Thursday, September 26, 2013

Questions for 10/1 in EN 190/190 HM




(The mother and daughter above actually live in Brooklyn, but I thought that this would be a good photo for today.)
Good evening...and thank you to Amavi and Cristina who sent me pictures of the whiteboard!

Did you know that our midterm will be two weeks from today?  I have attached a copy of a sample midterm to this email.  Note that there will be no essay section of the exam and that anything that we cover in class may be on the exam.  We went over this exam in class today.

For Tuesday, I would like you to read ch. 6 in our textbook as well as the following stories “Girl” (317-8) as well as “Where Are You Going, Where Have You Been?” (481-493).  The paper will be due Friday at 11:59 pm unless we have made other arrangements.

Here are a few questions for your journal.  We will be going over the expanded response to fiction next week, but you may choose to expand a journal entry you've already written.

-- How is your expanded response to drama coming along?

-- What do you expect to see on our midterm?

-- If we consider "Love in LA," "The Red Convertible," and possibly "Today's Demon: Magic" to be literary fiction, what are the characteristics of this category?  Why might "Today's Demon: Magic" not fit?

-- How did today's discussion help you understand literary fiction?

-- How did today's discussion help you understand character and characterization?

-- How did today's discussion help you understand graphic fiction?

-- Choose one of the characters in our stories (including the ones you are reading over the weekend).  Is this character round or flat?  Why?

-- Choose a minor character in one of our stories.  What purpose does he or she serve?  If this character were taken out of the story, how would the story be affected?

-- Choose one of the characters in one of our stories.  How does the author develop him/her?

-- Discuss Lyman as a narrator.  What are his strengths and weaknesses as a narrator?  How might "The Red Convertible" appear from Henry's point of view, an omniscient or limited 
third person narrator's point of view, or the point of view of the others on the reservation?  What does Lyman know that these people do not?  What does he not know that makes the story better?

-- "Girl" is in second person.  Is this an effective choice on Jamaica Kinkaid's part?  Why?  Why not?

-- The narrator of "The House on Mango Street" is a child.  Discuss the strengths and weaknesses of her point of view.

-- Compare "Today's Demon: Magic" and "The Cigarette" as graphic fiction.  Discuss visual and textual elements.  Whose style of drawing do you prefer?  Why?  Why not?

-- Compare the beginnings of two of our stories.

--  Compare the endings of two of our stories.  Do either have an epiphany?  Why?  Why not?

-- Choose two of our stories.  How does each develop the theme of family relationships?

See you in class on Tuesday!

Dr. Szlyk
Posted by at No comments:

Tuesday, September 24, 2013

Questions for 9/26 in EN 190/190HM






 Good evening :)

Today we began our unit on fiction, introducing the genre and focusing on plot.  Thank you to those who helped me read "Coyote and Eagle Visit the Land of the Dead"!

For Thursday, we will continue reading ch. 5, moving on to character and graphic fiction.  The stories that we will discuss will be Louise Erdrich's "The Red Convertible" and Lynda Barry's "Today's Demon: Magic."

To start with, here is a video of a Native American storyteller's version of another Coyote story.  Note that he is not from the Wishram but the California Pit River Nation:

This video may be another version of the story we read:
http://www.youtube.com/watch?v=f0qGxVx8OpY

Below is the link to "Coyote and Eagle Visit the Land of the Dead":

What does performance add to folktales?  Where does it detract?

How does the storyteller's performance help us understand Coyote's character?

Here are other stories about Coyote:

How do these stories establish Coyote's character?  Is he a round or a flat character?  Why?  Why not?

Are Jake and Mariana from "Love in LA" round or flat characters?  Why?  Why not?

Joseph Campbell discusses the Trickster here.
http://www.youtube.com/watch?v=JM10AvJ3bsM
How does he help you understand Coyote--and Jake better?

How do our fiction authors use exposition to establish character?

How do they use description to create character?

How do they use dialogue to create character?

In the stories we've read so far, what is more important: plot or character?  Why?

Discuss the brothers' relationship in "The Red Convertible."  What does it add to our literature about families?

Are the characters actions believable or not?  why?

How is "Today's Demon" like or unlike other literary fiction you've read?

How is it like or unlike other graphic fiction you've read?

What would you add to our editors' section on graphic fiction?  Why?

Which graphic fiction ought our editors include in our anthology?

How does Lynda Barry use visuals in "Today's Demon"?  What would this story be like without them?

How does she use plot?  How does she use character?

What do you make of young Lynda's actions?  How might Ev respond to this story?

I'm looking forward to seeing and hearing what you have to think!

Dr. Szlyk

Posted by at No comments:

Thursday, September 19, 2013

Questions for 9/24 in EN 190/190HM




Good evening :)

Today we finished our unit on drama/theater.  I was glad that we were able to watch some scenes from Death of a Salesman.  Here they are in case you'd like to watch them again.

We'll start with the Oberlin production starring Avery Brooks as Willy and Justin Emeka as Biff.

This video sounds much clearer on my new laptop!

Next is the clip of Willy and his sons at the restaurant.  This is the 1980s TV movie with Dustin Hoffman and John Malkovich.


The clip below shows Willy's flashbacks where he sees his sons when they were young.


I do want you to see the end of the play, Willy's funeral:


I wish that our textbook still included Death of a Salesman!


Now that we are moving on to fiction, I would like you to read chapters 4 and 5 as well as the following folktales:


"Coyote and Eagle Visit the Land of the Dead"  http://www.native-languages.org/wishramstory.htm

Here are a few questions for your journal:

-- Apply some of our terminology to discuss the clips from Death of a Salesman.  How do the actors bring the scenes to life?  How does the dialogue help you make up for not having read the play?

-- Which version do you prefer?  The one starring Avery Brooks or the one starring Dustin Hoffman?  Why?  Feel free to compare plays and films.

-- How do the clips from Death of a Salesman shed light on the plays we've read (Fences, Crossing the Border)?  By the way, do you remember that the film of A Doll House showed Krogstad as a father?

-- How is your paper coming along?

-- How is fiction different from/similar to drama?  (Consider that fiction is meant to be read whereas drama is meant to be performed.)

-- How do the stories you've read so far (including "Godfather Death" and "Coyote and Eagle") handle plot?  How does this compare to the way that drama/theater handles plot?

-- Discuss the role of description and exposition in fiction.  How do they compare to stage directions in drama?

-- Discuss the role of conflict in fiction.  How would you map the stories' plot onto a narrative arc?

-- Of the types of conflict our editors mention on pages 117 and 118, which seem more interesting to you?  Why?

-- Compare how our plays and our short stories begin.

-- Discuss dialogue in fiction.  How does its role compare to its role in drama?

-- How do we enter characters' minds in fiction?

-- Compare the shorter and longer stories.  Does length matter in fiction?  Why?

-- How are "Godfather Death" and "Coyote and Eagle" different from/similar to the literary fiction we read?

I'm looking forward to seeing and hearing what you have to say!

Dr. Szlyk
Posted by at No comments:

Tuesday, September 17, 2013

Questions for EN 190/190HM -- 9/19




 Good afternoon :)

I'm glad that we were able to watch three scenes from the recent Broadway version of Fences.  Let's hope that Denzil Washington is able to make a film version of the play soon!

For Thursday, please read chapter 24 on writing about drama/theater as well as Eduardo Machado's play "Crossing the Border."  We will also watch some clips from Death of a Salesman.

Here are a few more questions for your journal.

Discuss the father/son relationships in Fences and "Crossing the Border."

Discuss the theme/symbol of sports in the two plays.  Consider your own attitude towards sports as well.

Discuss race and related issues in these two plays.  How much have things changed since the 1950s/1980s?  How do issues change when you consider Latinos rather than African-Americans?

How does Eduardo Machado use dialogue, character, and setting?

Note that "Crossing the Border" is a very compressed play.  Does this work for you?  Why?  Why not?

Do you see the conflict as believable?  Why?  Why not?  (Note: the NY Times critic briefly referred to the play as "cliche-ridden."  why do you think this is?)

I haven't been able to find a video clip of Machado's play even though it has been performed recently.  How does this affect your understanding of the play?  How do you think that it may have been staged?

"Crossing the Border" is a fairly new play.  How does it address current concerns?

Here are some scenes from Fences.

Ah, I was able to find James Earl Jones and Courtney B. Vance from 1987!


Here is a juxtaposition of the 1987 and 2010 versions:


Let's look at the Black Theater Ensemble of Virginia's versions of scenes we looked at:


Here Troy explains why he had his affair with Alberta:

South Coast Repertory's scenes are here:

Discuss how each version of Fences uses not only tone of voice or physical characteristics but also movement, props, set design, and blocking to bring the play to life.  How does each differ from the versions we saw in class today?  How are they similar?  How does the audience seem to respond?  Why?  Why not?

I'll be interested in seeing what you think!

Dr. Szlyk
Posted by at No comments:

Thursday, September 12, 2013

Questions for 9/17 in EN 190/190 HM


[This picture is from the 2009 production of Fences at the Huntington Theater Company in Boston.]

Good evening :)

Hope you will be able to stay out of the storm tonight!  This is good weather for reading and re-reading and writing journal entries...or for doing anything that doesn't require going out and about.

I'm glad that I was able to answer questions about the upcoming paper and that we began our discussion of Fences with such a rush of energy.  I am looking forward to Tuesday when we take a closer look at the play.

For Tuesday, please finish (or reread) Fences in our anthology.  Feel free to read any or all of the essays about August Wilson's play.

In addition, here is a link to the video we watched at the end of class today:
http://www.youtube.com/watch?v=g5gvNPWSuKM&feature=related

These links are to longer versions of Eyes on the Prize, the groundbreaking PBS series from 1989:

http://www.youtube.com/watch?v=iVB2AlVpt0I

http://www.youtube.com/watch?v=2a32Uc1oP7s

I was thinking about our discussion of August Wilson's ancestry, and I realized that we ought to consider the US' "one-drop rule."  The article below explains it:
http://www.pbs.org/wgbh/pages/frontline/shows/jefferson/mixed/onedrop.html

This article from Harvard Gazette may also be useful:
http://news.harvard.edu/gazette/story/2010/12/%E2%80%98one-drop-rule%E2%80%99-persists/

Freelance writer Brittni Danielle contemplates doing away with this concept:
http://www.clutchmagonline.com/2013/07/is-it-time-to-do-away-with-the-one-drop-rule/

How might you use this information about the "one drop rule" to discuss Fences and/or August Wilson's career & body of work?  Feel free to discuss specific passages in the play. (Note where Rose discusses her family.)

How might you use information from Eyes on the Prize to discuss Fences and/or August Wilson's career & body of work?

How might you use the information about Pittsburgh that Cassandra provided to discuss Fences?

Consider the theme of community vs. isolation in Fences and the clip from Eyes on the Prize.  What might sociologist Robert D. Putnam have to say about this theme in Fences?
http://bowlingalone.com/

Erik Erikson looked at psychological development from cradle to grave.  Use the concepts outlined below to discuss Fences (or A Doll House):
http://web.cortland.edu/andersmd/erik/sum.html

Use one of the readings in the chapter on August Wilson to discuss Fences.  How did it help you understand the play in more depth?

Consider Wilson's preference for character over plot.  How does that affect his play?  How does that affect your understanding of it?

Discuss how Wilson uses dialogue in Fences to create character, convey setting, and/or create conflict and action on stage.

Discuss how Wilson uses stage directions and commentary to support his dialogue.  Where might they come into conflict with each other?

How does Wilson use contrast in Fences?  Which characters, events, and settings does he contrast?

How does Wilson use unity of place?  Why does he restrict the play to the Maxson's yard?

What do you make of the jump in time at the end?  Why do you think that Wilson does this?  Why doesn't he end the play with Cory's departure and/or Rose's agreeing to raise Raynell?

Finally, take a look at the videos at this blog entry:http://en202.blogspot.com/2013/09/from-archives-fences-death-of-salesman.html
How do they add to your understanding of the play?

I'm looking forward to seeing what you have to say!

Dr. Szlyk

(p.s.  Orlando's photographs of today's whiteboard are on MyMC.  Thank you, Orlando.  :) )
Posted by at No comments:

Tuesday, September 10, 2013

9/12 Questions for EN 190/190 HM




 Good evening :)

Thank you for coming out to the library earlier today.  Ms. Sogunro mentioned how much she enjoyed working with you.  She also appreciated how focused you were!

Please let me know if you have any questions or concerns about the paper or your research.  You may also consult the course page that Ms. Sogunro has set up -- or stop by the library -- or use Ask Us Now, a service you may use at any time.

Here are links to the course page and to Ask Us Now.



The homework for Thursday is to start reading Fences (959-1019).  Here are some entries from my blog on August Wilson and his play(s):



We'll finish up with a few questions for your journal:

-- How will the library information session help you with your paper?

-- How will research add to your paper?

-- How would you map Fences' narrative?

-- What do you make of Troy as a character?  What are his strengths?  His weaknesses?  How does his character drive the play?  How do his character flaws drive it?

-- Consider that Troy is illiterate.  How does this affect his actions?  his perceptions?

-- Discuss Troy and Rose's marriage.

-- Discuss Troy as a father to his two sons.

-- How does Gabriel contribute to the play?  Discuss his relationship with Troy.

-- Discuss Troy as a son.  How does information about his father and his childhood add to your understanding of him?

-- Why does Troy cheat on Rose?  How do you respond to his reasons?

-- Does Wilson seem to "get" women?  Why?  Why not?

-- How does the information in the blog entries help you with Fences?  

-- To what extent does Fences rely on your understanding of history, specifically African-American history?

-- If you have finished Fences, what do you make of the ending?  How does it resolve the play?

Good night, and see you on Thursday!

Dr. Szlyk
Posted by at No comments:

From the Archives -- Background on Fences -- Civil Rights, Baseball, and the Century Cycle

Links from 2/17 -- Civil Rights Era, Baseball, & the Century Cycle

While I'm online this evening, I'd like to send you links to the clips we watched in class this evening.


Above is a picture of Emmett Till, the boy who was lynched in Mississippi in 1955, just two years before Fences takes place.

First are the clips from Eyes on the Prize, a documentary from 1987, two years after Fences was first performed.



I want to add the clip about Emmett Till:

Below is a documentary on the events in South Boston that I had mentioned:



Above is a picture of Jackie Robinson sliding home.  He was also an exciting baseball player.  Below is a picture of Satchel Paige.  



These are the clips about baseball.  First, Buck O'Neil recalls a Negro League World Series game in which legends Satchel Paige and Josh Gibson clashed.


Here Buck O'Neil remembers Jackie Robinson being signed to the major leagues:


The link to the documentary on Jackie Robinson is below:

More recently, the film 42 retold Robinson's life for 2013:



Ah ha!  I finally found a number.  Kenny Leon has directed *five* different versions of Fences as well as versions of all but one play in the Century Cycle.


Let's take a look at scenes from the other plays.  Set in the 1900s, the first play in the cycle is the magical Gem of the Ocean.


Here is a link to Kenny Leon in rehearsal at his TrueColors Theater in Atlanta:


You may see clips from Bartlett Sher's production of the next play, Joe Turner's Come and Gone, which was set in the 1910s.




The set from this production at Lincoln Center is incredibly different from the set of DC's African Continuum Theater, which I saw.

Wilson's 1920s play is Ma Rainey's Black Bottom, the only play *not* set in Pittsburgh:



The Piano Lesson takes place in the 1930s.



Seven Guitars is set in the 1940s.




Fences is Wilson's 1950's play.

See the links below for Two Trains Running, the 1960's play, and an interview with one of its directors.



Jitney, Wilson's 1970's play, was actually written first.  Gem of the Ocean and Radio Golf were the last.


I saw the version profiled in this video!!

I had a difficult time finding a clip of King Hedley II, Wilson's 1980s play.



We'll finish with Radio Golf, the last play that Wilson wrote.

Israel Hicks discusses the challenges of presenting Radio Golf.  He has directed all ten of the cycle plays.


For more information about Wilson's Pittsburgh, see this clip:


Below is an undated photograph of Wilson's childhood home.



Posted by at No comments:

From the Archives -- Fences & Death of a Salesman



The picture above is from the recent Broadway revival of Fences.


James Earl Jones played Troy in the original Broadway version.






There is no movie version of Fences, but here are various videos from YouTube:

Denzel Washington recently played Troy in a Broadway revival of Fences:


Ah, here is a collection of scenes from that version!


Washington, his co-star Viola Davis, and director Kenny Leon discuss the production here:


Kenny Leon directed another version at Boston's Huntington Theater:


In 2007, Portland (OR) Center Stage presented this version:


This version is a film rather than a play filmed:


Closer to home, the Black Ensemble Theater of VA performed Fences:


California's South Coast Repertory Theater's video is also worth looking at:

I'm not sure where Kenshaka Ali directed his version:


As a comparison, let's look at the Oberlin production of Death of a Salesman.


The pictures from the production are here:


Interestingly, South Coast Rep is also doing a version of Death of a Salesman with an African-American Willy Loman:  http://www.youtube.com/watch?v=-FQNE_UwTZc

Below is the video from the BBC production that we watched.  It is more traditional.


The actor who played Willy in the BBC version also played the character on which Norman Lear based his Archie Bunker.


I will also link to my blog entries on two of August Wilson's other plays from his Century Cycle.



Enjoy!

Dr. Szlyk
Posted by at No comments:
Subscribe to: Posts (Atom)