Tuesday, April 30, 2013
Wed, May 1 collecting The Great Gatsby
Due today: introduction to Prufrock essay. The sub will collect them at the beginning of class.I'll return them to you tomorrow in the library.
In class: we are collecting F.Scott Fitzgerald's The Great Gatsby. reading time. Please begin with the introduction. Respond to the accompanying questions. THESE ARE DUE AT THE END OF CLASS. CLASS HANDOUT / COPY BELOW.
Note: if you have misplaced your text, here is an on-line link: http://ebooks.adelaide.edu.au/f/fitzgerald/f_scott/gatsby/contents.html
this is an Australian site, so some of the spellings are not American English.
For Thursday: thematic essay on Prufrock. Bring along your graphic organizers with the textual evidence. I'll hand back your edited introductions. We are in the library.
For Friday: have completed reading through chapter 1(content quiz)
For Monday:
Tues, April 29 Prufock graphic organizer
Due today: Two textual examples for each of the four themes in Prufrock. I'll check those in for a homework grade at the beginning of class.
In class work: completing the organizer with three more examples. The reason we are doing it this way is so you will have another opportunity to read the poem.
Homework: Complete the essay organizer in anticipation of using it for your in-class essay on Thursday, where we will be in the library computer lab. They will be collected them at the beginning of class tomorrow and return them to you on Thursday. class handout / copy below.
T.S. Eliot’s The Love Song of J. Alfred Prufrock. Essay prep
Discuss how T.S. Eliot develops the theme of (1.Loneliness and Alienation, 2. Indecision, 3. Inadequacy or 4. Pessimism) in his dramatic monologue The Love Song of J.Alfred Prufrock.
Please write the introduction to your essay.
Establishing / hook sentence: (this may be historical, as related to modernism)
Sunday, April 28, 2013
In class: vocabulary / terms quiz from T.S. Eliot's The Love Song of J.Alfred Prufrock.
continuation of the analysis of the poem class handout / copy below.
Homework/ due Tuesday: graphic organizer for the poem. Fill in two examples for each of the themes. (If you are participating in the career in sports day, please make sure you get it to me by the end of the day tomorrow. You can either leave it on my desk or put it in my mailbox, which is located behind the main office.
Prufrock graphic organizer.
For each of the following themes, find four textual examples. Please
note the line number.
loneliness
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indecision
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Inadequacy
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pessimism
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Friday, April 26, 2013
Friday, April 26 The Love Song of J. Alfred Prufrock.
In class: we are reading the poem The Love Song of J. Alfred Prufrock by T. S. Eliot.
Homework for Monday, April 29....Prufrock vocabulary quiz. handout / copy below
Notes: T. S. Stearns Eliot (1888-1965) published the poem in Poetry magazine in 1915.
Love Song .......The words "Love Song" seem apt, for one of the definitions of love song is narrative poem. And, of course, "The Love Song of J. Alfred Prufrock" is a narrative, presenting a moment in the life of the title character. It is also a poem. In addition, the work has characteristics of most love songs, such as repetition (or refrain), rhyme, and rhythm. It also focuses on the womanly love that eludes Prufrock. Origin of the Name Prufrock .......Eliot took the last name of the title character from a sign advertising the William Prufrock furniture company, a business in Eliot's hometown, St. Louis, while he was growing up. The initial J. and name Alfred are inventions, probably mimicking the way Eliot occasionally signed his name as a young adult: T. Stearns Eliot.
Type of Work: Dramatic Monologue
......."The Love Song of J. Alfred Prufrock" is a modernistic poem in the form of a dramatic monologue. A dramatic monologue presents a moment in which a narrator/speaker discusses a topic and, in so doing, reveals his personal feelings to a listener. Only the narrator, talks—hence the term monologue, meaning "single (mono) discourse (logue)." During his discourse, the speaker intentionally and unintentionally reveals information about himself. The main focus of a dramatic monologue is this personal information, not the speaker's topic. Therefore, a dramatic monologue is a type of character study.
The Speaker/Narrator
.......The poem centers on a balding, insecure middle-aged man. He expresses his thoughts about the dull, uneventful, mediocre life he leads as a result of his feelings of inadequacy and his fear of making decisions. Unable to seize opportunities or take risks (especially with women), he lives in a world that is the same today as it was yesterday and will be the same tomorrow as it is today. He does try to make progress, but his timidity and fear of failure inhibit him from taking action.
Setting
.......The action takes place in the evening in a bleak section of a smoky city. This city is probably St. Louis, where Eliot (1888-1965) grew up. But it could also be London, to which Eliot moved in 1914. However, Eliot probably intended the setting to be any city anywhere.
Themes
1.Loneliness and Alienation: Prufrock is a pathetic man whose anxieties and obsessions have isolated him.
2. Indecision: Prufrock resists making decisions for fear that their outcomes will turn out wrong.
3. Inadequacy: Prufrock continually worries that he will make a fool of himself and that people will ridicule him for his clothes, his bald spot, and his overall physical appearance.
4. Pessimism: Prufrock sees only the negative side of his own life and the lives of others.
The Love Song of J. Alfred Prufrock by T.S. Eliot vocabulary and terms
1. epigraph - a quotation set at the beginning of a literary work or one of its divisions to suggest its theme
2. infamy- an extreme and publicly known criminal or evil act
3. to etherize- to make numb as if by anesthetizing
4. insidious- harmful but enticing or seductive
5. Michelangelo- Italian Renaissance painter
6. muzzle- the projecting jaws and nose of an animal; snout
7. to formulate- to put into a systematized statement or expression
8. synecdoche- a figure of speech by which a part is put for the whole (as fifty sail for fifty ships); •The word "head" refers to cattle; The word "wheels" refers to a vehicle.
9. eternal footman- death
10. Lazarus- subject of a prominent miracle attributed to Jesus in the Gospel of John, in which Jesus restores him to life four days after his death.
11. deferential- respectful - reverent - deferent – dutiful
T.S. Eliot's The Love Song of J. Alfred Prufrock read by Anthony Hopkins
http://www.youtube.com/watch?v=PLNsPhKlucY
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Wednesday, April 24, 2013
Thursday, April 25 in class essay
just received information on the program today from the U of R, please pass along to students in all grade levels since there is a short turn around.
Yesterday, you were given a handout consisting of three essay choices based upon the three short stories we read: Hemingway's In Another Country, John Steinbeck's Flight and Katherine Ann Porter's The Jilting of Granny Weatherall. You were to have selected one of the essays, and today in class, you will write a thorough, text-based response.
Those on the field trip to Geva have until midnight to send me the essay.
Mike Murphy
School Counselor
From: Rochester Admissions [mailto:admit@admissions.rochester.edu]
Sent: Thursday, April 25, 2013 9:17 AM
To: Murphy, Michael D
Subject: Pre-College Experience Event
Sent: Thursday, April 25, 2013 9:17 AM
To: Murphy, Michael D
Subject: Pre-College Experience Event
Thinking about college and wondering what it’s like? How to get in and pay for it? Wondering what you can start doing now?
Get your questions answered by the University of Rochester’s Office of Admissions and Financial Aid and the Office of Pre-College Programs! Our exciting Pre-College Experience event is designed for students in grades 7–11 from the Rochester, Buffalo, and Syracuse regions.
Saturday, May 4
8:30 a.m. – 12:30 p.m.
Munnerlyn Atrium, Goergen Hall on River Campus
· Learn more about the college admissions process, financial aid, the college essay, and more
· Hear current college students’ stories
· Participate in mini workshops offered by Rochester Scholars
· Explore summer programs available throughout the University community
For more information and to pre-register by April 30, please visit http://enrollment.rochester.edu/admissions/precollege/PCE.shtm or call Liz Yockel at (585) 275-8632.
We look forward to seeing you on campus!
Marla Britton
Senior Assistant Director of College/Community Programs
Ursula Balent
Pre-College Programs Manager
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Yesterday, you were given a handout consisting of three essay choices based upon the three short stories we read: Hemingway's In Another Country, John Steinbeck's Flight and Katherine Ann Porter's The Jilting of Granny Weatherall. You were to have selected one of the essays, and today in class, you will write a thorough, text-based response.
Those on the field trip to Geva have until midnight to send me the essay.
Wed, April 24 Hemingway in our lives
In class: quiz on the 7 aspects of being a code hero.
application of these to In Another Country.
Homework: select one of the writing prompts below and reread the short story that is applicable, and bring that story along. You will be responding to it tomorrow in class.
NOTE: anyone who is attending the field trip tomorrow is responsible for sending along their essay by midnight Thursday, April 25.
- World War I left many people feeling disillusioned because it caused the death of thousands of men, though it seemed to have no purpose. How does Ernest Hemingway’s In Another Country reflect this sense of disillusionment? Use textual evidence to support your argument.
- Discuss how the setting of John Steinbeck’s Flight shaped Pepe’s personality and how it affects his behavior during the story. Use specific evidence from the story to support your argument.
- Discuss why stream-of-consciousness technique is particularly appropriate for The Jilting of Granny Weatherall, considering the subject of the story. Begin by thinking about the purpose of the technique.
Tuesday, April 23, 2013
Tuesday, April 23 Hemingway's In Another Country and the code hero.
Due today: having read Ernest Hemingway's In Another Country.
In class: Finishing up Steinbeck's Flight; the code hero. Class handout / copy below- applying to In Another Country.
Homework: memorize the 7 qualities that make up a Hemingway code hero. Test at the beginning of class tomorrow. Knowing these will serve as a foundation to apply to other modernist literature.
1.Every day above earth is a good day.
The Old Man and the Sea
2. A man can be destroyed but not defeated.
The Old Man and The Sea
3. Being against evil doesn't make you good. Islands in the Stream
4. Always do sober what you said you'd do drunk. That will teach you to keep your mouth shut.
5. Courage is grace under pressure.
4. Always do sober what you said you'd do drunk. That will teach you to keep your mouth shut.
5. Courage is grace under pressure.
Hemingway Code Hero
Hemingway Code: Hemingway's protagonists are usually 'Hemingway Code Heroes,' i.e., figures who try to follow a hyper-masculine moral code and make sense of the world through those beliefs. Hemingway himself defined the Code Hero as 'a man who lives correctly, following the ideals of honor, courage and endurance in a world that is sometimes chaotic, often stressful, and always painful.' This code typically involves several traits for the Code Hero: (1) Measuring himself against the difficulties life throws in his way, realizing that we will all lose ultimately because we are mortals, but playing the game honestly and passionately in spite of that knowledge. (2) Facing death with dignity, enduring physical and emotional pain in silence (3) Never showing emotions (4) Maintaining free-will and individualism, never weakly allowing commitment to a single woman or social convention to prevent adventure, travel, and acts of bravery (5) Being completely honest, keeping one's word or promise (6) Being courageous and brave, daring to travel and have 'beautiful adventures,' as Hemingway would phrase it (7) Admitting the truth of Nada (Spanish, 'nothing'), i.e., that no external source outside of oneself can provide meaning or purpose. This existential awareness also involves facing death without hope of an afterlife, which the Hemingway Code Hero considers more brave than 'cowering' behind false religious hopes. The Hemingway Code Hero typically has some sort of physical or psychological wound symbolizing his tragic flaw or the weaknesses of his character, which must be overcome before he can prove his manhood (or re-prove it, since the struggle to be honest and brave is a continual one). Also, many Hemingway Code Heroes suffer from a fear of the dark, which represents the transience or meaninglessness of life in the face of eventual and permanent death.
Sunday, April 21, 2013
Monday, April 21 Flight by John Steinbeck
Due today: John Steinbeck's short story Flight.
In class: Everyone is assigned a short written response, which we'll use today to review the story. This is a for a homework grade.
For Tuesday, April 23....Please have read Ernest Hemingway's In Another Country. This was handed out last Friday. Copy below.
John Steinbeck 1902-1968
Reflecting the influence of the
Naturalists, John Steinbeck generally portrayed working-class characters who
were manipulated by forces beyond their understanding or control. Yet although many of his characters suffered
tragic fates, they almost always managed to retain a sense of dignity
throughout their struggles.
Steinbeck
was born in Salinas , California , the son of a county official and
a schoolteacher. The people and
landscape of the area in northern California
where he grew up eventually inspired many of the characters and setting of his
literary works. After graduating from
high school, he enrolled at Stanford
University . He left before graduating, however, and spent
the next five years drifting across the country, reading, writing and working
at odd jobs.
Steinbeck
had little success as a writer until 1935 when he published Tortilla Flat, his third novel. Two years later he earned widespread
recognition and critical acclaim with the publication of Of Mice and Men. This novel,
which portrays two drifters whose dream of owing their own farm ends in
tragedy, became a best-seller and was made into a Broadway play and a motion
picture. Steinbeck then went on to write
what is generally regarded as his finest novel, The grapes of Wrath (1939), the
accurate and emotional story of the “Oakies,” Oklahoma farmers dispossessed of
their land and forced to become migrant farmers in California. The novel won the National Book Award and the
Pulitzer Prize and established Steinbeck as one of the most highly regarded
writers of his day.
In nearly
all of his works, including Flight,
Steinbeck creates vivid portraits of the landscape and demonstrates how people
are shaped and manipulated by their environments. At the same time, his works reflect his
belief in the need for social justice and his hope that people can learn from
the suffering of others.
John
Steinbeck believed that people are often manipulated by the forces of society
and nature beyond their understanding or control. As a result, the setting
usually plays an important role in his works, often having an immediate and
long-term effect on the characters. In
most of his stories and novels, he describes the setting in exact detail and
clearly conveys how it shapes and motivates the characters.
Note: two other
works where setting influences the character’s actions- William Golding’s Lord of the Flies and Jules Verne’s 20,000 Leagues Under the Sea
Written responses: see class list for the one you are assigned.
John Steinbeck’s Flight
was assigned over the weekend. Therefore, everyone should be familiar with the
story, and so will find your name- sometimes two people’s names- beside each of
the following. Take 15 minutes and write a thorough, detailed response, using
textual evidence and references to those literary elements, such as character,
setting, plot, tone and diction that best serve your response. We will then
discuss the story as a class.
1. Examples
of the long-term and immediate effects of the setting on the characters.
2. Sensory
details that help to paint a vivid portrait of the setting. (sight, smell,
taste, touch and hearing)
3. How
the “wild coast” affected the Torres family farm.
4. What
does the manner of the husband’s death suggest about the fates of the other
characters?
5. Why
the use of thee and thou?
6. Pepe’s
tone of voice with his mother- like a boy or a man?
7. Why
does Steinbeck use the word revolution to describe Pepe’s forthcoming trip to Monterey ?
8. Agree
or disagree with Mama’s words: “A boy gets to be a man when a man is needed.”
9. Within
the context of the Spanish culture, defending one’s honor is considered an act
of machismo or manliness, while not doing so brings shame and humiliation for
the whole family. Why then does Pepe flee?
10. What is the symbolism of Pepe wearing his father’s
coat?
11. Steinbeck
describes first the mountains, then Pepe as misty and shadowy. Why?
12. What do the
black earth and the hollow sound of the hoof beats suggest about Pepe’s fate?
13. Why the
choice of a hawk for the bird that flies over the canyon?
14. What are
some indications that Pepe is losing some of his human dignity?
15. Why does Pepe kill the lizard?
16. How Pepe’s
movements like the mountain lion’s?
17. Why does
Pepe stand erect at the top of the mountain in full view of the hunters; why
doesn’t he run?
In Another Country—Ernest
Hemingway
In the fall the war was always
there, but we did not go to it any more. It was cold in the fall in Milan and the dark came
very early. Then the electric lights came on, and it was pleasant along the
streets looking in the windows. There was much game hanging outside the shops,
and the snow powdered in the fur of the foxes and the wind blew their tails.
The deer hung stiff and heavy and empty, and small birds blew in the wind and
the wind turned their feathers. It was a cold fall and the wind came down from
the mountains.
We were all at the
hospital every afternoon, and there were different ways of walking across the
town through the dusk to the hospital. Two of the ways were alongside canals,
but they were long. Always, though, you crossed a bridge across a canal to
enter the hospital. There was a choice of three bridges. On one of them a woman
sold roasted chestnuts. It was warm, standing in front of her charcoal fire,
and the chestnuts were warm afterward in your pocket. The hospital was very old
and very beautiful, and you entered a gate and walked across a courtyard and
out a gate on the other side. There were usually funerals starting from the
courtyard. Beyond the old hospital were the new brick pavilions, and there we
met every afternoon and were all very polite and interested in what was the
matter, and sat in the machines that were to make so much difference.
The doctor came up to
the machine where I was sitting and said: "What did you like best to do
before the war? Did you practice a sport?"
I said: "Yes, football."
"Good," he said. "You will be able to play football again better than ever."
My knee did not bend and the leg dropped straight from the knee to the ankle without a calf, and the machine was to bend the knee and make it move as riding a tricycle. But it did not bend yet, and instead the machine lurched when it came to the bending part. The doctor said:" That will all pass. You are a fortunate young man. You will play football again like a champion."
I said: "Yes, football."
"Good," he said. "You will be able to play football again better than ever."
My knee did not bend and the leg dropped straight from the knee to the ankle without a calf, and the machine was to bend the knee and make it move as riding a tricycle. But it did not bend yet, and instead the machine lurched when it came to the bending part. The doctor said:" That will all pass. You are a fortunate young man. You will play football again like a champion."
In
the next machine was a major who had a little hand like a baby's. He winked
at me when the doctor examined his hand, which was between two leather straps
that bounced up and down and flapped the stiff fingers, and said: "And
will I too play football, captain-doctor?" He had been a very great
fencer, and before the war the greatest fencer in
The doctor went to his office in a back room and brought a
photograph which showed a hand that had been withered almost as small as the
major's, before it had taken a machine course, and after was a little larger.
The major held the photograph with his good hand and looked at it very
carefully. "A wound?" he asked."An industrial accident," the doctor said. "Very interesting, very interesting," the major said, and handed it back to the doctor. "You have confidence?" "No," said the major. There were three boys who came each day who were about the same age I was. They were all three from We ourselves all understood the Cova, where it was rich and warm and not too brightly lighted, and noisy and smoky at certain hours, and there were always girls at the tables and the illustrated papers on a rack on the wall. The girls at the Cova were very patriotic, and I found that the most patriotic people in
The
boys at first were very polite about my medals and asked me what I had done
to get them. I showed them the papers, which were written in very beautiful
language and full of fratellanza and abnegazione, but which really said, with
the adjectives removed, that I had been given the medals because I was an
American. After that their manner changed a little toward me, although I was
their friend against outsiders. I was a friend, but I was never really one of
them after they had read the citations, because it had been different with
them and they had done very different things to get their medals. I had been
wounded, it was true; but we all knew that being wounded, after all, was
really an accident. I was never ashamed of the ribbons, though, and
sometimes, after the cocktail hour, I would imagine myself having done all
the things they had done to get their medals; but walking home at night
through the empty streets with the cold wind and all the shops closed, trying
to keep near the street lights, I knew that Ì would never have done such
things, and I was very much afraid to die, and often lay in bed at night by
myself, afraid to die and wondering how I would be when back to the front
again.
The three with the medals were like hunting-hawks; and I
was not a hawk, although I might seem a hawk to those who had never hunted;
they, the three, knew better and so we drifted apart. But I stayed good
friends with the boy who had been wounded his first day at the front, because
he would never know now how he would have turned out; so he could never be
accepted either, and I liked him because I thought perhaps he would not have
turned out to be a hawk either. The major, who had been a great fencer, did not believe in bravery, and spent much time while we sat in the machines correcting my grammar. He had complimented me on how I spoke Italian, and we talked together very easily. One day I had said that Italian seemed such an easy language to me that I could not take a great interest in it; everything was so easy to say. "Ah, yes," the major said. "Why, then, do you not take up the use of grammar?" So we took up the use of grammar, and soon Italian was such a difficult language that I was afraid to talk to him until I had the grammar straight in my mind. The major came very regularly to the hospital. I do not think he ever missed a day, although I am sure he did not believe in the machines. There was a time when none of us believed in the machines, and one day the major said it was all nonsense. The machines were new then and it was we who were to prove them. It was an idiotic idea, he said, "a theory like another". I had not learned my grammar, and he said I was a stupid impossible disgrace, and he was a fool to have bothered with me. He was a small man and he sat straight up in his chair with his right hand thrust into the machine and looked straight ahead at the wall while the straps thumbed up and down with his fingers in them. "What will you do when the was is over if it is over?" he asked me. "Speak grammatically!" "I will go to the States." "Are you married?" "No, but I hope to be." "The more a fool you are," he said. He seemed very angry. "A man must not marry." "Why, Signor Maggiore?" "Don't call me Signor Maggiore." "Why must not a man marry?" "He cannot marry. He cannot marry," he said angrily. "If he is to lose everything, he should not place himself in a position to lose that. He should not place himself in a position to lose. He should find things he cannot lose." He spoke very angrily and bitterly, and looked straight ahead while he talked. "But why should he necessarily lose it?" "He'll lose it," the major said. He was looking at the wall. Then he looked down at the machine and jerked his little hand out from between the straps and slapped it hard against his thigh. "He'll lose it," he almost shouted. "Don't argue with me!" Then he called to the attendant who ran the machines. "Come and turn this damned thing off."
He
went back into the other room for the light treatment and the massage. Then I
heard him ask the doctor if he might use his telephone and he shut the door.
When he came back into the room, I was sitting in another machine. He was
wearing his cape and had his cap on, and he came directly toward my machine
and put his arm on my shoulder.
"I am sorry," he said, and patted me on the shoulder with his good hand. "I would not be rude. My wife has just died. You must forgive me." "Oh-" I said, feeling sick for him. "I am so sorry." He stood there biting his lower lip. "It is very difficult," he said. "I cannot resign myself." He looked straight past me and out through the window. Then he began to cry. "I am utterly unable to resign myself," he said and choked. And then crying, his head up looking at nothing, carrying himself straight and soldierly, with tears on both cheeks and biting his lips, he walked past the machines and out the door.
The
doctor told me that the major's wife, who was very young and whom he had not
married until he was definitely invalided out of the war, had died of pneumonia.
She had been sick only a few days. No one expected her to die. The major did
not come to the hospital for three days. Then he came at the usual hour,
wearing a black band on the sleeve of his uniform. When he came back, there
were large framed photographs around the wall, of all sorts of wounds before
and after they had been cured by the machines. In front of the machine the
major used were three photographs of hands like his that were completely
restored. I do not know where the doctor got them. I always understood we
were the first to use the machines. The photographs did not make much
difference to the major because he only looked out of the window.
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