Thursday, September 29, 2011
Almodovar's "Talk to Her"
Topics of possible discussion for your blog:
1. The ways in which the film builds upon the Sleeping Beauty fairy tale, and why.
2. The 'relationship' between Benigno and Alicia - Alicia is the beautiful yet silenced woman. What do you make of Benigno's feelings toward her? (Benigno means "benign" in Spanish)
3. The relationship between Marco and Lydia (before and after the accident). How is it similar to / different from the relationship between Benigno and Alicia?
4. Lydia - a female bullfighter afraid of snakes.
5. Marco - the man always crying
6. The friendship that grows between Benigno and Marco - what significance does this hold in the film?
7. The way in which the film treats violence against women / rape - why do you think Almodovar presents it as such?
8. The ongoing theme of dance throughout the film
Wednesday, September 28, 2011
Tuesday, September 27, 2011
Things to avoid when writing a paper:
1. Contractions: isn’t, doesn’t, can’t = is not, does not, cannot
2. "It's" vs. "its." "It's" = IT IS, "Its" = belonging to it
3. "Loose" vs. "lose." "Loose" = not tight (your shoelace is loose). "Lose" is the verb = "I lose my place on the page if I read too quickly."
4. "A LOT" is ALWAYS two words.
5. Mixing singular and plural (we can do this when speaking but not writing a formal paper).
“A person can begin to understand who they are.”
‘Person’ is singular, whereas ‘they are’ is plural. We need to change this to either: “People can begin to understand who they are” or “A person can begin to understand who she or he is.”
6. Statements such as “this shows that,” “this proves that,” “the text states this because….” The mere fact that you are writing about this aspect of the text already shows or proves ‘it.’ You do not need to state this –it makes your writing self-referential and is awkward.
7. Passive voice, such as “it is seen that,” etc. Seen by whom? Use ACTIVE voice (meaning the subject tell us who does the action and we do not have a form of “to be + past participle”) = "Enide sees that..."
8. The apostrophe (’) is ONLY for possession, never to make things plural. (This includes things like “the 1980s.” Many have a tendency to insert an apostrophe “the 1980’s,” but this would imply “belonging to the 1980s.” Similarly "CD's" does not mean "more than one CD" but rather belonging to a CD.)
Some students do not use an apostrophe when needed: “Yvains glory” instead of “Yvain’s glory.”
9. Do NOT use past tense when writing about literature (“Yvain did, Tristan said, etc.”). Literature is always in the present tense because it happens in an eternal present as we read and discuss it.
10. Avoid the present progressive (“Yvain is doing, Tristan is saying, etc.”). Use the simple present tense (“Yvain does, Tristan says, etc.”).
5. Mixing singular and plural (we can do this when speaking but not writing a formal paper).
“A person can begin to understand who they are.”
‘Person’ is singular, whereas ‘they are’ is plural. We need to change this to either: “People can begin to understand who they are” or “A person can begin to understand who she or he is.”
6. Statements such as “this shows that,” “this proves that,” “the text states this because….” The mere fact that you are writing about this aspect of the text already shows or proves ‘it.’ You do not need to state this –it makes your writing self-referential and is awkward.
7. Passive voice, such as “it is seen that,” etc. Seen by whom? Use ACTIVE voice (meaning the subject tell us who does the action and we do not have a form of “to be + past participle”) = "Enide sees that..."
8. The apostrophe (’) is ONLY for possession, never to make things plural. (This includes things like “the 1980s.” Many have a tendency to insert an apostrophe “the 1980’s,” but this would imply “belonging to the 1980s.” Similarly "CD's" does not mean "more than one CD" but rather belonging to a CD.)
Some students do not use an apostrophe when needed: “Yvains glory” instead of “Yvain’s glory.”
9. Do NOT use past tense when writing about literature (“Yvain did, Tristan said, etc.”). Literature is always in the present tense because it happens in an eternal present as we read and discuss it.
10. Avoid the present progressive (“Yvain is doing, Tristan is saying, etc.”). Use the simple present tense (“Yvain does, Tristan says, etc.”).
11. Awkward sounding phrasal verbs such as:
To think it out (‘to reflect on it / process it’ is better)
To be stuck in (‘to be imprisoned / trapped’ is better)
To have got (‘to have’ is better)
To find out (‘to discover’ is better)
When possible, it is better to find a simple verb that expresses the same idea as a phrasal verb.
12. Quite a few people had very colloquial expressions that should only be used when speaking. You cannot write the way you speak.
13. Avoid sentences or phrases that end in a preposition. This is always bad form.
For example: “The situation Yvain finds himself in is complicated” should be “The situation in which Yvain finds himself is complicated.”
14. Whenever we have a gerund (an “–ing verb”), we MUST use the possessive form of the noun or pronoun that comes before it. This is something we rarely do (if ever) when speaking but must be done when writing.
Enide’s crying demonstrates her love for Erec.
To think it out (‘to reflect on it / process it’ is better)
To be stuck in (‘to be imprisoned / trapped’ is better)
To have got (‘to have’ is better)
To find out (‘to discover’ is better)
When possible, it is better to find a simple verb that expresses the same idea as a phrasal verb.
12. Quite a few people had very colloquial expressions that should only be used when speaking. You cannot write the way you speak.
13. Avoid sentences or phrases that end in a preposition. This is always bad form.
For example: “The situation Yvain finds himself in is complicated” should be “The situation in which Yvain finds himself is complicated.”
14. Whenever we have a gerund (an “–ing verb”), we MUST use the possessive form of the noun or pronoun that comes before it. This is something we rarely do (if ever) when speaking but must be done when writing.
Enide’s crying demonstrates her love for Erec.
15. Try to avoid when possible use of the progressive tenses ("Erec is fighting the knight." - this would imply that the event is in progress at this moment. "Erec fights the knight" is preferable.)
16. Some students still have problems with “to lay” and “to lie.” These are not interchangeable verbs. “To lay” requires an object (“I lay the book on the table.”). “To lie” cannot take an object (“I lie down.”)
17. Stating your ideas in a clear and simple manner is always better than trying to ‘sound’ intelligent by writing complex (and many times overly-long) sentences in which your ideas are lost and / or awkwardly stated.
REMEMBER – You can always go to the Reading and Writing Center here on campus for help with writing.
16. Some students still have problems with “to lay” and “to lie.” These are not interchangeable verbs. “To lay” requires an object (“I lay the book on the table.”). “To lie” cannot take an object (“I lie down.”)
17. Stating your ideas in a clear and simple manner is always better than trying to ‘sound’ intelligent by writing complex (and many times overly-long) sentences in which your ideas are lost and / or awkwardly stated.
REMEMBER – You can always go to the Reading and Writing Center here on campus for help with writing.
Thursday, September 22, 2011
Tykwer's "Run Lola Run"
You may use the topics below as a guide for discussion in your blog postings (or of course come up with your own themes to discuss). These are suggestions - you do not have to discuss everything below.
Also - please remember that your blog postings are due BEFORE class. You will not receive credit for anything posted after class.
1. The evolution / education of the heroine / hero
2. The use of gender and gender roles
3. The use of camera techniques to highlight Lola and create a separate narrative space for events that occur without her
4. The use of color (especially red) and shape (especially circles and spirals)
5. The use of music
6. The theme of love / devotion / coupling
7. The use of sound - for instance, the "scream"
8. The notion and use of time
9. The notion of the game
10. The "fairy tale" aspect to the film
Monday, September 19, 2011
The Knight with the Lion (Yvain) - Day Three
The assignment for Wednesday is to write a blog posting (about 250 words) in which you analyze an aspect of the concluding third of the text. The topic is up to you but you should do something that 'digs' beneath the surface of the romance. Be inventive and interesting! Also - be prepared to speak about what you think / have discovered. I expect everyone to have done a blog posting and to be ready Wednesday.
Saturday, September 17, 2011
The Knight with the Lion (Yvain) - Day Two
Please answer two questions or come up with your own topics for discussion.
1. Gawain gives a speech on pp. 326-327. What is the outcome of this speech (in other words, what does this speech accomplish, for better or worse)? How do you interpret the agreement Yvain then makes with Laudine? What kind of agreement is this? Would you want to accept such an agreement? Why or why not?2. What is the “build-up” Chrétien employs leading to Yvain’s shame? What is Yvain’s problem? How do you interpret the text here (pp. 328 – 329). Use specific quotes from the text to support your answer.
3. Why does Yvain react the way he does to Laudine’s messenger? Why do you think we have this specific reaction? What might this imply? What happens in the wilderness? Do you notice any changes within Yvain during this part of the romance? What are they? How do you interpret these changes? (And what do you make of his “cure”?)
4. At the mid-point of the romance we have Yvain’s encounter with the snake and the lion. What do these animals represent within the romance (and within popular mythology)? What is the dilemma Yvain faces here (on a deeper level)?
Monday, September 12, 2011
The Knight with the Lion (Yvain) - Day One
1. This is the only of Chrétien’s romances that lacks a formal prologue. Think back to the prologue for Erec and Enide, which established the parallel journey upon which both author and protagonist(s) experienced. What might the lack of a prologue then say about this romance, its writer and main character (Yvain)?
2. What do you make of Calogrenant’s story? The reasons for its genesis? What particular elements in the story strike you as interesting or bizarre? How do you interpret these elements?
3. Do a character study of Yvain, Lunete and / or Laudine. What evidence in the text can you use in order to support your description(s).
2. What do you make of Calogrenant’s story? The reasons for its genesis? What particular elements in the story strike you as interesting or bizarre? How do you interpret these elements?
3. Do a character study of Yvain, Lunete and / or Laudine. What evidence in the text can you use in order to support your description(s).
Friday, September 9, 2011
Erec and Enide - Day Three
The assignment for Monday is to write a blog posting (about 250 words) in which you analyze an aspect of the concluding third of the text. The topic is up to you but you should do something that 'digs' beneath the surface of the romance. Be inventive and interesting! Also - be prepared Monday to speak about what you think / have discovered and to ask the class a pertinent and thought-provoking question regarding your posting.
Wednesday, September 7, 2011
Erec and Enide - Day Two
1. If the first part of the romance belongs to Erec, the second part most certainly belongs to Enide. How do we see her character emerging here? In what context do we finally get her name?
2. Enide also speaks for the first time in the text in this part of the romance. What are her first words? How do you interpret her speech? How does Erec interpret her speech? How do you explain his reaction? Why?
3. What do you think are Erec’s intentions in taking Enide on this journey? What kind of journey is this (from Erec’s perspective)? One of adventure? Self-discovery? Renewal? Something else? Point to specific scenes within the text to support your argument.
4. Look at Enide’s inner monologues in this portion of the text. What do her thoughts reveal about her? Why do you think the narrator allows us access to the secret thoughts of this woman?
2. Enide also speaks for the first time in the text in this part of the romance. What are her first words? How do you interpret her speech? How does Erec interpret her speech? How do you explain his reaction? Why?
3. What do you think are Erec’s intentions in taking Enide on this journey? What kind of journey is this (from Erec’s perspective)? One of adventure? Self-discovery? Renewal? Something else? Point to specific scenes within the text to support your argument.
4. Look at Enide’s inner monologues in this portion of the text. What do her thoughts reveal about her? Why do you think the narrator allows us access to the secret thoughts of this woman?
Tuesday, September 6, 2011
Film Schedule
On the following days we will meet at 7:30 p.m. in Dana Hall 201 to see a film:
September 29
October 20
November 10
December 1
Friday, September 2, 2011
Erec and Enide - Day One
Answer at least two questions or come up with your own topics for discussion.
1. We always need to pay special attention to the beginning of a text, for here the narrator orients the reader on the journey that is to start. What information does Chrétien provide for the reader in the opening lines of this romance? Why the proverb/s (and how do we interpret this in conjunction with the story that follows)? What is Chrétien trying to do here in this prologue?
2. How would you describe the opening scene in King Arthur’s court? What evidence in the text brings you to your ideas? We have the idea of a contest and the outcome it will bring. What might the possible ramifications of this contest imply (about gender, the court, society, etc.)?
3. How would you characterize the two main characters (Erec and Enide)? Do you see any (potential) problems here? How does the text portray them (we can assume the beautiful maiden is Enide, though the text does not inform us of this fact – think about possibly why)? (Difficult yet thought-provoking question: Why does the text describe Enide in this way: “She was truly one who was made to be looked at, for one might gaze at her just as one gazes in a mirror.”? What is it to gaze into a mirror? What does one see? Are there any figures from mythology transfixed by a mirror image?)
4. What do you make of the second contest in the text (the sparrow-hawk)? What is at stake here? What are the implications of this concerning gender, power, masculinity, etc.?
5. What does the scene in which Queen Guenevere dresses Enide imply? What does this dress represent? What does this have to say about Enide’s character and about the way Erec views this woman?
1. We always need to pay special attention to the beginning of a text, for here the narrator orients the reader on the journey that is to start. What information does Chrétien provide for the reader in the opening lines of this romance? Why the proverb/s (and how do we interpret this in conjunction with the story that follows)? What is Chrétien trying to do here in this prologue?
2. How would you describe the opening scene in King Arthur’s court? What evidence in the text brings you to your ideas? We have the idea of a contest and the outcome it will bring. What might the possible ramifications of this contest imply (about gender, the court, society, etc.)?
3. How would you characterize the two main characters (Erec and Enide)? Do you see any (potential) problems here? How does the text portray them (we can assume the beautiful maiden is Enide, though the text does not inform us of this fact – think about possibly why)? (Difficult yet thought-provoking question: Why does the text describe Enide in this way: “She was truly one who was made to be looked at, for one might gaze at her just as one gazes in a mirror.”? What is it to gaze into a mirror? What does one see? Are there any figures from mythology transfixed by a mirror image?)
4. What do you make of the second contest in the text (the sparrow-hawk)? What is at stake here? What are the implications of this concerning gender, power, masculinity, etc.?
5. What does the scene in which Queen Guenevere dresses Enide imply? What does this dress represent? What does this have to say about Enide’s character and about the way Erec views this woman?
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