gathering under trees as Jody dies presents a sort of parallel structure between life and death.
10. Lastly, Hurston mentions Jody would "be alright as soon as the two-headed man found what had been buried against him." I'm not certain but I believe that this is a reference to witch doctors. It mentions earlier in the book that Jody had been seeing witch doctors of some sort to help him with his illness. I've heard somewhere that in that culture certain items can be buried that will cause pain/misfortune to people until they are discovered. I think that is what Hurston is referencing. I believe that she does this to show how paranoid Jody is becoming, perhaps she is hinting that he is looking for something that he believes Janie buried, showing how greatly he mistrusts her
Journal 5: My Thesis Statement
1. Zora Neale Hurston uses the symbol of mules/work animals to show how women of the time were in a second slavery to their men. Hurston does this to show how oppressive nautre will destroy relationships regardless of race, gender, or creed.
2. I posted comments on Anthony Nyguen, Kevin Li, and Isabella Lewis' blogs.
2. I posted comments on Anthony Nyguen, Kevin Li, and Isabella Lewis' blogs.
Thursday, February 10, 2011
Journal 4: Three Patterns In TEWWG
Three patterns found in Their Eyes Were Watching God
1. The first pattern that I noticed in TEWWG was the sun/sunlight. It is mentioned pretty often throughout the first few chapters, starting from the first page:
"But now, the sun and the bossman were gone, so the skins felt powerful and human." (p.1)
And again on page 51:
"Every morning the world flung itself over and exposed the town to the sun." (p. 51)
2. A second pattern that I noticed was the comparing of women to animals. This can be seen on page 14:
"De nigger woman is de mule uh de world so fur as Ah can see." (p. 14)
And on page 41:
"Everybody was coming sort of fixed up, and he didn't mean for nobody else's wife to rank with her. She must look on herself as the bell-cow, the other women were the gang." (p.41)
3. The third pattern that I noticed was a repeating pattern of highness or elevation, often relating to Jodie/Janie. This can be seen on page 62:
"Here he was just poring honor all over her; building a high chair for her to sit in and overlook the world and she here pouting over it!" (p. 62)
And lastly on page 32:
"He was very solemn and helped her to the seat beside him. With him on it, it sat like some high, ruling chair." (p. 32)
1. The first pattern that I noticed in TEWWG was the sun/sunlight. It is mentioned pretty often throughout the first few chapters, starting from the first page:
"But now, the sun and the bossman were gone, so the skins felt powerful and human." (p.1)
And again on page 51:
"Every morning the world flung itself over and exposed the town to the sun." (p. 51)
2. A second pattern that I noticed was the comparing of women to animals. This can be seen on page 14:
"De nigger woman is de mule uh de world so fur as Ah can see." (p. 14)
And on page 41:
"Everybody was coming sort of fixed up, and he didn't mean for nobody else's wife to rank with her. She must look on herself as the bell-cow, the other women were the gang." (p.41)
3. The third pattern that I noticed was a repeating pattern of highness or elevation, often relating to Jodie/Janie. This can be seen on page 62:
"Here he was just poring honor all over her; building a high chair for her to sit in and overlook the world and she here pouting over it!" (p. 62)
And lastly on page 32:
"He was very solemn and helped her to the seat beside him. With him on it, it sat like some high, ruling chair." (p. 32)
Wednesday, February 9, 2011
Journal 3: The Lion and The Foreigner
Part 1: A Harlem Renaissance Figure
For my Harlem Renaissance figure, I chose William Henry Joseph Bonaparte Bertholoff Smith or just Willie Smith. Willie Smith was a jazz pianist and also one of the founders of the "stride" style of piano, which became popular during the Harlem Renaissance. Along with Fats Waller and James P. Johnson, he is often seen as one of the greatest figures in the genres "Golden Age." Willie Smith was also known as "The Lion", a name which he gained during World War 1 for his bravery as a heavy artillery man.
Part 2: My Dialect
My dialect belongs to a race of aliens whose name, and language in general is impossible to pronounce with the human tongue, but for the sake of this journal we will call them the Shnikyats. The following are rules regarding their dialect of the English language:
Grammar:
1. Shnikyats speak only in the present tense, due to their non-linear concept of time.
2. Shnikyats begin and end every sentence with a declaration of their mood.
3. Shnikyats speak in the third person.
Pronunciation:
1. E's become u's.
2. The "th" sound becomes an "f" sound.
3. "Ings" become "ons."
Terminology:
1. Cars are called "skollius."
2. Talking is called "qlakon."
3. Eating is called "flarpon."
Part 3: An Interaction Between Willie Smith and a Shnikyat
Slowly, Willie began to regain consciousness. He attempted to open his eyes, but found that they were unwilling to respond, they felt heavy, and staying awake was a battle all its own. Finally, he managed to get a glimpse of his surroundings, but to no avail. His vision was extremely blurred. He could, however, make out the shape of what appeared to be a man standing in front of him. Then, the shape spoke.
"Nuutral. Gruutons, Uflon. How do you fuul?" Nuutral." it hissed.
"Ugh," Willie grunted, "I can't see a dang thing. And what the heck are you talking about? Where am I?" he grunted. Willie attempted to lift his arm but found resistance. He was tied down.
The shape advanced. "Nuutral. Vitals appuar to bu good. It apologizus for fu rustraints, but wu cannot run fu risk of you luavon. Fat ruins uvurython. Nuutral."
Willie took a deep breath, and spoke again "Now, listen. I don't know who you are, or what's goin' on. I don't know why I'm here or what you want with me. But I would really appreciate it if you would at least give me something to eat. I'm mighty hungry."
There was a pause, then the creature spoke. "Compassionatu: It allows you to flarp. Compassionatu," it whispered.
"What is flarp?" Willie asked cautiously.
"Informativu. It is your way of consumption. Informativu." It replied.
"Do you mean eating?" he asked excitedly.
It grunted, "Annoyud. Yus. Fat is our dialuct. You suu, It is from an advancud aliun racu, and our four tonguus allow for much moru complux spuuch fan your own. Howuvur, it also gruatly limits our spuuch in your own languagu. Annoyud." It replied condescendingly.
"Uh...alright. I think I understand. So uh, where exactly am I?" he asked.
"Nuutral. You aru on Aigus Six. It is one of our many intur-planutary spacu crafts. Uvun as wu spuak, wu aru milus abovu your planut. Wu nuud you, bucausu you can savu us. Do not worry. Your housu, family, skollius, all of it is safu. As long as you help us. Nuutral," it stated.
"I still don't really understand what you're saying. But I got the help part. You need my help with what? You ever heard of asking anybody for help?" Willie said angrily.
The creature turned around and began fumbling with something as it spoke, "All will bu uxplainud in timu. But right now, you nuud to sluup."
The creature, apparently finished with whatever it had been working on, turned back around and walked over to his side. As it came closer he could make out that it was covered with what looked like red fish scales all over it's body. Aside from an oval shaped mouth, the creature had no visible eyes, ears, or nose. Quickly, it grabbed his arm and stuck what looked like a needle into it, he felt a burst of pain.
"Hey what're you do-." But he was cut off. Blackness engulfed him as he fell back into sleep.
For my Harlem Renaissance figure, I chose William Henry Joseph Bonaparte Bertholoff Smith or just Willie Smith. Willie Smith was a jazz pianist and also one of the founders of the "stride" style of piano, which became popular during the Harlem Renaissance. Along with Fats Waller and James P. Johnson, he is often seen as one of the greatest figures in the genres "Golden Age." Willie Smith was also known as "The Lion", a name which he gained during World War 1 for his bravery as a heavy artillery man.
Part 2: My Dialect
My dialect belongs to a race of aliens whose name, and language in general is impossible to pronounce with the human tongue, but for the sake of this journal we will call them the Shnikyats. The following are rules regarding their dialect of the English language:
Grammar:
1. Shnikyats speak only in the present tense, due to their non-linear concept of time.
2. Shnikyats begin and end every sentence with a declaration of their mood.
3. Shnikyats speak in the third person.
Pronunciation:
1. E's become u's.
2. The "th" sound becomes an "f" sound.
3. "Ings" become "ons."
Terminology:
1. Cars are called "skollius."
2. Talking is called "qlakon."
3. Eating is called "flarpon."
Part 3: An Interaction Between Willie Smith and a Shnikyat
Slowly, Willie began to regain consciousness. He attempted to open his eyes, but found that they were unwilling to respond, they felt heavy, and staying awake was a battle all its own. Finally, he managed to get a glimpse of his surroundings, but to no avail. His vision was extremely blurred. He could, however, make out the shape of what appeared to be a man standing in front of him. Then, the shape spoke.
"Nuutral. Gruutons, Uflon. How do you fuul?" Nuutral." it hissed.
"Ugh," Willie grunted, "I can't see a dang thing. And what the heck are you talking about? Where am I?" he grunted. Willie attempted to lift his arm but found resistance. He was tied down.
The shape advanced. "Nuutral. Vitals appuar to bu good. It apologizus for fu rustraints, but wu cannot run fu risk of you luavon. Fat ruins uvurython. Nuutral."
Willie took a deep breath, and spoke again "Now, listen. I don't know who you are, or what's goin' on. I don't know why I'm here or what you want with me. But I would really appreciate it if you would at least give me something to eat. I'm mighty hungry."
There was a pause, then the creature spoke. "Compassionatu: It allows you to flarp. Compassionatu," it whispered.
"What is flarp?" Willie asked cautiously.
"Informativu. It is your way of consumption. Informativu." It replied.
"Do you mean eating?" he asked excitedly.
It grunted, "Annoyud. Yus. Fat is our dialuct. You suu, It is from an advancud aliun racu, and our four tonguus allow for much moru complux spuuch fan your own. Howuvur, it also gruatly limits our spuuch in your own languagu. Annoyud." It replied condescendingly.
"Uh...alright. I think I understand. So uh, where exactly am I?" he asked.
"Nuutral. You aru on Aigus Six. It is one of our many intur-planutary spacu crafts. Uvun as wu spuak, wu aru milus abovu your planut. Wu nuud you, bucausu you can savu us. Do not worry. Your housu, family, skollius, all of it is safu. As long as you help us. Nuutral," it stated.
"I still don't really understand what you're saying. But I got the help part. You need my help with what? You ever heard of asking anybody for help?" Willie said angrily.
The creature turned around and began fumbling with something as it spoke, "All will bu uxplainud in timu. But right now, you nuud to sluup."
The creature, apparently finished with whatever it had been working on, turned back around and walked over to his side. As it came closer he could make out that it was covered with what looked like red fish scales all over it's body. Aside from an oval shaped mouth, the creature had no visible eyes, ears, or nose. Quickly, it grabbed his arm and stuck what looked like a needle into it, he felt a burst of pain.
"Hey what're you do-." But he was cut off. Blackness engulfed him as he fell back into sleep.
Tuesday, February 8, 2011
Journal 2: Literary analysis of Their Eyes Were Watching God passage
"She stretched on her back beneath the pear tree soaking in the alto chant of the visiting bees, the gold of the sun and the panting breath of the breeze when the inaudible voice of it all came to her. She saw a dust-bearing bee sink into the sanctum of a bloom; the thousand sister-calyxes arch to meet the love embrace and the ecstatic shiver of the tree from root to tiniest branch creaming in every blossom and frothing with delight. So this was a marriage! She had been summoned to behold a revelation. Then Janie felt a pain remorseless sweet that left her limp and languid." p.11
1. Hurston uses intense and vivid imagery (gold of the sun, thousand sister calyxes)
2. Gives human characteristics to nature, (breath of the breeze, frothing with delight, alto chant)
3. "So this was a marriage!" Perhaps forshadowing?
4. Talks about "the inaudible voice of it all." --> A reference to God?
5. The last line of the passage is mysterious to me, I'm not really sure what it means. "a pain remorseless sweet" also seems a bit contradictory to me. Perhaps Jainie is wishing for a husband?
6. The rythm of the passage is very calm and serene.
7. Hurston is very vague about alot of the things she references, such as "She had been summoned to behold a revelation." She does not explain what this is. It might be plausible to suggest that the "summoning" could be another reference to God and judgement, but I'm not sure about what the revelation might be.
8. At the beginning of the passage, Hurston uses long sentence structure, containing vivid descriptions. At the end the sentences are much shorter and precise.
9. Hurston compares the collecting of pollen to marriage. Maybe she is suggesting that men take something from women when they are married? Male. Vs. Female.
10. Again she mentions the sun, unsure if there is any relevance.
11. Returning to the line about "a pain remorseless and sweet", perhaps this is foreshadowing of Janie's failed marriages. As this line directly follows the one about the "marriage" between the bee and the blossum.
1. Hurston uses intense and vivid imagery (gold of the sun, thousand sister calyxes)
2. Gives human characteristics to nature, (breath of the breeze, frothing with delight, alto chant)
3. "So this was a marriage!" Perhaps forshadowing?
4. Talks about "the inaudible voice of it all." --> A reference to God?
5. The last line of the passage is mysterious to me, I'm not really sure what it means. "a pain remorseless sweet" also seems a bit contradictory to me. Perhaps Jainie is wishing for a husband?
6. The rythm of the passage is very calm and serene.
7. Hurston is very vague about alot of the things she references, such as "She had been summoned to behold a revelation." She does not explain what this is. It might be plausible to suggest that the "summoning" could be another reference to God and judgement, but I'm not sure about what the revelation might be.
8. At the beginning of the passage, Hurston uses long sentence structure, containing vivid descriptions. At the end the sentences are much shorter and precise.
9. Hurston compares the collecting of pollen to marriage. Maybe she is suggesting that men take something from women when they are married? Male. Vs. Female.
10. Again she mentions the sun, unsure if there is any relevance.
11. Returning to the line about "a pain remorseless and sweet", perhaps this is foreshadowing of Janie's failed marriages. As this line directly follows the one about the "marriage" between the bee and the blossum.
Journal 1: If I were to tell my life story
If I were going to tell my life story to anyone I would probably tell it to one of my children, assuming that I'll have children that is. The main reason that I would tell one of my children and not a friend, work associate, etc. is because I would want my story to be useful to someone. If I'm telling the story of my life (again making an assumption that my life and its story has a meaning) I would like it to be useful, and I think that my child would probably benefit from that. When I was younger, and occasionally still today, my dad would sometimes tell me stories about his childhood. Sometimes the stories had meaning, sometimes they were just random. But I suppose that's not really the point. What really mattered about it was that my father was sharing pieces of his life with me, allowing me to see and experience something about him and who he is- the events that shaped him as a person. I would like my child to have the same experience, in the hope that he could put the knowledge to benefit himself in some way.
Secondly, if I were going to tell my life story to anyone I would begin at the summer between eigth grade and freshman year. This was the first time in my life that I really began to question the principles and beliefs that I was brought up on. It intensified later, around sophomore year, but eigth grade summer was the prelude. I can't predict the rest of my life, nor how it will end, but I can say with relative sureity that from about that point until now have been some of the most influential times in my life, and I expect they will continue to shape whatever events unfold from now until my death.
Secondly, if I were going to tell my life story to anyone I would begin at the summer between eigth grade and freshman year. This was the first time in my life that I really began to question the principles and beliefs that I was brought up on. It intensified later, around sophomore year, but eigth grade summer was the prelude. I can't predict the rest of my life, nor how it will end, but I can say with relative sureity that from about that point until now have been some of the most influential times in my life, and I expect they will continue to shape whatever events unfold from now until my death.
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