I hope that this photo stays on this blog! It's from the 1985 movie Smooth Talk that is based on "Where Are You Going, Where Have You Been?" with Laura Dern and Friday, July 20, 2012
Study Guide for Midterm -- pt. 3 -- EN 190 -- Summer II 2012
I hope that this photo stays on this blog! It's from the 1985 movie Smooth Talk that is based on "Where Are You Going, Where Have You Been?" with Laura Dern and Study Guide for Midterm -- pt. 2 -- EN 190 -- Summer II 2012
http://www.stolaf.edu/people/
Thursday, July 19, 2012
Study Guide for Midterm -- pt. 1 -- EN 190 -- Summer II 2012
and the following clip http://www.youtube.com/watch?v=MG0P3W_Pgps
Saturday, March 10, 2012
Study Guide for Midterm -- pt. 2 -- EN 230 -- Spring 2012
Doesn't Prior look like he is studying?!See this link for reviews of M. Butterfly:Finally, we will move on to A Streetcar Named Desire, Tennessee Williams' 1947 play. Critic Robert Brustein argues that Williams is the only great modern playwright in America.
Study Guide for Midterm -- pt. 1 -- EN 230 -- Spring 2012
The following plays are on our midterm: Wednesday, March 7, 2012
Midterm Prompts -- EN 230 -- Spring 2012
Below are the prompts for your take home part of the midterm. Please choose one prompt and use the questions to create an essay with an introduction, thesis statement, body paragraphs, and conclusion. This essay may be from two to five pages.
Question #1:
Consider the plays that we've read and seen so far this semester (including "Soul Gone Home" and A Streetcar Named Desire). What do they tell us about modern and contemporary drama? (Modern drama includes "Soul Gone Home," Death of a Salesman, and A Streetcar Named Desire. Contemporary drama includes Fences, Angels in America, and M. Butterfly.) What do these plays have in common? How are they distinct from other, earlier plays such as Oedipus Rex, Shakespeare's plays, or Ibsen's plays? (Note that Ibsen *is* modern. Also, the modern era ends in 1970.) Consider performance as well as the text of plays.
BTW, here are some scenes from a 1970s production of The Country Wife, a comedy of the Restoration era (after Shakespeare and before Ibsen):
http://www.youtube.com/watch?v=mI8z9eiQ1Y8
http://www.youtube.com/watch?v=hah-HprxzPA&feature=related
http://www.youtube.com/watch?v=ROI9FhR6URI&feature=related
Question #2:
What does performance add to the plays that we've read? How does performance limit these plays? How have watching the various clips helped you understand our plays? Discuss the differences between film/TV and stage versions, and feel free to consider versions we did not see in class. Can a play still be worth reading if it is never performed? Why? Why not? Consider the argument made in the following 2007 essay from the City Paper:
http://www.washingtoncitypaper.com/articles/34341/test-case-scenarios
Consider the differences between drama (play text) and theater (performance).
Question #3:
Discuss the family dynamics that you see in two to three of the plays that you've read and seen. All of the playwrights we have read so far are men. How might a female playwright view these families that we see on stage? How might a director of today reinterpret these families?
Feel free to bring in the insights Justin Emeka and Avery Brooks give us in this video:
http://www.youtube.com/watch?v=fqXkNA3vQDY
Question #4:
In the first part of the semester we are examining American drama, both modern and contemporary. Which trends seem to be emerging? What appears to be distinctly American about our plays? Consider that some plays depict what one might call the ethnic American experience. Also, M. Butterfly is *not* set in the US although its author is (Asian-)American. Feel free to discuss differences between regions, classes, and time periods. You may also want to refer to Justin Emeka and Avery Brooks' discussion of their production of Death of a Salesman at Oberlin College.
http://www.youtube.com/watch?v=MC4UUhUZRX8&feature=related
Here is a trailer from their production:
http://www.youtube.com/watch?v=aPnEFZJafjE&feature=related
Friday, July 22, 2011
Midterm Study Guide -- Fiction
This afternoon, before the papers come in, I'd like to start the midterm study guide for fiction. The pictures above are of Mel's Drive-In in Hollywood
http://www.melsdrive-in.com/hoursandlocations/hollywood.html
and a street scene in LA. Southern California is known for its car culture (isn't The Fast and the Furious set there?), and people are able to drive antique cars more often because the roads don't need to be salted as they do here.
Hmmm....on review day I'll have to dig up a YouTube of various antique cars on display in Southern California!
However, let's start with the folktales from Monday the 18th.
The first is the Brothers' Grimm's "Godfather Death."
http://www.pitt.edu/~dash/
Next is the Wishram story, "Coyote and Eagle Visit the Land of the Dead."
http://www.native-languages.
The Navajo shadow puppet show "Coyote and Horned Toad" follows:
http://www.youtube.com/watch?
In addition, here is Wikipedia's outline of the characteristics of oral culture:
http://en.wikipedia.org/wiki/Orality#Theory_of_the_characteristics_of_oral_culture
Take a look at the book review of Fr. Walter J. Ong's Orality and Literacy below:
http://worldlit2.multiply.com/
How does orality shape the folktales we've read? How does it shape the stories that Troy tells in Fences--and his approach to life? (Feel free to compare it to Rose's or Cory's.)
-- Here are some of my EN 202 entries on the Brothers Grimm and their work.
http://worldlit2.multiply.com/
http://worldlit2.multiply.com/
For the outline of Joseph Campbell's monomyth (hero's journey), see this link:
http://orias.berkeley.edu/hero/JourneyStages.pdf
It goes without saying that Dagoberto Gilb's "Love in L.A." and Joyce Carol Oates' "Where Are You Going, Where Have You Been?" will be on the midterm. Terms on plot (including foreshadowing, flashback, and false closure) and character (including protagonist, antagonist, and anti-hero) will be on the midterm as well. Below is a picture of Shakespeare's Falstaff, who exemplifies the anti-hero. He is the bearded man with the big belly...the man who is talking!
http://www.youtube.com/watch?
The trailer is below:
http://www.youtube.com/watch?

The following stories will be on the midterm: Sandra Cisneros' "The House on Mango Street," Alice Walker's "Everyday Use," and Lynda Barry's "Today's Demon: Magic." We will also cover point of view (first-person, third-person limited & objective & omniscient) and theme as a way to compare/contrast works from different genres. In addition, there may be a question or two on the definition of literature and inclusion of various genres (graphic fiction, autobiography & life writing, film, music). With the last in mind, here are links to the videos from American Graffiti:
Here is the link to the trailer.
http://www.youtube.com/watch?
For the beginning of the movie, see this link:
http://www.youtube.com/watch?
To listen to Bob Dylan's "It's All Over Now, Baby Blue" and read the song's lyrics, go
http://www.youtube.com/watch?v=ziQx0cXV4nY
Here are some more sites where you may find Lynda Barry's work:
http://www.marlysmagazine.com/
http://www.comixology.com/articles/10/All-the-Comics-4-Lynda-Barry
http://comicscomicsmag.com/2011/02/lynda-barry.html
Vice Magazine also has an interesting interview with her.
The last stories on the midterm will be Jamaica Kincaid's "Girl" and Ernest Hemingway's "Hills Like White Elephants."
I may also ask you about the following prose poems:
Russell Edson's "Sleep"
http://webdelsol.com/tpp/tpp5/tpp5_edson.html
Naomi Shihab Nye's "Hammer and Nail"
http://webdelsol.com/tpp/tpp5/tpp5_edson.html
Below are the definitions that we looked at:
Tuesday, July 19, 2011
Midterm Study Guide -- Drama
It really is amazing how many companies have done Death of a Salesman. The picture above is from Thunder River Theater Company's 2007 production. I wonder if MC will ever do this play.
Here is the company's picture of Biff's encounter with his father and his mistress.
And here is the study guide itself. The midterm will cover both Death of a Salesman (play, DVD, and videos) and Fences (play and videos). Remember that the term drama applies to the play script, not the performance and that the term theater refers to the "apparatus" of performance: director, actors, set designers & builders, costume designers, sound & lights, and audience. Have I forgotten anyone?
Also each production has a central idea. After all, in 2011, Fences means something different than it did back in the 1980s. The presence of the playwright may affect the production. Location is also important even within the US!
Here is a link to the entry with links to various scenes from Death of a Salesman:
http://worldlit2.multiply.com/journal/item/200
However, we have not watched all of these scenes in class. We will focus on the ones we have looked at (Charles S. Dutton's, Brian Dennehy's, Lee J. Cobb's). I will have to show a bit of the Oberlin version when we review for the midterm.
You might like to look at these links about Arthur Miller (1915-2005). Nayani found the first link: http://www.pbs.org/newshour/bb/entertainment/jan-june99/miller_2-10.html
Here is a link to my entry on Miller:
http://worldlit2.multiply.com/journal/item/202

Below is the link to the entry on Fences:
http://worldlit2.multiply.com/journal/item/205
For some historical background, see this link:
http://worldlit2.multiply.com/journal/item/206
The picture below is from a 2010 production of Fences at the University of North Carolina's PlayMakers Repertory Company.
Here is a picture of August Wilson (1945-2005) in front of a restaurant near the Boston University Theater where the Huntington Theater Company performs.
We will also cover the following background information.
First, here is a link to the outline of Erikson's developmental theory. The last four stages will be especially important:
http://honolulu.hawaii.edu/
By the way, Erikson's wife and collaborator Joan Erikson later stated that there was a ninth stage for those who lived past 80. Thomas Armstrong, Ph.D. adds:
In Erikson's last book on the subject, The Life Cycle Completed, his wife, Joan M. Erikson, added a "ninth stage" that applied to people who had become very old (as they had). In the book, she wrote: "Old age in one's eighties and nineties brings with it new demands, reevaluations, and daily difficulties" (The Life Cycle Completed, p. 105). According to Joan Erikson, in the ninth stage, the despair of stage eight is magnified by the experience of one's deteriorating body and mind, which results in a lowering of self-esteem and confidence. "To face down despair with faith and appropriate humility," she wrote, "is perhaps the wisest course" (The Life Cycle Completed, p. 106).
Carol Gilligan's theory of development is outlined here:
http://www.stolaf.edu/people/huff/classes/handbook/Gilligan.html
How might her theory apply to characters like Linda, Rose, Connie, or the mother in "Everyday Use"?
We talked a little about Lawrence Kohlberg's theory. I'm including this link since Gilligan developed in response to his. (She had been one of his grad students.)
http://faculty.plts.edu/gpence/html/kohlberg.htm
Moreover, his theory works so well with our plays!
I am also including links to the interview with Justin Emeka and Avery Brooks on their production of Death of a Salesman at Oberlin College. Above is a picture of Brooks as Othello. This production was at DC's own Shakespeare Theater.
We watched only parts 1 and 2, but I encourage you to watch all of this interview. When we review for the midterm, we may watch part 4 and possibly part 5.
http://www.youtube.com/watch?
http://www.youtube.com/watch?
http://www.youtube.com/watch?
http://www.youtube.com/watch?
http://www.youtube.com/watch?
http://www.youtube.com/watch?
See the link below for more information about the genre of tragedy:
http://academic.brooklyn.cuny.
OTOH, could Fences be a history play? (Shakespeare wrote tragedies and histories as well as comedies and romances.) Being a 20th century American, August Wilson would necessarily have a different approach to who could be a subject of a history play than Shakespeare would have as an Englishman of the late 16th and early 17th century.
I also hope to show some videos that are relevant to Fences.
Watch this entry for more.
Below is a picture of Erik and Joan Erikson. In addition to being his collaborator and muse, she was an artist who integrated art into occupational therapy for his psychiatric patients.
Sunday, March 6, 2011
Subjective Midterm in EN 230
Below are the prompts for your take home part of the midterm. Please choose one prompt and use the questions to create an essay with an introduction, thesis statement, body paragraphs, and conclusion. This essay may be from two to five pages.
Question #1:
Consider the plays that we've read and seen so far this semester (including Living Out and "Soul Gone Home"). What do they tell us about modern and contemporary drama? (Modern drama includes "Soul Gone Home," Death of a Salesman, and The Good Person of Szechuan. Contemporary drama includes Fences, Angels in America, M. Butterfly, and Living Out.) What do these plays have in common? How are they distinct from other, earlier plays such as Oedipus Rex, Shakespeare's plays, or Ibsen's plays? (Note that Ibsen *is* modern.) Consider performance as well as the text of plays.
Question #2:
What does performance add to the plays that we've read? How does performance limit these plays? How have watching the various clips helped you understand our plays? Discuss the differences between film/TV and stage versions. Can a play still be worth reading if it is never performed? Why? Why not? Consider the argument made in the following 2007 essay from the City Paper:
http://www.washingtoncitypaper.com/articles/34341/test-case-scenarios
Question #3:
Discuss the depiction of men and women in the plays we have read and seen. Does it make a difference when a play was written? Or whether a play is written by a man, a woman, or someone who is from a minority group? Consider the role that history, culture, and even genre (comedy, tragedy) play in defining what appropriate masculinity and femininity are. Also, consider your viewpoint as a 21st century man or woman.
Question #4:
Does realism have a place on the stage? Why? Why not? Support your argument with examples from your reading and viewing.
Below is a scene from a New Delhi theater's adaptation of The Good Person of Szechuan:
Thursday, March 3, 2011
Study Guide for Midterm -- EN 230
http://worldlit2.multiply.com/journal/item/181
My review of Arthur Miller's Salesman in Beijing is here:
http://worldlit2.multiply.com/journal/item/182
http://worldlit2.multiply.com/journal/item/183
http://worldlit2.multiply.com/journal/item/184
A picture from Syracuse Stage's 2010 performance of Fences is below:
I've reviewed two other plays in the Century Cycle as well:
http://worldlit2.multiply.com/journal/item/49/August_Wilsons_Gem_of_The_Ocean_
http://worldlit2.multiply.com/journal/item/107/More_Local_Theater...August_Wilsons_Radio_Golf
For Angels in America, see the link below:
http://worldlit2.multiply.com/journal/item/185
This entry has more information about Angels, Living Out, and M. Butterfly (including Madame Butterfly):
http://worldlit2.multiply.com/journal/item/186
East West Theater in LA has done an interesting version of M. Butterfly (see below). As you can see, the actor playing Song plays "her" as a less girly woman, and the actor playing Gallimard looks a little like Dustin Hoffman as Willy Loman.
Wednesday, July 21, 2010
Midterm Prompts for EN 202 Summer 2010
The picture above is from Brussels! The building is the Centre for Fine Arts.
1. How well does one of the following characters (Marlow, Kurtz, Fitzcarraldo, Okonkwo) 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?
2. One theme that we've talked about this session is Imperialism or Colonialism and Post-Colonialism. Choose up to three works that we have read or viewed so far, and examine how each fits--or doesn't fit into this focus. Do any works complicate this focus? Also, how have authors' and readers' attitudes changed over time? Consider that Leopold Sedar Senghor is from the Francophone culture, Werner Herzog is (West) German, and Okot P'bitek originally wrote his poems in Acholi, an African language. Feel free to choose one of the interviews or essays that I have assigned as one of your three works.
3. Discuss the role that masculinity and/or femininity play in up to three of the works we've read so far. Consider the role that history, culture, and even genre play in defining what appropriate masculinity and femininity are. Also, consider your viewpoint as a 21st century man or woman.
4. I have assigned a number of optional essays along with our required readings. In addition, we have seen various videos in class--as well as Fitzcarraldo. Choose up to three essays and/or videos. How have they helped you understand our readings better? How have they helped you understand world literature better? How have they gotten in your way? What have they added to your understanding? How have they complicated it?
5. As genres, novels, films, and poems each have different qualities and constraints. Choose one genre. Based on what you've read in our class as well as what you've read (or written) elsewhere, how would you characterize this genre? How do the works so far add to your understanding of this genre? How do they complicate it? Note that understanding of and responses to genre change not only from time to time but also from culture to culture. We have read and viewed works from a few different and even distinct cultures.
6. This session we are watching a number of older, more slower-paced films without CGI. These films also come from cultures other than America's. How are these films different from the films that you are used to? How are they similar? What do these films 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.
Study Guide for Midterm in EN 202 Summer 2010, pt. 2
Today (7/21) we moved on to African literature, specifically Things Fall Apart. I'm pleased that I was able to find an image from the movie that we saw today. Having been done in 1987, the movie (or mini-series) is just old enough not to have much about it on the internet. Below is a link to an interview with Pete Edochie, the actor who played Okonkwo. Underneath the bombast and politics he does talk about the experience of filming Achebe's novel:
http://www.thesourceng.com/Thingsapartseptember8.htm
OK, I've found a good summary of the entire series from African Movies Direct:
http://www.africanmoviesdirect.com/product_info.php?products_id=43036
Below are the scenes that we watched in class:
http://www.youtube.com/user/MEDIAFRICTV#p/u/49/5ZijfjuYftw
http://www.youtube.com/user/MEDIAFRICTV#p/u/48/qBy0-08uw3o
In addition to watching these scenes from the 1987 Nigerian mini-series, we also discussed Achebe's depiction of Africa, Igbo society, and Okonkwo as an individual.
Leopold Sedar Senghor's "Black Woman" and "Prayer to the Masks" will also be on the exam. See the following link for his obituary:
http://news.bbc.co.uk/2/hi/africa/1722156.stm
The BBC also has some interesting links to articles about France's relationship to its former colonies as well as to information about Senegal.
Here is the original French of "Black Woman" or "Femme Noire":
http://www.clubsoleil.net/beaute_noire/senghor.htm
See the link below for the original "Prayer to the Masks" or "Priere aux masques":
http://poemasenfrances.blogspot.com/2004/11/lopold-sdar-senghor-prire-aux-masques.html
Below is a map of Senegal.On Thursday (7/22), we continued discussing Things Fall Apart. I mentioned the Soviet theorist Mikhail Bakhtin (1895-1975) who is a useful theorist for reading Achebe's novel. Bakhtin considered the novel to be the apex of literature because it could include many different voices. I called this polyphony, but it may also be called heteroglossia. In fact, that is the term that Bakhtim used. Sandy Kuo's outline is fairly technical, but it is among the more useful sources I could find:
http://www.eng.fju.edu.tw/Literary_Criticism/marxism/Bakhtin_heteroglossia.htm
This page from the University of Singapore is also useful; plus, it is more concise:
http://www.cyberartsweb.org/cpace/theory/maslin/The_Novel_716.html
After I introduced Bakhtin's idea, we looked at how heteroglossia plays out in Things Fall Apart, specifically when the third-person narration moves to Ikemefuna. However, as you pointed out, there are other parts where we hear voices other than Okonkwo or the omniscient narrator ('voice of God").
We watched the following videos of Igbo dance:
The first is of dancing at an Igbo funeral.
http://www.youtube.com/watch?v=1xvnjo8xckQ&feature=related
These dancers wear masks:
http://www.youtube.com/watch?v=qrWu7Dp3Ea0
These we used to look at the funeral in chapter 13.
How would you respond to Okonkwo's accident in chapter 13? How does Achebe wish us to respond? Consider Oberieka's thoughts at the end of chapter 13, another moment of heteroglossia.
We talked about Okonkwo's exile in his mother's hometown.
We concluded by considering Things Fall Apart as a tragedy and as a naturalistic novel. For the definition of tragedy that I used, see the following link:
http://academic.brooklyn.cuny.edu/english/melani/cs6/tragedy.html
For the definition of naturalism, see this link:
http://www.csustan.edu/english/reuben/pal/chap6/6intro.html
Okonkwo's conflict with his father and his son Nwoye are also important. Consider that at the time when Achebe wrote this novel Freudian psychology had much credibility and currency. A man's conflict with his father (the Oedipus conflict) was seen as an inevitable stage of a male child's life. (Note that Oedipus is a key figure in tragedy. Perhaps he is the ultimate tragic hero.)
Today (7/28) we finished up Things Fall Apart. We began by looking at the impact of orality. Orality encompasses the characteristics of a culture without a system of writing. Once a culture has a system of writing, it is literate. Once it has printing, we may refer to it as a print culture.
For more detailed information about Orality and Literacy, a key study by Father Walter J. Ong, S.J., see the link below:
http://worldlit2.multiply.com/journal/item/51Art Bingham's review is more detailed. It essentially outlines the book:
http://www.engl.niu.edu/wac/ong_rvw.html
Or you may find Prof. Mindy McAdams' slide show to be useful:
http://www.slideshare.net/macloo/orality-and-literacy
Given that Things Fall Apart is a novel, a genre that epitomizes print culture, how does Achebe's depiction of Igbo society reflect its orality? (Consider elements such as performance, the practical past, fullness of expression, use of proverbs, and perhaps even Igbo attitudes towards the law and forgiveness.)
We also looked at law & forgiveness in TFA, the performance of authority, and Achebe's depiction of Christianity & Christianization. What did you make of the ending?
We then discussed the language of TFA. Does it matter that Achebe wrote his novel in English? (Thanks for the background information about Igbo & Achebe's own translation of TFA into his dialect of that language, Michelle & Natalia!) Of course, translation is less of an issue when an author can be his (or her) own translator.
We finished up this part of EN 202 Summer 2010 by talking about Acholi/Ugandan author Okot p'Bitek's Song of Lawino and Song of Ocol. Lawino is a traditional African woman responding to the contempt of her husband, Ocol. Ocol wishes to be more "modern," to assimilate into Afro-European culture. Lawino is illiterate and worships her people's gods. Ocol is literate and Christian. In the original book-length poems, we see that Ocol is interested in another woman, the young, Westernized Clementine or Tina.
How does Song of Lawino reflect orality? How does Song of Ocol reflect literacy?
Do you believe that Lawino is a woman speaking with a woman's voice? (p'Bitek was a man.)
And of course, the picture below is a map of Uganda.


