Thank you, Danielle, for writing this up and letting me link to it!
Wednesday, August 18, 2010
Monday, August 16, 2010
Sunday, August 15, 2010
Saturday, August 7, 2010
Study Guide for Final in EN 202 Summer 2010, pt. 4
The painting above is Henry Meynell Rheame's watercolor La Belle Dame sans Merci (1901). It really is amazing how many British painters were inspired by Keats' poem. Here are just a few that we looked at. Let's start with J.W. Waterhouse's painting from 1893:
There is also Sir Frank Dicksee's 1902 interpretation.
Here is Prof. Lilia Melani's definition of the ballad:
Ballad: a relatively short narrative poem, written to be sung, with a simple and dramatic action. The ballads tell of love, death, the supernatural, or a combination of these. Two characteristics of the ballad are incremental repetition and the ballad stanza. Incremental repetition repeats one or more lines with small but significant variations that advance the action. The ballad stanza is four lines; commonly, the first and third lines contain four feet or accents, the second and fourth lines contain three feet. Ballads often open abruptly, present brief descriptions, and use concise dialogue.
The folk ballad is usually anonymous and the presentation impersonal. The literary ballad deliberately imitates the form and spirit of a folk ballad. The Romantic poets were attracted to this form, as Longfellow with "The Wreck of the Hesperus," Coleridge with the "Rime of the Ancient Mariner" (which is longer and more elaborate than the folk ballad) and Keats with "La Belle Dame sans Merci" (which more closely resembles the folk ballad).
See these links for lyrics to the ballads that we listened to.
Here are links to Thompson's songs:
http://www.
http://www.richardthompson-
More importantly, though, Coleridge and Keats' poems are both part of Romanticism. Poets writing in this literary style emphasized feeling, the poet's receptiveness, more everyday language, and the revival of once-popular forms. Poets downplayed elitism and classicism although they might engage in medievalism or the imitation of medieval art and poetry. Coleridge attended but did not graduate from Cambridge University. Keats trained as a doctor at a time when that profession was not as prestigious as it is today.
Here is a picture of Coleridge:
Ben Whishaw played Keats in the recent Bright Star.
Ballads also rely on orality:
Effects of not having a system of writing
Performance - depends on the audience/ occasion
Repetition
For more information about orality, see these links:
http://worldlit2.multiply.com/journal/item/51
http://en.wikipedia.org/wiki/Orality
I'd like to juxtapose our folk & fairy stories with the ballads.
See these links for background on the Brothers Grimm:
http://worldlit2.multiply.com/journal/item/146
http://worldlit2.multiply.com/journal/item/147
These are the stories we covered. With the exceptions that are listed, all stories below are from the Brothers Grimm's collections. Note that their stories changed as Wilhelm edited them to suit children.
"The Goose Girl" is here: http://www.pitt.edu/~dash/
"The Girl Without Hands" follows: http://www.pitt.edu/~dash/
"Godfather Death": http://www.pitt.edu/~dash/
Charles Perrault's "Donkey Skin": http://www.pitt.edu/~dash/
I.B. Singer's "Gimpel the Fool": http://salvoblue.homestead.
Hans Christian Andersen's "The Steadfast Tin Soldier": http://www.andersen.sdu.dk/
Have you looked at the presentations that have been given during the second part of the semester? Check your inbox!
Betel presented on the Hamer of Ethiopia.
Lisa presented on Hans Christian Andersen.
Theresia presented on Chinua Achebe.
Danielle presented on horror films and Gothic stories.
Johann presented on Impressionism in art and Joseph Conrad.
Shefali presented on Voltaire & the Enlightenment.
Ram, Natalia, and Mike presented on vampires in film.
Below is a scene from Bram Stoker's Dracula, Francis Ford Coppola's film.
Friday, August 6, 2010
Study Guide for Final in EN 202 Summer 2010, pt. 3
Now I'd like to move on to women's writing: Emily Dickinson's poems, Charlotte Perkins Gilman's "The Yellow Wallpaper," and the concept of True Womanhood. The picture above refers to Elaine Showalter's recent study on women's writing in America from Puritan New England's Anne Bradstreet to contemporary author Annie Proulx. (Here's a link to Katha Pollitt's review of Prof. Showalter's study:
http://www.slate.com/id/2213111 .)
For information about Raise the Red Lantern and "Stale Mate," see this link:
http://worldlit2.multiply.com/journal/item/168
More information about Emily Dickinson (1830-1885) and Charlotte Perkins Gilman (1860-1935) follows.
We read the following poems by Emily Dickinson:
"They shut me up in Prose," "My Life had stood--a Loaded Gun--," and "I Heard a Fly buzz." All but the last reading are in Vol. 5 of our anthology. See this link for the last poem:
http://www.poets.org/
For reviews of recent books on Emily Dickinson, see the following links:
http://worldlit2.multiply.com/journal/item/150/White_Heat_The_Friendship_of_Emily_Dickinson_Thomas_Wentworth_Higginson
http://worldlit2.multiply.com/journal/item/151
http://worldlit2.multiply.com/journal/item/170
I also want to link to Higginson's translation of Petrarch's sonnet here:
http://www.sonnets.org/petrarch.htm#010
Contemporary poet A.M. Juster's translation may be found here:
http://www.amjuster.com/poem14.html
The picture below is the cover of Brenda Wineapple's recent White Heat, which retells the correspondence between Emily Dickinson and editor T.W. Higginson.
I also want to include a map that shows where Amherst, Emily Dickinson's hometown, is.
http://www.mayoclinic.com/health/postpartum-depression/DS00546
For more information about the "rest cure" that the narrator and Perkins Gilman underwent, see this link:
http://www.hsl.virginia.edu/historical/reflections/fall2008/rest.html
This article from the American Psychological Association discusses the rest cure and its successor, the work cure:
http://www.apa.org/monitor/2010/05/cures.aspx
True Womanhood (19th c.)
Purity
Piety
Domesticity - Domestic Science
Submission
Hannah More - the exception that proves the rule (she helped promote the doctrine of separate spheres and female submission, but she made her living as a writer and educator.)
Women wrote literature to instruct morally more than intellectually.
Angel in the House (Victorian era) - woman as moral influence
Separate spheres (man--public; woman--home)
This picture appears to be from the early Victorian era (1830s/1840s) when attitudes towards women were most conservative.
http://worldlit2.multiply.com/journal/item/147
Singing the Rime of the Ancient Mariner
Thank you, Michelle :)
If you don't know Gilligan's Island, see these links:
http://www.gilligansisle.com/
http://www.thewb.com/shows/gilligans-island/marooned-pilot/8ae27d25-b203-491a-92fb-2343b8542256
Michelle Found an Article about Emily Dickinson's "Loaded Gun" poem
Link
Susan Howe provides another viewpoint on Emily Dickinson's poetry, especially on her Civil War work.
Thank you, Michelle!
Labels:
19thcentury,
american,
bookreview,
emilydickinson,
en202,
readings
Thursday, August 5, 2010
Study Guide for Final in EN 202 Summer 2010, pt. 2
For more information about Murnau's Nosferatu, see this entry below:
http://worldlit2.multiply.com/journal/item/154/Nosferatu_1922
Dr. Elizabeth Miller's web site on Dracula includes a list of his characteristics (according to Bram Stoker):
http://www.ucs.mun.ca/~emiller/traits.html
Note that Murnau created the vampire's inability to stand sunlight.
Dr. Miller has included another essay on the link between bats and vampires:
http://www.ucs.mun.ca/~emiller/bats_vamp_drac.html
Here is a link to Roger Ebert's review of the 1931 Dracula, the first "talkie" vampire film.
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19990919/REVIEWS08/909190301/1023
Or you might prefer a more recent version of Dracula.
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/19921113/REVIEWS/211130301/1023
http://rogerebert.suntimes.com/apps/pbcs.dll/article?AID=/20040507/REVIEWS/405070306/1023
Below is a picture from Transylvania, the region in Romania where Dracula was said to come from.
Looks like it is time for a map.
We also looked at this trailer of Herzog's Nosferatu (1979):
http://www.youtube.com/watch?v=ZeYpGsEdEZU
For more about silent movies, see the following entry:
http://worldlit2.multiply.com/journal/item/165/1923_Stan_Laurel_in_Roughest_Africa
Or this link to "The Little Pest" with accompaniment by Ben Model:
http://www.youtube.com/watch?v=7Z6hgc6I4-s
You might also enjoy Rosa Rio and Buster Keaton:
http://www.youtube.com/watch?v=2_kZzmpAU8Q&feature=related
Here are some pictures of the early nickolodeon theaters.
http://www.tc.umn.edu/~ryahnke/film/cinema1.htm
Study Guide for Final in EN 202 Summer 2010, pt. 1
Below is a map that will show you where Pingyao, the site of Qiao's Compound, actually is.
http://wikitravel.org/en/Pingyao
Our study guide for the final begins with this film. It is based on Su Tong's 1990 novella Wives and Concubines. Zhang Yimou has also directed the historical films Red Sorghum and To Live as well as The House of Flying Daggers, a more action-oriented film. In Raise the Red Lantern, university student Songlian (played by Gong Li) travels to northern China to become the fourth wife (or Fourth Mistress) of Chen. She lives in a compound with Chen's other wives although each woman has her own house. This compound is in the country, but we do not see much of the countryside, except in the very beginning of the film as Songlian walks to the compound. The other wives are the older and psychologically distant First Mistress, mother of Chen's older son; Zhouyan, the second wife who appears to be very friendly and cheerful but is plotting against the others; and Meishan, a former opera singer who is the mother of Chen's younger son as well as the mistress of Doctor Gao. Raise the Red Lantern takes place in the 1920s, a time of unrest throughout China although the Chinese Civil War did not begin until 1927. The scene pictured above is of the lighting of the red lanterns, which signifies the house where Chen will spend the night. In the film, it is a family tradition; therefore, Chen does not wish to question it. Above Songlian is shown with her maid, Yang, who had had hopes of becoming the Fourth Mistress and, as we see, has hung red lanterns in her room. (Or has Chen hung them there?) After Songlian's ruse to feign pregnancy is discovered, and she betrays both Yang and Meishan, acts that result in their deaths, Songlian has a breakdown. In the next to last scene, she is observed by Chen's new bride, the Fifth Mistress.
What did you make of the ending to Raise the Red Lantern?
Is Songlian a tragic heroine? If so, what is her flaw? Or is she a victim of larger forces?
I am also going to link to my entry on Raise the Red Lantern as well:
http://worldlit2.multiply.com/journal/item/17/Raise_the_Red_Lantern
There you will find reviews of the film as well as some scholarly essays and background information.
If you would like to watch an example of Chinese opera, this is the YouTube video that I showed you:
http://xxiaojoex.multiply.com/video/item/1/Chinese_Peking_Opera?replies_read=1
Here is a link to a video of one of the best actresses in Chinese opera today:
http://www.youtube.com/watch?v=jC6Ecc1LztY&feature=related
Plus there is singing! You may compare her performance with Meishan's.
For information about Eileen Chang, see the following entry:
http://worldlit2.multiply.com/journal/item/48/Eileen_Chang_Stale_Mates
It is easier to find Shanghai on a map.
Final Prompts for EN 202 Summer 2010
The picture above is of Arthur Hughes' "La Belle Dame Sans Merci," yet another British artist's response to Keats' poem.
1. Must the protagonist of a story, poem, or film from the second part of the session (from Songlian onwards) follow the hero's journey (Joseph Campbell's monomyth)? In what ways does he *not* follow this monomyth? How does this affect the plot of the story, the character's coherence and believability, and the genre of the work? How does this affect the audience's response? Consider alternate models for narrative: tragedy, naturalism, Achebe's depiction of society, etc..
2. How does the presence of works NOT originally written in English (Candide, Raise the Red Lantern, Leopold Sedar Senghor's poems, Baudelaire's "The Albatross," the stories by the Brothers Grimm, Ruben Dario's poems, Nosferatu, Petrarch's sonnets, Hans Christian Andersen's story) affect your definition of world literature? Which works are you comfortable reading? Which works are you uncomfortable reading? Why? How comfortable should you be in a course like EN 202? Consider the impact of translation, genre, and readers' expectations here. Note that technically Fitzcarraldo was filmed in English although we saw the German version.
3. Discuss the role that masculinity and/or femininity play in up to four of the works we've read so far. (At least two works must be from the second part of the session, which began with Raise the Red Lantern.) Consider the role that history, culture, and even genre play in defining what appropriate masculinity and femininity are. Consider the impact of the author or filmmaker's gender. Also, consider your viewpoint as a 21st century man or woman.
4. Comment on Chinua Achebe’s statement: “Art is more than just good sentences; this is what makes this situation tragic. The man is a capable artist and as such I expect better from him. I mean, what is the point in that book? Art is not intended to put people down. If so, then art would ultimately discredit itself.” How does it apply to up to three of the works we've read or watched this session? How does it not apply? Consider the purpose of satire. Does Achebe's statement apply to Candide? Should it apply?
5. How do you define literature? Support your definition with four separate works from various genres and cultures. Two works must be from the second part of the session. Also, be sure to consider what is NOT literature. You may discuss the folktale as a genre of literature. Consider the role that orality, performance, and audience may play. Should it matter that today's storytellers' audiences are often children? You may also discuss the idea of film as literature. Again, consider the role that print, audience, and performance plays. Note the distinction between silent film and movies with sound. Does it matter whether a film is based on an earlier work of literature? Or whether this piece of literature is worthwhile? I encourage you to discuss poetry as literature, considering the role of form, rhyme, meter, and translation.
6. This session we are watching a number of older, more slower-paced films without CGI as well as reading older works (18th & 19th century). These films and texts also come from cultures other than America's. How are these films and texts different from the films and texts that you are used to? How are they similar? What do they add to your understanding of films and film history? to your understanding of world literature? Be sure to justify your reasons with examples from the movies that we have seen. At least one film must be Raise the Red Lantern or Nosferatu. At least one text must be from the second part of the session.
Monday, August 2, 2010
Readings for the Rest of Session II -- Summer 2010
On Tuesday 8/3, we will finish watching Nosferatu, and we will discuss "The Yellow Wallpaper" and the following poems by Emily Dickinson: "A narrow Fellow in the Grass," "They shut me up in Prose," "Much Madness is Divinest Sense," "My Life had stood--a Loaded Gun--," "The Soul has Bandaged Moments," and "I Heard a Fly buzz." All but the last reading will be in Vol. 5 of our anthology. See this link for the last poem:
http://www.poets.org/
For Wednesday 8/4, we will read Coleridge’s “The Rime of the Ancient Mariner” (Vol. 5) as well as Keats’ “La Belle Dame Sans Merci” (Vol. 5. Keats' "The Eve of St. Agnes" will be an extra reading for those who have the time:
http://englishhistory.net/
You may also like to read Charles Baudelaire's "Albatross" in Vol. 5.
Thursday (8/5) is the beginning of our unit on folk tales.
For Charles Perrault's "Little Red Riding Hood," see this link: http://www.pitt.edu/~dash/
See the following link for the Brothers Grimm's "Little Red Cap": http://www.pitt.edu/~dash/
"The Goose Girl" is here: http://www.pitt.edu/~dash/
"The Twelve Dancing Princesses" follow: http://www.
See the following link for two versions of "Hansel and Gretel": http://www.pitt.edu/~dash/
"The Girl Without Hands" follows: http://www.pitt.edu/~dash/
These readings may spill over onto Monday 8/9. We will add "Godfather Death": http://www.pitt.edu/~dash/
as well as I.B. Singer's "Gimpel the Fool": http://salvoblue.homestead.
For Tuesday 8/10 and Wednesday 8/11, we will read Voltaire's Candide in Vol. 4.
Then on Thursday 8/12, we will finish up with some modern poetry.
Let's start with Mary Ellen Solt's "Forsythia": http://www.writing.upenn.edu/
Since we've already read poems by Emily Dickinson, we'll read some by Walt Whitman. First is his "I Hear America Singing": http://www.poets.org/
Next is his "Crossing Brooklyn Ferry": http://www.poets.org/
Last is his "When Lilacs Last in the Dooryard Bloom'd": http://www.poets.org/
I'll add Allen Ginsberg's "A Supermarket in California": http://www.poets.org/
Let's finish with Gwendolyn Brooks' "the rites for cousin vit": http://www.tcsn.net/jackie/
and Ruben Dario's "Walt Whitman," "Autumn," and "Theodore Roosevelt":
http://faculty.
http://www.dariana.com/R_
http://www.wsu.edu/~wldciv/
The final will be a take home, due to me by Monday 8/15.
1923 Stan Laurel in Roughest Africa
Link
The picture above is of Laurel and Hardy. Here is a link to scenes from their comedies. You may or may not like the soundtrack.
http://www.youtube.com/watch?v=HlDd9Cf1Zuw&feature=fvsr
This version is colorized!
http://www.youtube.com/watch?v=QI33gTIYX3s
Or you may prefer Charlie Chaplin....
http://www.youtube.com/watch?v=1mYtNMDFyXQ
http://www.youtube.com/watch?v=dDnAslIWDA4&feature=related
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