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Mariah Love

Religion and Happiness - 4 views

Mariah Love Ms. Jensen AP Literature - 1 2 Feb. 2011 Final Thought Paper Ahead of its time in both societal psychology and advances in technology, Aldous Huxley's Brave New World inhibits the soci...

started by Mariah Love on 03 Mar 11 no follow-up yet
Matthew Pepper

Literary Analysis #3 - 0 views

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The Pearl

shared by Matthew Pepper on 21 Jan 11 - No Cached
  • Matthew Pepper on 21 Jan 11
     
    Argument: In The Pearl, Steinbeck, not only shows hardship and suffering but argues that peoples rights and freedom were lost. He shows that not every story is a happy ending. "The loss of the pearl at the end of the story suggests his loss of hope for the future and a loss in his belief that he can control his life and destiny." (Perkins). It is another story about achevining the "American Dream" Evidence: "Kino's rebellious spirit challenges but cannot change the system. Unable to fight off the forces that try to oppress him, he loses his son along with his dreams of a better life for his family." (Perkins) "Steinbeck offers his response to oppressive political systems that try to crush the human spirit, declaring that he believes that the "free, exploring mind of the individual human is the most valuable thing in the world." (Perkins) "Steinbeck illustrates the tragic consequences of the loss of that freedom of the spirit in The Pearl, expressing a profound sympathy for the individual and the community that suffers under such an oppressive system." (Perkins) Thoughts: Based on the article the author explains a valid point how in this world we might say were equal on paper but we have to show we are equal. In my opinion I don't think life should end that way i think you should always have a second chance. Steinbeck doesn't describe his books like that. Maybe hes showing the actual world as it is. We might say all this pretty stuff about how the world should be and how life should end up but nothing happening. John Steinbeck is a realist and shows the world how it is. The pearl symbolized his dreams. And an education shouldn't be the only way to be successful in life school and education is not for everyone Steinbeck shows that it just takes a lot of heart to do what you dream of. Kino showed a lot of heart but with the effort he failed and described the world as a failure. Quotes: "But the pearls were accidents, and the finding of one was luc
Matt McLaughlin

Literary Reference Center - The Time Machine: An Invention: A Critical Text of the 1895... - 2 views

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Wells Totalitarianism Critique

shared by Matt McLaughlin on 07 Dec 10 - No Cached
  • Matt McLaughlin on 07 Dec 10
     
    Argument: H.G. Wells writes about science fiction, more specifically, a higher power or a powerful controller in his books War of the Worlds and The Time Machine. Claim: Wells was a Totalitarianist who beleived one ruler would benefit mankind. And also during the Industrial Revolution, the world was changing more than ever. Evidence: "(Wells) eagerly awaited the global catastrophe that would destroy civilization as we know it and allow...technocrats to enslace hapless humanity."
Matt McLaughlin

Literary Reference Center - H. G. Wells - 0 views

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Wells Socialist Race

shared by Matt McLaughlin on 07 Dec 10 - No Cached
  • Matt McLaughlin on 07 Dec 10
     
    Argument: H.G. Wells writes about science fiction, more specifically, a higher power or a powerful controller in his books War of the Worlds and The Time Machine. Claim: His Socialistic views rely heavily on his thoughts about the human race Evidence: "Wells felt that the (Socialist) party should take on a morea ctive role in changing the world". " (Wells) was an inventive futurist and was deeply concerned for the human race."
Bryan Myrick

Literature Resource Center - Document - 1 views

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Girlfriend in a Coma

shared by Bryan Myrick on 16 Dec 10 - No Cached
  • Bryan Myrick on 16 Dec 10
     
    Coupland throws these teens into his own life growing up, it was his home town and his mood. This talks of Karen's coma starting through a misunderstanding, thinking she is just passed out from starvation and over indulging in alcohol. Coupland wrote "beyond the edge of the known world" in this novel about post apocalyptic world in Canada.
Matt McLaughlin

Literature Resource Center - Document - 1 views

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Wells Socialist humans

shared by Matt McLaughlin on 23 Jan 11 - No Cached
  • Matt McLaughlin on 23 Jan 11
     
    Argument: H.G. Wells writes about science fiction, more specifically, a higher power or a powerful controller in his books War of the Worlds and The Time Machine. Claim: Wells socialist views show his concern for the future of the world. Evidence:"Since the Morlocks on one level stand for the late nineteenth century proletariat, the Traveller's attitude towards them symbolizes a contemporary bourgeois fear of the working class."
Bryan Myrick

Literature Resource Center - Document - 0 views

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shared by Bryan Myrick on 16 Feb 11 - No Cached
  • Bryan Myrick on 16 Feb 11
     
    Coupland throws these teens into his own life growing up, it was his home town and his mood. This talks of Karen's coma starting through a misunderstanding, thinking she is just passed out from starvation and over indulging in alcohol. Coupland wrote "beyond the edge of the known world" in this novel about post apocalyptic world in Canada. http://go.galegroup.com.lib.chandleraz.gov/ps/i.do?&id=GALE%7CH1100033666&v=2.1&u=chandler_main&it=r&p=LitRC&sw=w
Kaitlyn Sandifer

Unaccustomed Earth - 2 views

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immigration Jhumpa Lahiri Indian critique

shared by Kaitlyn Sandifer on 20 Jan 11 - No Cached
  • Kaitlyn Sandifer on 20 Jan 11
     
    Literary Analysis #2 Argument: In his work analysis, Kellman argues about the difficulties that Indian/East Indian immigrants face in the course of their American lives. Most of the characters in Lahiri's novel were either born in the United States or immigrated at a young age. Kellman argues that through the transition, these characters have lost their Bengali roots. Kellman critiques the thoughts and actions between the main characters and their familes who have retained a strong hold on their Bengali roots and ideals. He depicts the clash of cultures and how Lahiri's charcters struggle to thrive in "Unaccustomed Earth." Evidence: "If her Indians are everywhere, they are at home nowhere"(Kellman). "Lahiri's characters strike their roots in Massachusetts, Pennsylvania, and Washington State, corners of the earth unaccustomed to Bengalis. However, the transplantation does not produce the vigor Hawthorne expects in relocated tubers. Most of the characters in these pensive stories are transplants who never find a soil in which to thrive" (Kellman). "Her characters belong to generation 1.5; children of immigrants, they were either born in the United States or arrived too young to have formed an Indian identity" (Kellman). "Though dragged along on family visits to Calcutta, they lack an appetite for Indian foods, languages, and spouses" (Kellman). "For Lahiri's characters, the tension between Old World and New World identities is often embodied in the generation gap between parents who look back to India for models of behavior and of thought and of children who strive, however futilely, to pass for unhyphenated Americans" (Kellman). "Nevertheless, even those children who manage to attain worldly success are haunted by a sense of loss"(Kellman). "However, the problem for Lahiri's characters is only in part an unbridgeable chasm between cultures. She depicts a world in which to be human is to fail" (Kellman). Thoughts: Kellman present
Brandon Garrett

Literary Analysis #2 - Catch 22 - 0 views

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catch 22

shared by Brandon Garrett on 20 Jan 11 - Cached
  • Brandon Garrett on 20 Jan 11
     
    Robert Young takes an interesting perspective on the book Catch 22 as he offers his criticisms of the logic that Heller used within the novel. The basis of the criticism focuses on this "unconscious logic" that Young believes Heller has used. He believes that the novel really focuses on a world "where everyone lives perpetually in projective identification, and the only value is survival." Furthermore, he establishes that the book is essentially about ideals, and how the in the real world it is hard for anyone to behave in a paranoid world, especially in groups and under the pressure of the war. There is this sort of overarching theme that decency is not at the mainstream of societies core values. Within the text Major Danby advises his soldiers, "And you must never let them change your values. Ideals are good, but people are sometimes not so good. You must try to look up at the big picture." I thought that from the criticism that it was interesting how it was stated that there was only one real Catch 22, that specified that a concern for your own safety in the face of dangers were real and immediate and in the process of a rational mind. In general, this criticism is very analytical on the methods of logic that Heller uses in the book. However, Young is very hard to follow and his reasoning is sparely related. His point is clear to understand however, because he opens the argument with his general ideology that the book is about a society that acts in a certain way because they are faced with the possibility of annihilation daily.
Ashley Cox

My Name Was Salmon, Like the Fish': Understanding Death, Grief, and Redemption in Alice... - 0 views

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Alice Sebold lovely bones Kenneth Womack

shared by Ashley Cox on 28 Jan 11 - No Cached
  • As with so many other works of contemporary fiction and film, Alice Sebold's bestselling novel The Lovely Bones (2002) fulfills our fundamental and indelibly human desires for establishing vital interconnections with the lost friends and loved ones who adorn our personal pasts.
  • Time and time again, the most cherished works of our literary and popular culture reflect this abiding need to seek out our lost siblings, parents, and grandparents.
  • we long for the opportunity to wade back into the recesses of time in order to enjoy impossible reunions with the people who left their imprints upon our very souls
  • ...29 more annotations...
  • By narrating the events surrounding the Salmon family's tragic dislocation and heart-wrenching reunion, The Lovely Bones deftly taps into our yearnings to eclipse the laws of space and time. Even more powerfully, the novel depicts the many ways in which interpersonal tragedy possesses the capacity for tearing survivors' lives apart at the very moment in which they need familial companionship the most. The parlance of family systems therapy--with its accent upon the interpersonal dynamics that shape literary works as well as our own senses of self--provides us with a useful lens for understanding the Salmon family's trials and tribulations in The Lovely Bones.
  • as an inherently open system, the family must at once provide support for its individual members' integration into a solid family unit, as well as their differentiation, or emotional and psychological separation, into relatively autonomous selves. This mutual developmental process possesses the capacity for producing functional and dysfunctional families. In functional families, individual members evolve into fully realized selves that allow them to act, think, and feel for themselves. In dysfunctional families, however, family members develop pseudo-selves--often fostered by fear and anxiety within the system--and thus, such individuals frequently remain unable to maintain any real equilibrium between their inner feelings and their outward behavior
  • In the novel, Susie can only watch in horror as her family devolves from a functional system into a dysfunctional shadow of its former self. Family therapists describe the fashion in which the Salmons maintain their systemic dysfunctionality as a psychological state of homeostasis, which Barnard and Corrales define as a family's tendency
  • "In order to perceive change in one's life--to experience one's life as progressing--and in order to perceive oneself changing one's life, a person requires mechanisms that assist her to plot the events of her life within the context of coherent sequences across time--through the past, present, and future" (35). These mechanisms--works of narrative therapy--offer cogent methodologies that assist clients (or readers) in simultaneously identifying with and separating from the dilemmas that plague their lived experiences.
  • At the beginning of the novel, the Salmons' interpersonal relationship exists as a functional family system. Jack and Abigail Salmon enjoy a busy, albeit satisfying family life in eastern Pennsylvania, where they raise their three children--fourteen-year-old Susie, her younger sister Lindsey, and their four-year-old brother Buckley. After Susie's rape, murder, and dismemberment in December 1973, the family lapses into a dysfunctional spiral as they attempt to cope with a stultifying sense of grief. The effect of Susie's untimely death is rendered even more painful by the disappearance of her body save for a stray elbow, as well as by Jack's suspicions that a reclusive neighbor, George Harvey, is responsible for her demise.
  • "The reflective awareness of one's personal narrative provides the realization that past events are not meaningful in themselves but are given significance by the configuration of one's narrative," Polkinghorne observes. "This realization can release people from the control of past interpretations they have attached to events and open up the possibility of renewal and freedom for change" (182-83).
  • Told entirely from Susie's perspective, the novel details the post-traumatic experiences of her family as they attempt to make their various ways among the living. Existing in a form of atemporal limbo that she describes as a kind of heaven, Susie observes her family and friends as they try to understand her loss in terms of their own survivorship. In addition to her significant role as witness, Susie must also contend with her own anxieties about her untimely separation from her family unit, as well as her severance from the young life that she was only just beginning to comprehend.
  • "There is no question," they write, "that families devote considerable energy to maintain a certain amount of order and stability. Security," they add, "seems to be tied with a certain amount of stability and predictability"
  • In The Lovely Bones, Susie composes her narrative in an explicit attempt to make sense of her family's dysfunctionality and to explode the homeostasis of her former family system, thus allowing them to effect their own "new levels of functioning." Although feelings of morphogenesis for Susie will always be tempered by the finality of her death, she intuitively realizes that the sublimation of her family's homeostasis will allow both herself and her family to continue their progress toward selfhood--although obviously in decidedly different locales and through highly disparate states of being.
  • The particular manner in which Susie sorts through the tragic events of her family's post-traumatic experiences can be usefully understood by interpreting her act of narrative therapy in terms of the five "attitudes" toward death that Kübler-Ross postulates in On Death and Dying. These attitudes--which themselves mirror the five stages of dying that terminally ill patients undergo--include denial and isolation, anger, bargaining, depression, and acceptance. "The one thing that usually persists through all these stages is hope," Kübler-Ross writes. "It is the feeling that all this must have some meaning, will pay off eventually if they can only endure it for a little while longer" (139).
  • Abigail isolates herself by delving into the workaday world of the suburban housewife. Her obsession with the preparation of the family's meals and her daily chores allows the time to pass more quickly, thus limiting her ability to reflect upon her daughter's ordeal.
  • In The Lovely Bones, the first portion of Susie's narrative highlights the narrator and her family's struggle with denial and isolation as they simultaneously come to grips with and attempt to disavow the unsettling reality of her murder.4 Their feelings of denial and isolation function as "coping mechanisms," according to Kübler-Ross, as well as the result of the "inability of [clients] to look at their situations realistically" (37, 41). Unable to make sense of Susie's sudden disappearance from their lives, the Salmons initially cleave to each other, hoping against hope that somehow she will return to their midst. After the police report to the family that Susie must be dead, given that so much blood had been found at the scene of the crime, they begin the difficult work of having to confront her fate, as well as their own. Like her family, Susie finds herself unable to accept her passing: "I hadn't yet let myself miss my mother and father, my sister and brother," she reports. "That way of missing would mean that I had accepted that I would never be with them again; it might sound silly but I didn't believe it, would not believe it" (27).
  • While her father purposefully refuses to allow himself to cry for her loss--to do so, he reasons, would make Susie's death seem all the more real--Jack copes by attempting to establish normalcy in the Salmon household within only a few scant days of her disappearance.
  • Meanwhile, Lindsey and Buckley act as their father's accomplices in his efforts to trap Susie's killer. In one particularly harrowing instance, Lindsey slips into Mr. Harvey's house in order to search for evidence. She narrowly escapes from his clutches, ultimately becoming the object of Mr. Harvey's sociopathic fantasies herself. In each instance, the family members' behaviors serve to exacerbate their ability to come to terms with their grief, rather than to sate their enduring despair.
  • In this fashion, Jack, Abigail, and Lindsey each develop pseudo-selves in order to quell their devastating senses of anxiety and pain. As the youngest member of the family, little Buckley can hardly begin to comprehend his sister's fate. He only begins to understand the extent of her absence from his life during a game of Monopoly, when he realizes that there is no one to play with the shoe, Susie's favorite game piece. Unable to cope with the significance of the moment, Buckley hides the shoe in his bedroom. As with the rest of his family, Buckley can only consider the depth of her absence in isolation from the rest of the unit. To do anymore, it seems, would force them to contend with the awful reality of a world in which Susie simply no longer exists.
  • In the second stage of their confrontation with Susie's death and the slow, almost imperceptible collapse of their family system, the Salmons experience the anger about which Kübler-Ross remarks in On Death and Dying. "When the first stage of denial cannot be maintained any longer," she writes, "it is replaced by feelings of anger, rage, envy, and resentment." According to Kübler-Ross, people in such situations often find it difficult to control their anger or to differentiate logically between the various objects of their animus. "The reason for this," Kübler-Ross observes, "is the fact that this anger is displaced in all directions and projected onto the environment at times almost random" (50).5 In The Lovely Bones, the family's anger takes many
  • forms. Susie's own anger reaches a fever-pitch when she learns the maddening extent of her killer's depravity. As she recognizes that her own death was just the latest in a series of unsolved homicides, Susie seethes as she realizes that Mr. Harvey's house exists as a "town of floating graves, cold and whipped by the wind, where the victims of murder went in the minds of the living. I could see his other victims as they occupied his house--those trace memories left behind before they fled this Earth" (182).
  • While Susie's anger rages in heaven, her father's inability to come to terms with her death pushes the Salmon household to the brink of psychological disaster. His suspicions about his daughter's killer begin to emerge after he visits Mr. Harvey's home and assists his reclusive neighbor in the construction of a backyard bridal tent. Mr. Harvey's bizarre behavior--including his odd remark that "the neighbors saw us. We're friends now"--culminates in Jack's nearly round-the-clock surveillance of the murderer's behavior. Egged on by another neighbor's advice that he should find a covert way of avenging his daughter's homicide, Jack begins casing the cornfield where his daughter died. After he mistakenly accosts a young couple in the field, an altercation ensues that nearly results in Jack's own death. "
  • I wanted my father's vigil," Susie reports, "but also I wanted him to go away and leave me be" (140).
  • Having sublimated her grief for so long and with her husband's increasingly risky behavior testing the boundaries of her patience, Abigail indulges in an extramarital affair--with the local homicide detective, no less--in order to stave off her guarded emotions.
  • Lindsey and Buckley respond to their mother's departure by rallying around their father, whose physical deterioration in the wake of his daughter's murder has rendered him into a shadow of his former, pre-trauma self. Yet by opting to become their father's protector and ally, Lindsey and Buckley also succeed in erecting complicated emotional walls between themselves and their estranged mother.
  • In the third stage of their post-traumatic experiences, the Salmons engage in the act of "bargaining," the grieving phenomenon that Kübler-Ross describes as the product of a given client's irrational fears about the future and his or her "attempt to postpone," if only temporarily, the inevitable processes of life and death
  • In the Salmons' case, the third stage involves very explicit efforts to delay their acceptance of the finality of Susie's death. In so doing, they postpone their capacity for achieving morphogenesis and become typecast in their familial roles.6 Such self-imposed constraints inevitably lead to identity diffusion.
  • Abigail, the overwhelming anxiety over her daughter's loss and the psychological disintegration of her surviving family prompt her to seek refuge by fleeing the Salmon household. When the first anniversary of Susie's death arrives, Abigail can simply no longer fathom the mind-numbing flow of the grieving process:
  • After spending the winter in her late father's cabin in New Hampshire, Abigail drives across the country to California, where she finds a job as a day laborer in a winery. As Denis Jonnes notes,
  • Abigail seeks to empower--or, perhaps more accurately, re-empower--herself by effecting her escape from the larger Salmon family system.7 Yet mere distance can hardly provide her with the emotional sustenance that she so desperately desires:
  • Lindsey attempts to lose herself in the business of living. Opting to go to school the first Monday after Susie's death, Lindsey begins steeling herself against the world. In class, Susie observes, "my sister did not look at Mrs. Dewitt when she speaking. She was perfecting the art of talking to someone while looking through them. That was my first clue that something would have to give" (30).
  • Buckley's youth is understandably complexified by his psychological over-identification with his father, and their intensely close relationship results in Abigail's triangulation after her return from the west coast.
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  • Ashley Cox on 28 Jan 11
     
    This article takes the coping mechanisms in the lovely bones and is connecting it to real life and gives more insight to why the acted the way they did and also how their different ways of coping lead to a divided family. 
Sebastian Shores

Girlfriend in a Coma - Literary Analysis - 0 views

coupland.tripod.com/gc17.html

shared by Sebastian Shores on 21 Jan 11 - No Cached
  • Sebastian Shores on 21 Jan 11
     
    Argument: Coupland illustrates the characters in Girlfriend in a Coma as confident and collected while simultaneously demonstrating their struggle to find their place in the world. Each chapter interrupts the flow of the story, often jumping from one major event to another, skipping the minor details in between. Hamilton is concerned that they are not doing anything to change the world on their own but rather wasting their time with careers such as modeling that have no positive impacts in the world around them. Karen's fears transform into a reality when she falls into a coma for seventeen years. As time passes, her friends lose all of their dreams, hopes, and passions for their careers. An apocalyptic event has not taken place so Coupland takes his story Girlfriend in a Coma to the extreme by inventing and transforming the book from a story about teenagers into a story about teenagers whom are trapped in adult bodies. Evidence: "And they don't cope well. "There's nothing at the centre of what we do," Hamilton complains, and Coupland homes in on his true subject. Waking from her coma, Karen is alarmed that her friends mirror the new soullessness she sees in society: "Their dreams are forgotten, or were never formulated to begin with...they seem at best insular, and without a central core, which might give purpose to their lives." "Coupland successfully raises the pitch to the apocalyptic with his sarin-style, X Files-ish mass sleeping, but then stumbles headlong into adult fable by pursuing his Big Moral Question. Why are our lives empty? Jared, a ghost, takes over from Richard as narrator, introducing a dangerously glutinous, pan-Christian murk of cosmology as he leads the adult-kids though fumbling dissolution towards an ethical gravitas." "Such chapter headings as "Reject Every Idea" (familiar from Generation X) slice across the continuity of Couplan
Jeffrey Kirkman

"The War of the Worlds" Criticism - 0 views

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War of the Worlds Criticism

shared by Jeffrey Kirkman on 25 Jan 11 - No Cached
  • Jeffrey Kirkman on 25 Jan 11
     
    Wells uses science once again to reflect some of his social concerns, however it is not a critical as The Time Machine is. Wells doesn't write a science fiction, but more of a science romance. Science is used as a literary device to create a setting for his novel. The destruction of the Martians by microbes has seemed like an anticlimactic ending to his novel, but the martians portrayed Wells' view, that when a creature evolves, it has gained something, but also something else has to be lost in the process. The novel contradicts the idea that technology makes life better, by showing the defeat of the martians, who are more technologically advanced than the humans, were ignorant and were defeated by a bacteria. The technological advances by humans could lead to the defeat of humans by forces of nature. Wells uses science to mock the human race, in this case the technological advances of mankind.
Jon Collins

Stillness is the move - 3 views

Argument- People are never truly satisfied with themselves. Always trying to one up what they have and not focusing on the items, physical and mental, which they already have. There for people who ...

lit cricism

started by Jon Collins on 03 Feb 11 no follow-up yet
Ryan Smith

Literature Resource Center - Document - 0 views

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Takeuchi

shared by Ryan Smith on 10 Dec 10 - No Cached
  • Ryan Smith on 10 Dec 10
     
    Takeuchi successfully provides input on her finding of innocence as a major collective theme throughout Salinger's novels, especially in reference to Seymour. Argument being that everyone has their innocence and is only remembered for their innocence, and that once the innocence of the being is lost, so are they as a whole. therefore a claim made is that once the afflicted sets hands or is first to get to, an innocent, the other persons innocence is lost because of their subjection to a world run off lack of innocence. Support taken from Takeuchi from the novel The Catcher in the Rye is, "The snow was very good for packing. I didn't throw it at anything, though. I started to throw it at a car that was parked across the street. But I changed my mind. The car looked so nice and white. Then I started to throw it at a hydrant, but that looked too nice and white, too. Finally I didn't throw it at anything.(47-48)
Rachel Kaemmerer

Literature Resource Center - Document - 1 views

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literary criticism steinbeck

shared by Rachel Kaemmerer on 14 Dec 10 - No Cached
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  • Rachel Kaemmerer on 14 Dec 10
     
    Argument: Although the subject of Steinbeck's novels change overtime, he maintains a view of certain fundamental values and attitudes such as naturalism and romanticism. Claim: Steinbeck's obsessiveness with science/biology as well as the relationship between man and his environment appear throughout his novels. However, he often strays from science and writes off an emotional bias by writing fondly of those that live natural lives and behave naturally. Evidence: In "Sea of Cortez", he states "There would seem to be only one commandment for living things: Survive!" (Sea of Cortez). A majority of this book is about a group of boys who focus on what is occurring during the present time and handle issues with their reactions instead of with 'teleological thinking' (2). In addition, he touches on the subject of the scientific viewpoint that everyone is fighting to stay alive and make it in this world. http://go.galegroup.com.lib.chandleraz.gov/ps/retrieve.do?sgHitCountType=None&sort=RELEVANCE&inPS=true&prodId=LitRC&userGroupName=chandler_main&tabID=T001&searchId=R1&resultListType=RESULT_LIST&contentSegment=&searchType=BasicSearchForm&currentPosition=1&contentSet=GALE%7CH1420074523&&docId=GALE|H1420074523&docType=GALE&role=LitRC
Keshet Miller

F.Scott Fitzgerald - 1 views

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shared by Keshet Miller on 14 Dec 10 - No Cached
  • Keshet Miller on 14 Dec 10
     
    Argument: Despite raging criticisms that Fitzgerald work as a American writer had failed miserably, but analyzing his success after his death, the importance and significance of his novels are proven prevalent when observing American Culture during the Jazz Age. Claim: There was much critical neglect during Fitzgerald life, much ridicule and shame brought upon Fitzgerald. His life ended with misery, yet does not lessen the writers contribution to literary representation of American culture. Evidence: "...the days and months of his private world began to descend into tragedy. He could not bring the order into his life that would allow him to write his next novel. By the end of the twenties he was living too high and drinking too much" (Shain). "...he did the final complexity of our society and to recognize that we create a large part of our moral selves as we become engaged in that society. This is the theme that runs through his fiction · and through his life" (Shain). http://go.galegroup.com.lib.chandleraz.gov/ps/retrieve.do?sgHitCountType=None&sort=RELEVANCE&inPS=true&prodId=LitRC&userGroupName=chandler_main&tabID=T001&searchId=R1&resultListType=RESULT_LIST&contentSegment=&searchType=BasicSearchForm&currentPosition=6&contentSet=GALE|H1479001146&&docId=GALE|H1479001146&docType=GALE&role=Scribner
stephiesal853

Literary Reference Center - powered by EBSCOhost: A Farewell to Arms - 0 views

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shared by stephiesal853 on 06 Jan 11 - No Cached
  • an American who has volunteered to serve with an Italian ambulance unit during World War I.
    • stephiesal853
      stephiesal853 on 06 Jan 11
       
      Ernest Hemingway in real life was an Italian ambulance driver in World War I. Therefore, Hemingway's true character is reflected through Lietenant Frederic Henry, the protagonist.
  • Henry is a protagonist who is sensitive to the horrors and beauties of life and war
    • stephiesal853
      stephiesal853 on 06 Jan 11
       
      Just like Ernest Hemingway: sensitive to life and war. Hemingway voiced himself through the protagonist's character.
Taylor Collins

Walkley on "Man and Superman" by Shaw - 0 views

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Shaw Man and Superman Shakespeare

shared by Taylor Collins on 20 Jan 11 - No Cached
  • Walkley was an English drama critic for the London Star, the Speaker, and the Times from 1888 through 1902, and a major contributor to the Times Literary Supplement after it was founded in 1902. He has been noted for his disciplined, urbane literary tastes; in fact, his criticism is generally considered to have primarily a literary, and not a theatrical, basis. In the following excerpt from a review of Man and Superman—the play that Shaw dedicated to Walkley and claimed was inspired by his suggestion —Walkley regrets that while the play serves as an effective vehicle for “the Shavian philosophy and the Shavian talent,” it is imperfect as a theatrical work.
    • Taylor Collins
      Taylor Collins on 20 Jan 11
       
      Shaw wrote a letter to Walkley, describing his take on a suggestion Walkley made for Shaw to write a 'Don Juan'. Shaw ultimately flips the whole concept of a 'Cassinova' on its head with a modern, feminist twist, but still credits Walkley as providing him with the challenge. In the letter Shaw expresses his 'lukewarm admiration' of Shakespeare for the strength of his female characters in a maternalistic world. In this regard Shaw finds a fresh opinion of Shakespeare as a playwrite, and a connection to the women in his own plays. Though Shaw sees Shakespeare as having put his own 'tissue' around the plots and ideas of earlier, successful works (which, we can all admit, was true-) it seems that he could still have a respect for the unique and insightfulness played out in the roles of his female characters.
  • For Mr. Shaw and Shakespeare have at least one conspicuous bond of fraternal relationship; they both use the same stage technique.
  • liaison des scènes
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      Roughly, the idea that the stage should never be empty during an act or a scene.
  • ...18 more annotations...
  • Thus for the sake of something which may be very fine, but certainly is not drama, both dramatists cheerfully let the quintessential drama go hang.
  • We want a play that shall be a vehicle for the Shavian philosophy and the Shavian talent and, at the same time, a perfect play. Shall we ever get it? Probably not, in this imperfect world. We certainly do not get it in Man and Superman.
  • he is perpetually energizing outside the bounds of drama,
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      Since when does drama have bounds? Drama is not a formula, it is an art. Walkley says that there is a distinct form of art that he, and every other theater goer looks for in a play. Why, since Shaw's plays are entertaining, does it matter if this 'perfect' construction is not apparent? Is not a play perfect (as possible) if it is both entertaining and insightful? Literature is MEANT to convey ideas. No one creates works work taking note of unless he (or she) has something he (or she) wants to convey.
  • raison d'être
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      'reason for existence'
  • nexus
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      "1. a means of connection; tie; link. 2. a connected series or group. 3. the core or center, as of a matter or situation." -- Dictionary.com
  • the action-plot is well-nigh meaningless without the key of the idea-plot; that regarded as an independent entity it is often trivial and sometimes null; and that it is because of this parasitic nature of the action-plot, because of its weakness, its haphazardness, its unnaturalness, considered as a “thing in itself, ” that we find the play as a play unsatisfying.
  • We use the term action, of course, in its widest sense, so as to cover not merely the external incident but the psychologic and, more particularly, the emotional movement and “counterpoint” of the play.
  • The idea-plot we are not called upon to criticize. In the playhouse a dramatist's ideas are postulates not to be called in question. Theories of Schopenhauer about woman and the sex-instinct or of Nietzsche about a revised system of conduct are most assuredly open to discussion, but not by the dramatic critic. His business is, first and foremost, with the action-plot.
  • à propos de bottes
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      'For no apparent reason'
  • dans cette galère
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      'In this mess'
  • For Miss Ann is the new Don Juan, the huntress of men—no, of one man (that is to say, no Don Juan at all, but for the moment let that pass)
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      In the previously mentioned letter from Shaw to Walkley, Shaw begins by telling him that he has taken up his challenge- to write a 'Don Juan story'. But, in Shaw's terms, the Don Juan is the one being pursued, rather than the pursuer. Walkley knows very well what Don Juan is doing 'in this mess'.
  • Tanner lectures poor mild milksopish Octavius about the devastating egoism of the “artist man”—how the “artist man” is (apparently) the masculine of the “mother woman,” how they are twin creators, she of children, he of mind, and how they live only for that act of creation, so that there is the devil to pay (examples from literary history) when they happen to become man and wife.
    • Taylor Collins
      Taylor Collins on 21 Jan 11
       
      These ideas are also included in the letter, noted by Shaw as being his "character's, and for a time, also [his] own".
  • The properly dramatic development would have thrown all the onus upon Ann—we should have seen Ann energizing as the “mother woman,” and nothing else—and would have kept Tanner's mouth shut.
  • If Mr. Shaw's play were a real play we should have no need to explain the action-plot by laborious reference to the idea-plot. The one would be the natural garment of the other; or rather the one would be the flesh of which the other was the bones.
  • Ann would exhibit Mr. Shaw 's thesis “on her own,” instead of by the help of Mr. Jack Tanner's lecture wand and gift of the gab.
  • the action-plot, being as we have said a mere parasite of the other, is bound very rapidly to give out.
  • We must not forget two subordinate characters —Ann's mother, middle-aged, querulous, helpless in her daughter 's hands, and the cockney chauffeur, the fine fleur of Board school education, Henry Straker. These two small parts, from the point of view of genuine and fresh observation, are among the best things in the play. In them Mr. Shaw has been content to reproduce, instead of deducing.
  • Mr. Shaw, as we have tried to show, has conceived Ann not as a character, but as a pure idea, a walking theory;
  • Taylor Collins on 21 Jan 11
     
    I'm having some issues with the website, but I do have the analysis saved if you end up needing a hard copy :)
stephiesal853

Literary Analysis # 2 ("A Farewell to Arms") - 1 views

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A Farewell to Arms

shared by stephiesal853 on 06 Jan 11 - No Cached
  • stephiesal853 on 06 Jan 11
     
    Argument: Lists and explains in detail the characters that play a role in Ernest Hemingway's novel, A Farewell to Arms. Justifies that the protagonist of the novel is Lieutenant Frederic Henry, and that the woman he loves is named Catherine Barkley. Argues that the protagonist, Frederic Henry, feels pity and sorrow at the end of the novel (similar to the sorrow that Hemingway feels in his life). Evidence: "Henry is a protagonist who is sensitive to the horrors and beauties of life and war" ("A Farewell to Arms"). "Henry feels sorrow and pity…" ("A Farewell to Arms"). "When she falls in love with Henry, she gives herself freely to him" ("A Farewell to Arms"). Thoughts: The two main characters, Frederic Henry and Catherine Barkley in A Farewell to Arms are reflections of Ernest Hemingway in real life and of the love affair he once had with an Italian nurse, Agnus Von Kurowsky. Both characters in the novel are mirror images of what once existed in Hemingway's life. He nearly tells his life story over again A Farewell to Arms. However, he uses other characters to present his story. For example, he plays the protagonist character (Frederic Henry), and his one-time lover, Agnus, plays Catherine Barkley. Because of this, Hemingway has the opportunity to recount his life, let his feelings out, and put a little twist on the story if he pleases. However, the story of his life is tremendously similar to his books. He changes little of his real life and puts it into novels, and merely changes the characters' names. Quotes: "American who has volunteered to serve with an Italian ambulance unit during World War I. Like his Italian companions, he enjoys drinking, trying to treat the war as a joke…" ("A Farewell to Arms"). "…he is wounded, has an operation on his knee, and is sent to recuperate in Milan, where he again meets Miss Barkley, falls in love with her…" ("A Farewell to Arms").
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