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Jesse Kreutz

Literature Resource Center - Document - 0 views

    • Jesse Kreutz
       
      So, Historical Fiction is hard to define since many authors have settings based in history, without them being considered Historical Fiction. Interesting; I never thought of it like that, but it makes sense
  • Almost all literary authors mine the past at some point.
    • Jesse Kreutz
       
      Ah, so he makes the argument that Historical Fiction often crosses the boundaries between fact and fiction, and stretches the truth to make a quick buck.
  • ...4 more annotations...
  • 'historical truth' (a concept that is itself notoriously unreliable)."
    • Jesse Kreutz
       
      What is Historical truth? In many cases, this can be very hard to determine. If an entire genre can be so hazy in its guidelines, how can it continue to function?
  • I stick with the facts until the facts run out. I don't try to improve on them
    • Jesse Kreutz
       
      She takes the stance that the job of a Historical Fiction writer is to keep as close to the facts as possible.
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    Jesse, make sure to clearly label the argument, claims, and evidence to avoid losing points on the next post.
Jonah Malloy

Literature Resource Center - Document - 0 views

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    Privateness Sex and murder are really the same - things done in private. Linked together pain and pleasure not for entertainment, but to show how isolation brought on by keeping to oneself. Privateness=self-isolation.
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    Jonah, clearly label the argument, claims, and evidence you will use for your paper to avoid losing points on future posts.
lindsey shields

Literature Resource Center - Document - 0 views

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    Argument: This article discusses Yann Martel's narrative. Stephens' analyzes its effectiveness and religious appeal. He also juxtaposes the usage of science and religion through their "counteractive" purposes. Stephens' entire article discusses Pi's conclusion of a "better story". Claim: Stephens labels Life of Pi as an allegorical castaway story. He stated the idea of the novel being able to "make you believe in God" was untrue. Instead of making one believe in God, it instead gave them the choice to believe. Religion provides one half of the frame of the novel, the second half is science. Stephens suggests the incompatibility of the two. He claims Martel uses the novel to connect the relationships between human and animals through the main character's religious faith and choices. The nonreligious gain a desire to believe. Evidence: "Martel gives the reader the democratic choice: the desire to believe rather than the belief itself" (Stephens). "The theme of this novel can be summarized in three lines. Life is a story. You can choose your story. And a story with an imaginative overlay is the better story" (Martel qtd. in Stephens). "In what ways would this be seen by the nonreligious as a religious book...what ways might this text actually give secular readers a desire to believe...what ways might this text lead religious readers who already believe in God to re-envision that deity, or to worship him, her, or it in a new way?" (Stephens).
Gabriela Mako

Literature Resource Center - Document - 0 views

  • many scholars consider the novel to be dystopian (about a miserable society), and compare it favorably to adult classics like Brave New World (1933), Fahrenheit 451 (1953), and 1984 (1940) as well as to children's classics like the White Mountains (1967), and A Wrinkle in Time (1962).
  • capturing the moral imaginations of its readers
  • because it contains adult themes like infanticide (baby killing) and euthanasia (mercy deaths).
  • ...10 more annotations...
  • To the surprise and indignation of many of the novels' enthusiasts, The Giver, according to a report by the People for the American Way, was the second most frequently challenged book in 1996.
  • it is most realistic to respond to would-be censors' concerns by presenting a constructive reading of The Giver, a reading which is consistent with educators' efforts to discuss controversial scenes in sensitive and responsible ways.
  • The irony of censorship attacks on the novel is that The Giver dramatizes the plight of an individual living in a society that censors its peoples' language, emotions, and behaviors. This irony is compounded by the fact that most who would like to see The Giver censored confess that they have never read the novel in its entirety.
  • Would-be censors object to the scene because it is so graphic, and because it transforms Jonas's once beloved father into a cold-blooded murderer.
  • “release” is actually murder, that his people literally have limited vision (they can only see in black and white, so do not notice racial differences, or colors of any kind), and that his people have no way to think for themselves, or to make decisions without the Giver's help. (They have no memories of pain and pleasure, and they are sedated so as not to feel the “stirrings” of their own desire.)
  • Through Jonas, Lowry argues for the preservation of a kind of creative vision, a vision which every community needs if it is to benefit from its citizens' differences and input.
  • Here Lowry is suggesting that the vision of an artistic boy, who is open to ideas that exist outside of current paradigms of thought, is of the utmost importance to a society that has lost the ability to perceive differences.
  • Lowry is arguing for the preservation of a particular way of looking at the world that is essential to the survival of the human(e) race.
  • Had Jonas simply rejected his community (as a “lesser” character might have done), the novel would not have carried the same positive psychological impact. Jonas does initially feel contempt for his community, but he quickly develops the insights he needs to channel his anger into constructive actions
  • Lowry's novel is compelling, terrifying, and above all, hopeful. Through reading about Jonas, a boy who has the courage and vision to help his people to acknowledge their pain and differences, Lowry's readers can experience the joy of pushing “open the gate” [Lowry's metaphor] that separates them from Elsewhere. It would be hard to find a more appropriate message for youth, who are immersed in making important decisions about what kinds of people they will one day become.
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    Argument: The Giver is not just a 'controversial' and 'banned' book, but it also has much more depth in it that meets the eye; set within a distopic setting, Lowry uses the setting to construct a way to see into today's morality code as well as the reader's. Claims: *Irony over the censorship of the book *different views on what the book's meaning(s) are Evidence: *Lowry foreshadows this perplexing but hopeful ending when she describes Jonas as Keeper of the "memories of the whole world." Her message, finally, is that one cannot ignore uncomfortable memories; one must embrace a "whole" vision, which contains joy as well as pain, if one (or one's children) is/are ever to feel "at home" in the world. *Through Jonas, Lowry argues for the preservation of a kind of creative vision, a vision which every community needs if it is to benefit from its citizens' differences and input. *The irony of censorship attacks on the novel is that The Giver dramatizes the plight of an individual living in a society that censors its peoples' language, emotions, and behaviors. This irony is compounded by the fact that most who would like to see The Giver censored confess that they have never read the novel in its entirety.
Jesse Kreutz

How do conflict situations affect our faith communities and our interreligious relation... - 0 views

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    The main argument of this article is that ultimately, our faith affects our perceptions of other religions, and increases conflicts. He argues that religions have trouble accepting the validity of other religions due to the exclusivity of their belief system, and that exclusivity makes peaceful negotiation much harder. -"All inter-religious relationships and dialogue, particularly among members of the monotheistic faiths, are ultimately based on conflict because of their mutual and seemingly exclusive truth claims" Hames goes on to claim that the conviction that they are right makes fundamentalists very difficult to argue and compromise with. -"It is very difficult to speak to religious fundamentalists of any persuasion because they are not prepared to question, or to admit uncertainty"
Jesse Kreutz

Can't we all just get along? A history of religious coexistence - 0 views

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    The main argument of this passage is that coexistence is an idea that rarely crosses people's minds when religion is involved. Conflict is very rarely a simple thing. He argues this and goes on to say that insisting on associating religion and conflict oversimplifies the matter. -"The relentless association of religion and conflict compresses the complexity of human lives into one narrow band" Karabell also mentions that both the conflicts, and the solutions to those conflicts, tend to be viewed through the lenses of religion. -"Part of the problem may be the tendency to view both the current conflicts and their solutions in strictly religious terms"
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