Close Reading #4 (12/16/12)

http://www.thegloss.com/2012/12/14/sex-and-dating/lori-gottleib-rich-married-single/

Women Don't Want To Be Married, We Just Want To Be Rich" by Jennifer Wright covers a topic dealing with our society's "right of passage": marriage. Arguing that some don't necessarily need to look for a husband to start a family, Wright communicates her options through clear syntax and diction.

Wright used syntax in a variety of sentence lengths. Using compound sentences to eloquently explain her reasoning communicates a thought-out argument. Scattered throughout these longer sentences are shorter sentence fragments. These communicate Wright's more immediate thoughts. ("You are an industry.") These choppy, short sentences mimic ones actual thought pattern, allowing the reader to almost hear Wright's thoughts and opinions, almost as if she's speaking what springs immediately to mind. The structure of the sentences shorter sentences take the form of declarative sentences. They are assertive - a statement. ("Just do it. Even if you're married. Even if you're a bigamist.") By mixing periodic sentences (reflections on details before the subject and verb) and loose sentences (details after the subject and verb) Wright creates a balance of what is happening now, and reflections on past events. Balancing this through longer, more thought-out sentences and shorter, more informal sentences, Wright uses a variety of syntax techniques to get her point across.

Another tool uses to get her point across is diction. Using informal, conversational language to add pauses for reflection ("Well, yes..." "Of course,..." "I suppose...") she mimics the ebb & flow a natural conversation. 

By using monosyllabic words in her shorter sentences, and polysyllabic words in her longer ones, she pairs melds similar styles of diction with syntax. Wrights use of varied diction & syntax show off a unique voice in her article, toying with the idea that women don't want to be married, they just want to be rich.

Open Prompt #4 (12/9/12)

1972 in retrospect, the reader often discovers that the first  chapter of a novel or opening scene of a drama introduces some of the major themes of the work. Write an essay about the opening scene of a drama or the first chapter of a novel in which you explain how it functions in this way.

The Clockwork Orange by Anthony Burgess opens with Alex and his droogs drinking and planning out their evening. But this seemingly normal evening spirals into something much darker and more complex, showcasing themes and messages that appear thought the rest of the book. Free will, violence, and opposition.

After Alex and his friends finish drinking they try to figure out what to do with their night . From this simple decision Alex exercises free will in the form of his thoughts and actions. Anthony Burgess put priority on "freedom to choose being the greatest human attribute". This presence of moral choice sets humans apart. Alex displays this theme on several occasions when making choices. After leaving the milk bar he and his friends beat up an elderly professor, lie about it to the police officers, and goes out again to rob a corner store and beats the shopkeeper and his wife. This sets up how Alex's free will and immoral choices steer him towards a path paved with rape, theft, and violence.

Leading into the next theme, violence. The obviously example of violence shown would be when Alex and his gang assault the old man, rip his clothes, and destroy his books; when they attack and steal from the shopkeeper and his wife, who are later hospitalized. This theme creates the start to a chain of violent rapes, murders, beating, and betrayals.

The chain is carried on with the theme of opposition. No matter the circumstances, Alex is always up against something. Whether its Alex vs. the government, Alex vs. the police, Alex vs. his victims, Alex vs. his droogs, Alex vs. himself, etc., he is always up against  opposition. 

The opposition, coupled with violence and free will help set up the first chapter of A Clockwork Orange with themes that carry throughout the rest of the book.

Death of a Salesman Summary/Analysis

Main info:

• Arthur Miller
• Play
• Published 1949 Viking Press
• Genre:  tragedy, drama, social commentary

 Setting:

• Time: Willy's "present" = (1940's?), mixed with Willy's daydreams
• Brooklyn, travels to NY and Boston
• Set in the Loman house 
•  We are aware of towering angular shapes behind it, surrounding it on all sides...As more light appears , we see a solid vault of apartment houses around the small, fragile-seeming home. An air of dream clings to the place a dream rising out of reality.  
• The entire set is wholly, or, in some places, partially transparent. The roof-line of the house is one-dimensional; under and over it we see the apartment buildings.
• Biff & Happy talk in their bedroom
• Behind the kitchen, on a level raised six and a half feet, is the boys' bedroom, at present barely visible. Two beds are dimly seen, and at the back of the room a dormer window. (This bedroom is above the unseen living-room.) At the left a stairway curves up to it from the kitchen.
• Biff & Linda talk a little in the main bedroom 
• To the right of the kitchen, on a level raised two feet, is a bedroom furnished only with a brass bedstead and a straight chair. On a shelf over the bed a silver authentic trophy stands. A window opens onto the apartment house at the side.
• MAIN ACTION happens in the kitchen
• The kitchen at center seems actual enough, for there is a kitchen table with three chairs and a refrigerator. But no other fixtures are seen. At the back of the kitchen there is a draped entrance, which leads to the kitchen.
• Loman backyard --> "flashbacks" of playing ball w/Biff/family/planting seeds in the present
• Before the house lies an apron, curving beyond the forestage into the orchestra. This forward serves as the backyard as well as the locale of all Willy's imaginings and of his city scenes.
• Sales offices
• Frank's Chop House
• "Flashback" setting: hotel room w/the other woman

• Stage/setting boundaries - entering & exiting
• Action: actors observe the imaginary wall-lines (entering the house only through the its door on the left)
• Scenes of the past: boundaries are broken, characters enter/leave a room by stepping "through" a wall onto the forestage

• Social environment: 
• Power structure/struggles: 
• Household: Willy obviously has power over Linda (who almost silently manipulates him?) with Biff (and sometimes Happy) intervening and "putting Willy back in his place" in relation to Linda. Happy doesn't have much influence.
• Willy dotes on his boys (especially Biff)
• Ben has power over Willy (Willy looking up to him? Emulating him?)
• Charlie almost envies Willy, although Charley is more successful
• Bernard vs. Biff/Willy - in the beginning Willy/Biff make fun of and tease Bernard, but in the present Bernard is more successful (& higher up on the financial/power ladder)
• Vulnerability: 
• Willy is psychologically/financially vulnerable
• Linda is vulnerable when it concerns Willy (fears desertion?) & financially when he dies
• Biff is finally figuring what he does(n't) want in his life - most power?
• Happy has deluded himself into thinking he can withstand society's pressures --> makes him most vulnerable?

• Dominant Impression:
• The way the set is described makes it seem transparent, generic (Miller says "we're all Willy Loman") and because the set is so minimalistic it could be conveyed that the Loman's are any family --> the play is set all over the world
• Passage of time:
• Unclear, although there is a definite difference between Willy's "present" and his "flashbacks"...it's to hard to keep track of

Plot:

• Freytag's Pyramid: The Elements of Plot
• Status Quo: intro of characters, setting, & conflict at the beginning
• Introduce Willy, Linda, Happy, & Biff. Willy comes home, fights w/Linda about the boys, worries about his job, decides to talk to the boss, Happy & Biff talk - about jobs, Willy
• Rising Action: events that complicate/intensify the conflict
• Willy talks to his boss, gets fired, runs into Charley and Bernard, (flashbacks throughout - introduced to Ben, younger family), Biff & Happy go the the restaurant, meet Ms. Absynthe, and leave Willy alone at the restaurant (delusional?)
• Climax: point of greatest tension
• The movie really intensifies Willy's breakdown at the restaurant (reliving Biff discovering him and the other woman)
• Resolution: where conflict may/may not be resolved
• I think it's more of a "may not be resolved"
• Happy & Biff come home to find Linda furious & Willy in the backyard. An argument ensues, Biff exposes Willy's suicide plan, they fight it out, Willy "realizes" Biff loves him, they go upstairs,  Willy stays in the kitchen talking to Ben, leaves and crashes the car (killing himself)
• Funeral: Linda laments Willy's death, Biff heads out (Why didn't more people come?)
•  What conflicts does it dramatize? 
• Certainty in oneself, success (fiscal vs. personal), relevance in the face of change, the "American Dream" 
•  Qualities of protagonist & antagonist:
• Willy seems to be the stories protagonist and antagonist (fights against himself)/...American society
• External/Internal conflicts
• External: money, jobs
• Internal: Willy's mind (keeping present & past separate), depression, struggles w/i the family

Significant Characters:

• Willy - dynamic, depressed, wistful, feels cheated by life, ambitious, "tall tales" (exaggerates own importance), caved to society's standards/pressure
• Linda - static,"Madonna"(in Madonna/whore), dependent on Willy, verbally abused, able to convince/persuade Willy - Alaska
• Biff - dynamic,"golden boy", switches job frequently, outdoors/manual labor, only one who acknowledges problem & vows to set off & strike his own path
• Happy - static, eager to please, doesn't get attention, (Willy-in-the-making), superficial
• Ben - static (because we only see a snippet of him through Willy's eyes), wealthy (dirty money), worldy, Willy looks up to him (older brother/successful)

Narrative voice/author's style:

• Point of view:
• The play helps translates Miller's view on the changing society and the common man 
• Tone: (I'm a bit confused about this bit.)
• A bit absurd?
• Realism
• Cynical
• Imagery/Symbolism
• repeated images/symbols: diamonds, stockings, the rubber hose, broken parts of the house, money, dairy products, (not an image - but the flute)

Quotes

•    "He’s a man way out there in the blue, riding on a smile and a shoeshine."
• Charley's requiem about Willy depicts Willy's determination to make a path for himself - with only his wits and talent ("a smile and a shoeshine")

•  "Cause what could be more satisfying than to be able to go, at the age of eighty-four, into twenty or thirty different cities, and pick up a phone, and be remembered and loved and helped by so many different people?"
•  This conveys Willy's drive and goals in his life - it shows what he strives for and what he longs to be. In addition to laying out what he holds dear, it shows what Willy wants most - recognition and success.

Response to Course Material #4

Hamlet...Hamlet...
Here's my opinion on Shakespeare: I either love it or hate it. I usually like Shakespeare's comedies, simply because no one important dies at the end. And it usually ends well for the main characters. Like our packet on comedy says, I recognize my own shortcomings on the characters and like laughing about it.
Tragedies, however, just frustrate me. Everyone is so melodramatic and tragic and angsty! They take everything so seriously (and I know that's kind of the point of a tragedy, but that's just my personal preference. I'm fairly familiar with the plot of Hamlet, but it's interesting learning about the historical facts that go along with it. I feel like this really helps me understand what's going on. I usually find it challenging comprehending what the characters are saying because I don't know where to begin in the whole mess off illusions and language and tone that is Shakespeare. So I really like being able to stop before/after each scene and having Ms. Holmes explain what's going on.

Being about a week into working from the textbook I think I'm going to see if I can buy/download a copy of the the text, because the whole sticky notes thing isn't really working for me. I'm used to the underlining and difference colored pens!
We've only been working on the new text for a week and my previous Response to Course Material covered all of Death of a Salesman so I can't really think of anything else to write about.

Close Reading #3 (11/18/12)

http://thegloss.com/beauty/eva-braun-hitler-biography/

In a biographical article about Eva Braun (wife of Adolf Hitler), Ms. Jennifer Wright follows the ups and downs of Ms. Braun's life with a dry sarcasm and poignant voice. Through the use of syntax, language, and details she eloquently communicates, not a dull biography, but a story, riddled with facts, reflection, and...strong...opinions in this addition to thegloss.com's Shelved Dolls series with: Shelved Dolls: Eva Braun - Satan's Bride.

Throughout the article Wright utilizes syntax through sentence length. Using short/medium sentences for the factual portions of the article. she keeps the readers jumping from fact to fact, keeping the information relevant and concise. "Political problems. Months went by with no letters from him. Eva fell, once again, into deep despair." When used to show the author's opinions this use of short, almost abrupt, sentence length effectively mimics one's thinking patterns, helping the reader hear Ms. Wright's voice. For example, when reflecting on Ms. Braun's teenage years she uses short sentences like "I don't think she started out that way," and when describing her first meeting with Hitler, transitioning from thoughts to reflections, "This kind of makes sense. I firmly believe that if anyone comes into contact with someone whose poster hung on their wall as a teen, despite the fact that that person might be weird...we would still experience a certain amount of desire for them."
The only times Wright uses longer compound and complex sentences is when she is hashing out her own thoughts and opinions on Ms. Braun's actions, building an idea or theory. For the most part, the rest of the article's contents are stated in a concise, straightforward manner, showing her thought process during the parts of the article that spark a reaction.
Following the sentence patterns, Wright uses a distinct sentence pattern when starting her reflections. The repetitive use of "I" often begins an arrangement of ideas in each paragraph. Starting with a fact of summary of Ms. Braun's life, Wright will then transition into a reflection, and end with stating her opinion towards the end of the paragraph.

Another aspect of literature that looks at an entire body of work is language. Throughout the article Wright uses emotional language to get her point across. Practically screaming her opinions at you, she isn't afraid to use italics, bolded words, and all-caps to communicate with emotional writing. On Ms. Braun's meeting with Hitler she states: "How? How was that possible? She saw this photo first thing every morning?" and "Dude. HIS PHOTO WAS IN ALL IN THE WINDOWS." With rhetorical question scattered throughout, Wright almost prompts a writer-reader interaction. Through the use of literal language, she builds an informal back-and forth banter with the reader. On the topic of Hitler becoming Chancellor, she states "However, Eva seemed oblivious. She was doing yoga. Seriously." This repetition of up-front candid facts and opinions builds an informal tone.

Wright inserts specifics and opinions about the factual information through the use of detail.  Entwining facts with opinions she creates an up-front analysis of Ms. Braun's relationship with Hitler. For example, when describing their letters Wright says "She wrote him love letters telling him how much she missed him. Hitler was the kind of asshole who didn't write back. I mean, I know he was busy, but I think Hitler is someone we can use the word "asshole" about without fear or judgement." And when describing Ms Braun's persuading Hitler NOT to stop cosmetics and hair products form being produced in Germany Wright says "So she had influence. Influence which she applied terribly." Through the use of personal detail Wright adds tone and opinion.

Overall, Wright takes a sarcastic, humorous approach to something few people would find funny. Connecting to readers through syntax, language, and detail, she brings forth a distinct voice in the article Shelved Dolls: Eva Braun - Satan's Bride.


PS - On a side note, I almost chose the article about Coco Chanel being a Nazi, but decided against it because it included orgies and car crashes.

Open Prompt #3 (11/11/12)

2010, Form B. “You can leave home all you want, but home will never leave you.” —Sonsyrea Tate

Sonsyrea Tate’s statement suggests that “home” may be conceived of as a dwelling, a place, or a state of mind. It may have positive or negative associations, but in either case, it may have a considerable influence on an individual. Choose a novel or play in which a central character leaves home yet finds that home remains significant. Write a well-developed essay in which you analyze the importance of “home” to this character and the reasons for its continuing influence. Explain how the character’s idea of home illuminates the larger meaning of the work. Do not merely summarize the plot.

   In Death of a Salesman by Arthur Miller character Biff Lohman moves out West in an attempt to find himself, but ends up coming back home. Holding both negative and positive associations, his ties to his father and mother's home in Brooklyn are something he picks up from his father's mindset.Willy states, "Work a lifetime to pay off a house. You finally own it, and there's nobody to live in it." Although Biff living back at home is full of tension, it is vital for his development in financial drive, personal goals, and spiritual realization.

     The Lohman family is constantly struggling with money. Whether it's a broken refrigerator or the final down payment on a car, the Lohman's are always bringing up money. Happy and Biff, in their late twenties/early thirties, are not yet financially independent. One of the face value reasons Biff returns from his time out West is to live with his parents while he tries to find a job as a salesman. 

     One of Biff's main reasons for moving West and working on ranches and farms was to get away from his father's shadow and find himself. Although that's where he claims to be happiest, he returns home because he feels like he isn't accomplishing anything with his life. “And whenever spring comes to where I am, I suddenly get the feeling, my God, I’m not gettin’ anywhere!” Not trusting in himself enough to make his own decisions, feeling lost, he moves back home, hoping to find a purpose. Unfortunately he states "And now, I get here, and I don't know what to do with myself." He's lost, and sees home as an attempt to find himself again.

     Although Biff frequently reflects on, and talks about, his time in the West, Willy is ashamed of his son's venture away, stating "Tell him you were in the business in the West. Not farm work." This is only one small point in the tension between father and son. Very much alike in demeanor, the two have different mindsets - Willy strives to be the best in his business, while Biff is content being "a dime a dozen". Coming back home to his father's expectations and disappointments, although painful for both, was necessary for Biff to find himself. While trying to live up to his father's expectations he realizes "I even believed myself that I’d been a salesman for him! And he gave me one look and – I realized what a ridiculous lie my whole life has been!" A question of fiscal vs. personal success, their differences come to light with the two of them living in the same house.

   Biff's mixed feelings regarding his home are rooted in his past issues. Although he may move away, Biff's problems keep taking him back to his family's house in Brooklyn, N.Y., proving that no matter how far away you are, your home will always have an influence on you.

Response to Course Material #3 (11/4/12)

So...I know I'm posting this two days after the due date, and I just wanted to say that I'm not making habit of turning in my work late. (I'm really not Ms. Holmes! I promise!) I was in cold-induced coma this weekend/Monday. There was coughing, a sore throat, drippy snot, and lots and lots of sleeping. It wasn't pretty. But I'm back and (kind of) functioning again, so back to work!

Focusing: covering the tail end of the The American Dream, I really, really liked this play. I didn't understand half (most?) of the little details but that's what I loved about it! I feel like I could read this over and over and notice something new each time. I'll be keeping an eye for a theatrical production of the play. I think it'd be interesting to see this in action.

Another play I think I'd want to see in person is Death of a Salesman. I'm not really sure what to say about this...I mean, it's interesting...but I don't really have much of an interest in it. The American Dream was weird! Questionable! Absurd! I made me really think.
And although Death of Salesman is a little more...normal, it's so far it doesn't seem as interesting! The characters are so annoying. I mean, I hate whining. If you have a problem, I think you should do whatever you need to to deal with it - think about it, cry about it, talk about it, whatever - but eventually you have to take action, and do something! There will always be more problems around the corner, so deal with what you have going on right now so you can be open to what life has to offer. (I am obviously one of those people. Glasses are always half full and logically speaking, no matter where you are the grass will always seem greener on the other side...so what's the point in worrying about your neighbor's grass? Ah, to be young and ignorant!)
But as far as the actual content of Death of a Salesman is concerned, I understand that because the characters are more normal they're more relateable (sp?), and they're facing real-world problems. Depression, age, debt, family tension - it's something most people have experienced, whether directly or indirectly. Because I find psychology and sociology interesting I really like looking at the development/structure of societies and relationships. Death of a Salesman characters present themselves as a perfect springboard for me to bounce ideas off of.

And finally...the terms test. This is so frustrating! I mean, I did horribly. Worse than my first time around! But I don't care as much about my grade - I'm frustrated because I can't keep things straight. Each word has a specific definition that only works with a specific type of example. But there are so many words and definitions and their differences are oh-so subtle and then everything gets all jumbled up! It's a little frightening.
I'm much better at approaching things with broad "what do I feel about this?" ideas, not straight-up text book facts and definitions. Which is great for creative writing, not so great for AP classes.

Sticking true to my "no whining" policy, I'll just keep reviewing, keep looking up examples, and hope this doesn't come back to bite me in the butt when the AP test rolls around.

The American Dream Summay/Analysis

• Author: 
• Edward Albee

• Setting: 
• 1960s? (published in 1961, NYC, York Playhouse)
• Set in an apartment (NY?)
• Main action happens in living room, rest = off stage (implies more bedrooms, a bathroom, a kitchen)
• A living room. Two armchairs, one toward either side of the stage, facing each other diagonally out toward the audience. Against the rear wall, a sofa. A door, leading out from the apartment, in the rear wall, far stage-right. An archway, leading to other rooms, in the side wall, stage-left
•  Characters enter/exit through main door
• Mrs. Barker, Young Man enter; Grandma exits
• Also = power struggle for Daddy when Mrs. Barker arrives
• Social environment: 
• Power struggles (Mommy over Daddy/Mrs. Barker/Grandma)
• Vulnerability (Grandma connecting w/Mrs. Barker, Young Man)
• Dominant impression: seems very generic - characters/furniture seen very non-descript (Only character w/actual name is Mrs. Barker & all livings rooms would have chairs, a door, etc.)
• Time: commentary on consumerism/materialism of the times
• Passage of time: 
• Marked by Mommy/Daddy waiting for Mrs. Barker, old stories (Grandma talking about Mommy's youth, telling Mrs. Barker about the bumble
• Passage of time doesn't seem very concrete
• Plot: 
• Freytag's Pyramid: The Elements of Plot
• Status Quo: intro of characters, setting, conflict at beginning
• Introduced w/Mommy & Daddy sitting in living room, complaining about waiting for Mrs. Barker
• Rising Action: events that complicate/intensify the conflict
• Mrs. Barker's arrival (Daddy's response to her sexuality) --> Mommy's power struggle
• Grandma arguing w/Mommy
• "The Bumble" discussion
• Climax: point of greatest tension
• Is there really a climax? It seems to wander

• Resolution: where conflicts may/may not be resolved

•  Arrival of Young Man...bumble resolution
• Grandma's departure

• What conflicts does it dramatize? --> Consumerism, materialism

• Significant Characters:
• Mommy - static, power, greedy, authority, childish
• Daddy - static, emasculated (but sticks up for Grandma)
• Grandma - dynamic, voice of reason, "Old American Dream"
• Mrs. Barker - static(?...bonds w/Grandma but seems to remain the same), higher class, power position, on an adoption board, interacted w/Mommy & Daddy before (bumble)
• Young Man - static, "New American Dream" good looks, vanity, money, power, little/no values

• Narrative voice/author's style:
• Point of view:
• Obviously displays Albee's opinion of society
• Tone:
• Theater of the Absurd
• Nonsensical
• Satirical
• Imagery:
• 
  
• Symbolism: 
• Baby/bumble - being formed/discarded if not fitting standards
• Door - being "born again" when walking through, power to face future
• Grandma's boxes - containing all "important" things
• Absurdist techniques:
• Characteristics: 
• pattern of images (people = bewildered human beings in an incomprehensible universe)
• anti-heroes (plus: role reversal - Mommy/Daddy)
• humor masks horror of meaninglessness
• Elements of Structure
• Sense of repetition (verbally, Mommy's threats against Grandma, Daddy's protests, etc.)
• Lack of apparent progression
•  No cause/effect (characters don't really change/develop)
• Static quality (characters)
• Freud's ID --> EGO --> SUPEREGO
• Subjects of Theme
• Lack of values in modern world (Old vs. New American Dream)
• Ridiculous situations
• Breakdown of communication (...the whole play!)
• Destruction of individualism (first baby, Mrs. Barker is made to conform to Mommy's household standards)
• Civilized people acting uncivilized (first baby, Mrs. Barker undressing)

• Quotes:
• "I'm sure that must be all very true, Grandma, but what does it have to do with why...pardon me, what is that name again?"
  (Daddy, page 86 when talking about Grandma's boxes)
• Insincerity when asking about boxes, forgetting Mrs. Barker's name (even though she's the only character who has a name)
• "You ungrateful - Daddy? Daddy you see how ungrateful she is after all these years, after all the things we've done for her?...to Grandma...One of these days you're going away in a van, that's what's going to happen to you!"(Mommy, page 88)
• Shows Mommy's petulant behavior, empty threats (foreshadows Grandma' departure)
• "You see? I told you. It's all those television shows. Daddy, you go right into Grandma's room and take her television and shake all the tubes loose."(Mommy, page 89)
• Again, shows Mommy's childish attitude/authority. "tubes loose" could also be referring to Daddy's "tubes" when he had his "operation"

• Thesis/Discussion: 
  
•  Thesis: 
• Through techniques utilized in the Theater of the Absurd, Edward Albee communicates the change in America's values in his play, The American Dream.
• Discussion:(setting, plot, title, narrative voice, author's style, tone, imagery, symbolism)
• The generic setting offers a backdrop that could house almost any American family. Names like "Mommy", "Daddy", "Grandma", and  "Young Man" leave room for interpretation. Almost everyone has or knows a mommy or a young man. The only character with a name is Mrs. Barker, representing the upper class/the government. The reader/viewer also picks up on symbols - doors, boxes - to represent what they interpret. With incoherent dialogue, plot, and time progression Albee translates the timelessness of the American struggle with consumerism.

Close Readings #2 (10/21/12)

http://www.declineoftheempire.com/2012/08/mean-and-stupid-politics-as-usual.html


Politics are riddled with opinions - emotions run high, tempers flair, and arguments get personal. What better way to find something with voice than a political commentary? Through diction, and syntax, the author or "Mean and Stupid Politics As Usual" makes their opinion on Republican political campaign policies very clear.

"Mean and Stupid Politics As Usual"  opens with syntax, the author pulls many quotes directly from published editorials, placing their own personal comments directly below each one. For example:
"One of the more sobering aspects of our nation’s crippling polarization is that issues on which Americans found consensus in the past have become fodder for political partisanship.
Fodder, indeed — these well-stocked politicians are tampering with programs that keep poor families from going hungry."

 Furthering their point powerful choice of diction. "Today I am going to hold my nose and look at politics as usual from the Republican side." Right the bat, the author has conveyed their disparaging tone through an insulting phrase. "Today I am going to hold my nose..." expresses the opinion that Republican policies, quite literally, stink. The criticism is carried through into the next sentence with "Their tried and true strategy - attack/blame the poor - is still as popular as ever..."As an obvious jab at the Republican party, the author really doesn't agree with their views. Sarcasm is utilized in the next paragraph "I think it would be exceedingly generous to say we have reverted back to some vicious version of high school here because these assholes never left." This comparison of politics to mean people in high school further proves their point. The fact that the author has italicized certain parts of the text also draws attention to their exaggerated adjectives.

By elaborating on one specific word used in the article and expanding on its point with a cynical sarcasm provides a contemptuous view of the article's comment. Through diction, by using words such as "exactly", "never", and "always" the author shows that they are 100% sure about their opinions. This makes even more of an impact because when arguing a point most people try to at least acknowledge the other side of an issue. This author just barrels forward, only elaborating on their perspective, leaving no room for doubt. Phrases such as "gross inequities" and "deplorable facts" only further that prospect. Ending the article with "But now the stench is getting too strong for me to bear, and I am unable to hold my nose any longer," the author ties their opinions together by referencing their opening metaphor.

Open Prompt #2 (10/14/12)

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1991. Many plays and novels use contrasting places (for example, two countries, two cities or towns, two houses, or the land and the sea) to represent opposed forces or ideas that are central to the meaning of the work. Choose a novel or play that contrasts two such places. Write an essay explaining how the places differ, what each place represents, and how their contrast contributes to the meaning of the work. 

     I chose to write about C.S. Lewis' The Lion, The Witch, and the Wardrobe. The setting plays an important role in the story, and highlights the similarities and differences between an English estate during World War Two, and the snow-clad world of Narnia.

     Peter, Susan, Edmund, and Lucy Pevensie are evacuated from London to avoid the Blitz, and are sent to Professor Kirk's mansion in the English countryside. The manor house is large and fairly uninhabited, home to himself, the children, and the staff. While the house offers a safe haven, it's expansive property and empty rooms are distinctly not child friendly. The children are left to amuse themselves so they explore the house - finding room upon room of dusty antiques and old furniture. Eventually all of the Pevensie children find their way into Narnia - magical world that can be found through a wardrobe. The majority of the story takes place in Narnia, which is being riled by an oppressive ice queen, who has enslaved the inhabitants (talking animals, fawns, centaurs, and spirits) and has cast the land into a state of permanent winter.

    Narnia serves as an extension of their reality, a way to deal with their problems that they can't solve in the real world. Although they can't do anything prevent WW2, in Narnia they are the only people who can bring an end to the oppression they face. In England the siblings fight and squabble, causing rifts in their relationship. In Narnia when Edmund betrays his siblings they seek him out, rescue him from the White Witch, and forgive him for his betrayal.

   These two places offer two extremes - the everyday life and the out-of-the-ordinary. In England the children evacuate London to escape the affects of WW2, but a war follows them through the wardrobe into Narnia. However, a dilemma of a distinctly different nature is taking place. There they face another kind of war. Another similar-but-different problem they face is separation from their family. In England the children must leave their mother, and in Narnia one of the children, Edmund, is tricked and captured by the White Witch. While coping with the loss of their brother they set out the rescue him and help put an end to the war. England serves as the ordinary "what is", while Narnia represents they fantasy of "what could be".

   While the story fluctuates between two diverse settings - The Lion, The Witch, and the Wardrobe is tied together with one unwavering element - family. Regardless of whether the children are dealing with reality or fantasy, they stick together to cope with "what is" and "what could be".

RAN OUT OF TIME (has been edited since then) - 11/1/2012

Responses to Course Material #2 (10/7/12)

To avoid summarizing what we've learned in class, I want to focus on a few key that have stuck with me, the first being the Existentialism packet. I'd just like to start off by saying "wow!" That was a ton of information! I've read it through a few more times, re-highlighting and annotating but I'm still having trouble keeping track of the different aspects. One thing about existentialism that has stuck with me would be the emphasis put on freedom through choice. As mentioned on the very first page of the packet by Dr. Ivan Soll, existentialism claims that by making decisions human beings are made free, and with this freedom comes the responsibility for our actions. Because we are forced to make decisions in our lives, we are essentially "forced to be free". When we realize teh extent of our decisions we are overcome by anxiety and stress. This has become very apparent to me over the past few months. In the midst of the stress involved in researching, writing, and preparing for college, I'm definitely forced to make a series of decisions that, to be perfectly honest, I don't think I'm ready for. And so the anxiety begins!
But to apply this philosophy to a more literary standpoint, I think The American Dream illustrates the freedom of choices quite nicely. I really love Grandma's character, and the decisions and responsibility she makes throughout the play really stick with me. When comparing the Young Man and Grandma, I see a distinct difference in their values and priorities. As mentioned in allegory article by Professor Beck, Grandma represents the "Old American Dream" - decisive, with values, substance, and goals. Grandma takes control of her situation and leaves Mommy and Daddy's apartment, leaving the the Young Man (the "New American Dream"), in her place. Representing a superficial, materialistic generation, he doesn't seem to - or want to - have a say in his own future. I look forward to further discussing this play because I feel like I've only just begun to think about the meaning, ideas, and values incorporated into the absurd story.

Close Reading (9/23/12)

http://www.manrepeller.com/2012/09/trends-you-must-try.html

TRENDS YOU MUST TRY

When I read the assignment criteria I almost squealed with joy. I knew exactly who to turn to for a strong voice. Leandra Medine writes one of my all-time favorite blogs, Man Repeller. Mixing high fashion with blunt - but hilarious - comparisons, she offers up an excellent example of voice. I hope I can even begin to do her writing style justice.
Ms. Medine utilizes language quite excellently and uses similies help add to a playful, exaggerated voice when discussing midriff-baring shirts. "But if that doesn’t sound lucrative enough, these particular trends often include baring body parts previously dubbed unbareable. Don’t try and grammar police my ass on that one, I am deliberately punning like bad jokes are coming back in style." (para 3).
When describing hair streaks and face paints she states: "And on your head, braids or streaks or a purple uni-brow pointing at your nose: it’s like Frida Kahlo traveled to Mars and all she came back with was intergalactic facial hair." Exaggeration and metaphors are used quite regularly, creating an impression of bizarrely vivid imagery. (para 8).
Segwaying into the next topic...when describing hats with phrases like "athletic nunwear" and "these models looked like human blow dryers," she conjures up exaggerated - but fairly accurate - descriptions of this year's "runway gone wild" trends. (para 9).
Pulling from diction, she makes up words a la Shakespeare, coining phrases like "arm party" (a large collection of stacked bracelets) and "nubic hair" (nipple hair).
As hindsight, diving into this assignment with a fashion blog probably wasn't the best choice. An article relying on the descriptions of visuals offers a limited amount of literary details to pull from without overlapping. Come October 21st I'll definitely be looking for an article with more length and variety.
Overall, great blog, but not the best choice...

Open Prompt (9/16/12)

2009. A symbol is an object, action, or event that represents something or that creates a range of associations beyond itself. In literary works a symbol can express an idea, clarify meaning, or enlarge literal meaning. Select a novel or play and, focusing on one symbol, write an essay analyzing how that symbol functions in the work and what it reveals about the characters or themes of the work as a whole. Do not merely summarize the plot.

      Metamorphosis by Franz Kafka, describes a young man named Gregor, who wakes up to find he has transformed into some sort of bug. Throughout the novel Gregor struggles to hide is shame, struggles with humanity, and the dealing with his metamorphosis. An apparent symbol throughout the story can be illustrated by food.
   When his family first discovers his transformation they are overwhelmed by fear. Only his sister (the family member he feels closest to) dares to enter his bedroom - where Gregor is hiding - to give him some food. By leaving his favorite food/beverage - milk - she helps illustrate the vulnerability and caring that can be shared when sharing a meal. Upon discovering that Gregor has not touched the milk, she brings him a variety of scraps in an effort to find something he'd like. This again shows the compassion that can be extended. As a necessity to survive, we depend on on food. For that purpose the sharing of food plays such an important role in character interaction. As illustrated in Thomas Foster's How to Read Literature Like a Professor, meals play an important role in the development of the novel.

   Later in the novel, after Gregor has been living with his family for several years, his family must rent out parts of their apartment to tenants in order to make money. One evening Gregor - who is normally locked inside his room - sneaks through his open door to see his mother serving the tenants their meal. Witnessing this action fills him with jealously and brings back memories of the times when he would eat dinner with his family. At this point in the story his family's attentiveness to Gregor condition has diminishes and they don not feed him as much as they used to. He is starving while the tenants eat his mother's food. The food, and the act of sharing it, triggered an emotional response.
   Further into the story, Gregor's father, in a fit of rage, throws an apple at Gregor which strikes him in the back. Symbolically turning Gregor's vulnerability against him, Mr. Samsa's act of anger demonstrates how a character's weakness can be turned against him.

Reflection: I ran out of time. I don't think I even fulfilled part of the requirements of the prompt. I summarized more than I analyzed. If I ran out of time before I finished the essay on the AP Test then I wouldn't get a chance to re-read to correct my mistakes, so I'm posting this without a read through.

Response to Course Material (9/9/12)

I think I’ll start off by saying that the terms test was one of most challenging tests I’ve taken in a very long time…that test score rivals the ones I got when I attempted to take PreCalc! (And I tried to take that class twice (twice!) before abandoning ship & switching into FS^3!)

However, since I started preparing for AP Lit I’ve come to realize that being able to understand something is more complex than just memorizing definitions. I need to be able to apply the terms to whatever I’m reading/learning/discussing. I’m currently halfway through the Chapter 2 and 3 reading and being able to see the terms put into use in the examples passages is helping me understand how to use & recognize them.

            Working on the Foster Presentation has helped me look more carefully at repeated symbols or themes in pop culture. By looking at the Prezi presentations I’ve also considered different types of rhetorical situations and arguments when applied to modern day literature.

For example, my fashion magazines obviously have a different purpose and audience than, say, my dad’s political magazines.

The purpose of The Nation, a political editorial, is to inform or persuade. I’m much more familiar with Seventeen and I’d say it definitely has mixed purposes – one hand it entertains, but it also informs.  The audience also offers different viewpoints: different age groups, social/political differences, expectations, etc. Writing Seventeen with the vocabulary and opinions of an analysis of the Republican Party would not go over very well.

            I’d also like to bring up something Ms. Holmes mentioned in class a few days ago. I occasionally suffer from, as she put it, “Pompous Thirty-Five Year Old Man Syndrome”. I tend to try to use big words and embellish whenever possible. (Let’s just say that thesaurus.com is one of my “Most Visited” bookmarks & leave it at that.) I’m trying to work on it, but if I ever get top-heavy or lose focus, a constructive reminder is always appreciated.

Me Talk College Writing One Day

At first glance “Me Talk Pretty One Day” by David Sedaris and The Nuts and Bolts of College Writing by Michael Harvey seem completely different. One is a humorous narrative chocked full of dialogue and characterization; one is short book describing the proper way to use punctuation, paragraphs, and personalization. However, on closer inspection it becomes apparent that some of the basic guidelines for college writing, outlined in The Nuts and Bolts are apparent in “Me Talk Pretty.”

While Sedaris follows Harvey’s advice for most of his essay (actually an excerpt from his book, Me Talk Pretty One Day), he falls sort within the first few sentences of his essay.  The second sentence of the first paragraph is very long-winded and goes against the main point of Harvey’s first chapter: Concision. Sedaris demonstrates the opposite with this sentence:

“After paying my tuition, I was issued a student ID, which allows me a discounted entry fee at movie theaters, puppet shows, and Festyland, a far-flung amusement park that advertises with billboards picturing a cartoon stegosaurus sitting in a canoe and eating what appears to be a ham sandwich."

This shows snippets of Sedaris’ student life in Paris, but it’s so long and rambling that the reader can get confused. Following Harvey’s advice, simplifying sentences makes them shorter and stronger, resulting in a more concise message. On page six Harvey states “…adverbs add nothing to the already strong verbs. They are just races of the pompous style in otherwise good sentences.” With Sedaris’ depiction of Festyland, it is easy to get lost in the linking verbs and passive descriptions.

            However, for the most part Sedaris does an excellent job carrying out the guidelines of Nuts and Bolts, particularly with chapter three’s topic: Flow.

On page twenty-three Harvey says, “…good essays should unfold like stores…showing characters doing things or being described,” This is one of Sedaris’ strengths. The action in his essay revolves around interactions with his teacher. Whether through direct dialogue or describing the interactions unfolding before him, Sedaris treats it as a story. Following Harvey’s advice, he controls how the reader moves from character to character by handing off passages with new dialogue. On page twelve Sedaris begins with the two Polish Annas, then moving to the teacher’s direct dialogue with them. From there he starts the next paragraph with a recollection of the first Anna’s reaction, followed by the second Anna’s failure, and brief summary of their bewilderment. This flow of character interaction hands the reader to a new character for each paragraph. In addition to using consistent flesh-and-blood characters, Sedaris also uses abstract characters - ideas or fact: the confusion of the individual students, the challenges of the language, or his own discomfort in the situation (as demonstrated in the second and third paragraphs of page fourteen).

“My fear and discomfort crept beyond the borders of the classroom . . . “

“My only comfort was the knowledge I was not alone,”

In accordance with Harvey’s guidelines, there is a key word/phrase used to transition between paragraphs. In this case they are comfort and discomfort.

Tackling his uncomfortable experience from several different angles, for the most part Sedaris utilizes the advice given in The Nuts and Bolts of Collage Writing, creating a clear and effective essay.

            

Poetry Study Goals

• Think about what the author is trying to say
• Work on reading poems sentence by sentence, not line by line
• Look at the title - it may hint at what a poem is about
• Find evidence in the poem to back up my answers
• Review basic literary terms

Although I really like reading poetry I need to work on reading for answering questions, not just enjoyment. Slowing down, making sure I understand, and being able to pinpoint evidence to back up my answers may be obvious, but it's essential. Like I mentioned in my diagnostic test blog, learning more poetry terms would help me understand the questions better.

Diagnostic Test

WELL...My ego just took a bit of a bruising. Although my final score wasn't totally miserable, the test definitely hit me where it hurts.

• I usually consider vocabulary (be it required terms or fun expressions) one of my strong points and a good chunk of the questions I got wrong were because I was a little fuzzy on the basic terminology. I already looked at some of the other word files on the website and found the definitions to the words I didn't know on the Terms Test Info Sheet.
• Another part of the test I loved/hated was the poetry. Because I'm a very visual person I loved the imagery in "Night Clouds" but I think I got a bit lost in the inferences and definitions for "Forbidden Mourning". (Because I liked both poems so much I probably spent too much time rereading them for fun.)
• I did really well on Pride and Prejudice, but that's probably because I've read the book so many times and I really like the dynamic between Mr. and Mrs. Bennett. I did slip up on a few questions because I answered based on my knowledge of the whole book, instead of focusing on that particular section.
• To be perfectly honest, when I finally got to Modern American Poetry: A Critical Anthology I was totally bored. I was more focused on getting through that section and finishing the test than on what was being asked.
• This might sound a little weird, but I've always found reading/comprehension/English tests fun. I really like reading little snippets of different writing styles, so I enjoyed taking this test.

Overall, if I had read the passages and questions more carefully and taken my time on some of the more frustrating sections, I probably would have gotten a better score.

Testing, testing, one, two, three...

MooooOWWeeeeeEEEEnnnneeeeeeeEEEEddddTooooFiiiiiindHiiiisssSssooooonnnn. CooommmeBaaaAAAAAACK. Hmm - maybe a different dialect...Maybe I should try Humpback......WwAAA! MMmmwwaaaahhh! Too much Orca. Didn't that sound a little Orca-ish??? - Dory (Finding Nemo)