It's been so long since we've done a blog I think I've forgotten how. For the past month, my life (as probably most AP Lit students') has been dominated by Hamlet. It took quite a bit of time to get through the text as a class, as it is a four hour play. We also did three forums that had to do with the play. All three of the forums provided a different perspective of Hamlet. My favorite post was the one on Ophelia. Ophelia is by far my favorite character in the entire play. The way I read it, I saw her as intelligent and capable. As one of two females in the entire work, Ophelia has to be strong-willed in order to go up against men like Polonius, Laertes, and Hamlet, who dominate her life. For this reason, I really respect her and also disliked Rimbaud's poem on her. He seemed to see her as more of a gentle flower, which I did not agree with at all.
Following our first read, we were assigned to annotate Hamlet in its entirety, a pretty daunting task. However, it didn't end up being as bad as I thought. I've found that it has become a lot easier to understand Shakespearean language after a few months in AP Lit. I remember when I read Romeo and Juliet my freshman year, it was extremely difficult to understand anything that was happening without the teacher explaining it in detail. In Lit/Comp 9, we did quite a few activities to help us get a better grasp of the language, but none of it seemed to stick until this year.
Once we finished annotating, we watched the David Tennant version of Hamlet. We also watched bits and pieces of the Branagh [aka Holmes (shoutout to first hour)], Hawke, and Olivier versions. The best one by far, in my opinion, was the Tennant film. I especially loved how they portrayed Hamlet and Ophelia's madness through the wardrobe and sets. We also read and annotated two more articles on Hamlet. The first one talks about Hamlet's predecessor, Histoires Tragiques. According to Devlin, the end of this version involves Hamlet wrapping people in tapestries and lighting them on fire, which I think would be a far better conclusion.
In non-Hamlet related news we did even more multiple choice practice for the AP exam. Each time we do it, though, I feel like I'm getting more answers wrong. The part I'm struggling the most in is understanding the vocabulary that is used in the questions and answers. Maybe I could use a little more direction, or maybe I'm not getting enough bananas in my diet. Either way, I could use some work.
Sunday, December 14, 2014
Sunday, November 16, 2014
Response to Course Materials November 15th
This month, we did some more AP practice. We worked on the the process of taking the multiple choice section of the exam. I think I'm starting to get the hang of it, but I could definitely use some more work. We also did quite a bit of practice on the open prompts, mainly focusing on the introduction. Ms. Holmes taught us that a good introduction will include a thesis that answers the prompt. The AP Lit essays are different from any essay that I've written for an AP class before because they include more elements. In AP World, we just had to write as many facts as we could remember in a short time. For APUSH, we had to write information AND get it right, which was a drag. As far as I can tell, for AP Lit we will have to write a good essay that also has information.
After completing a close read of Death of a Salesman, we had a class discussion. I was especially interested in the symbolism of each character's name. For example, Linda's name comes from the word for a German tree that represents tenderness. In previous years, I was never very interested in the symbolism of a work; I thought the teacher was just making stuff up on the spot. However, after a few lessons in analyzing literature, I find it fascinating. We also read a few pieces on tragedy and how it relates to Arthur Miller's play. The first was a general description of how tragedy has changed through the years, the second was Miller's defense of his own play as a tragedy, and the third was a critic's view on the play. I enjoyed the lecture because it provided some basic information on tragedy. The critic, Richard Foster, though, kind of annoyed me. He claimed that Death of a Salesman doesn't fit under the category of a tragic play because it doesn't follow this arbitrary set of guidelines. Although I don't doubt that those rules are often true, I don't think that every work has to be a textbook tragedy in order to be qualified under that genre.
At the beginning of class, we began doing a different warm up exercise that involves analyzing the mood and/or atmosphere of a photo. One of the pictures that our class evaluated was a drawing of a T-rex holding an ice cream cone. Surprisingly, it ended up being relatively easy to describe. I think that writing my own description of a scene, keeping in mind the mood and atmosphere, will help me to be able to recognize it in my reading.
We recently began reading Hamlet. I was a little nervous to start because I (and probably many others) struggle to understand Shakespeare. However, it's been pretty smooth sailing so far and Holmes does a great job at explaining the historical context to the play. I was chosen for the part of Hamlet and Ms. Holmes explained that it was because I'm the coolest kid alive.
After completing a close read of Death of a Salesman, we had a class discussion. I was especially interested in the symbolism of each character's name. For example, Linda's name comes from the word for a German tree that represents tenderness. In previous years, I was never very interested in the symbolism of a work; I thought the teacher was just making stuff up on the spot. However, after a few lessons in analyzing literature, I find it fascinating. We also read a few pieces on tragedy and how it relates to Arthur Miller's play. The first was a general description of how tragedy has changed through the years, the second was Miller's defense of his own play as a tragedy, and the third was a critic's view on the play. I enjoyed the lecture because it provided some basic information on tragedy. The critic, Richard Foster, though, kind of annoyed me. He claimed that Death of a Salesman doesn't fit under the category of a tragic play because it doesn't follow this arbitrary set of guidelines. Although I don't doubt that those rules are often true, I don't think that every work has to be a textbook tragedy in order to be qualified under that genre.
At the beginning of class, we began doing a different warm up exercise that involves analyzing the mood and/or atmosphere of a photo. One of the pictures that our class evaluated was a drawing of a T-rex holding an ice cream cone. Surprisingly, it ended up being relatively easy to describe. I think that writing my own description of a scene, keeping in mind the mood and atmosphere, will help me to be able to recognize it in my reading.
We recently began reading Hamlet. I was a little nervous to start because I (and probably many others) struggle to understand Shakespeare. However, it's been pretty smooth sailing so far and Holmes does a great job at explaining the historical context to the play. I was chosen for the part of Hamlet and Ms. Holmes explained that it was because I'm the coolest kid alive.
Monday, November 10, 2014
Death of a Salesman Summary and Analysis
Author: Arthur Miller
Setting, Plot, Characters: Death of a Salesman is set in 1940s New York City and focuses on the deteriorating life of Willy Loman. His sons, Biff and Happy are staying with Willy and his wife Linda. At the beginning, Willy is returning from a failed road trip. He was supposed to go to Boston, but was not capable of making the drive. While Willy discuses this with Linda, Biff and Happy are talking about the escapades of the day. Through the whole play, the action keeps going back and forth between the present and Willy's flashbacks. After a few of these, Willy is seen talking to himself. Linda reveals that these flashbacks have been occurring with increasing frequency, especially when the boys are in town. Biff tells Willy that he plans to meet with his old boss, Bill Oliver, the next day in order to ask for a business loan. Willy immediately perks up at this idea and offers Biff advice. The next morning, Willy has a meeting with his boss, Howard, asking for a non-traveling job. Howard denies the request and eventually fires Willy. Distraught, Willy goes to his neighbor Charley's office to borrow money. There, he encounters Bernard, Charley's son and Biff's high school friend. After leaving the office, Willy goes to meet Biff and Happy for dinner where they abandon him in the restaurant bathroom. When Biff and Happy return to the house, they find Willy attempting to plant a garden in the backyard. After much discussion, Willy leaves and crashes his own car, effectively killing himself. The subsequent requiem shows Linda, Biff, Happy, Charley, and Bernard at Willy's funeral. The play closes on Linda repeating the words "We're free...."
Analysis: Much of the narrative voice is provided by Willy as he reminisces and speaks to himself. The tone could be described as sympathetic toward Willy and any man that finds himself trapped by the American Dream. Miller comes across as pitying those unfortunate enough to believe the American Dream is attainable through Willy's means. Seeds are a prominent symbol throughout the play. After leaving the restaurant, Willy reflects, "Nothing's planted. I don't have a thing in the ground." He then goes on to buy seeds and plant them in the backyard in the middle of the night. The seeds symbolize Willy's hopes and dreams, which can never be realized because the city suffocates him, much like it suffocates the plants. When Linda is repairing her stockings, it sends Willy into a fit of rage. For him, the stockings remind him of his own infidelity. They also represent his inclination toward things that appear new and whole.
Cool Quotes:
"He's liked, but he's not well liked."
This idea is constantly repeated. Willy believes that to be successful is to be well liked. He thinks that the only way to advance in the business world is to have connections and to be able to bond with people. Willy tries to instill this value in his sons, constantly asking if their actions receive the approval of their peers. This also connects to the motif of social prosperity that contributes to the theme of the play.
"The only thing you got in this world is what you can sell."
Charley's statement reflects both Willy's failure as a salesman and the inclination of American society toward consumerism. Charley, having achieved the idealized American Dream, sums up Willy's incapability to understand the purpose of his job. Willy does not understand that the goal is not to be well liked, but to sell. Charley speaks from the typical American point of view, making it clear that the only thing that matters in life is money.
THEME: The sense of entitlement for the idealized American Dream of financial and social prosperity can lead to tragedy.
Set in urban America, the play reflects an area which is often seen as housing the people that have achieved the American Dream. Living in the richer neighborhoods of New York City is a testament to the wealth and prosperity of an individual. The urban landscape, specifically the apartments, symbolizes how the increasing urbanization are crushing Willy's dreams. The title works to create the irony that although Willy dies, he does not die the prosperous death of a salesman that was part of his fantasy.
Setting, Plot, Characters: Death of a Salesman is set in 1940s New York City and focuses on the deteriorating life of Willy Loman. His sons, Biff and Happy are staying with Willy and his wife Linda. At the beginning, Willy is returning from a failed road trip. He was supposed to go to Boston, but was not capable of making the drive. While Willy discuses this with Linda, Biff and Happy are talking about the escapades of the day. Through the whole play, the action keeps going back and forth between the present and Willy's flashbacks. After a few of these, Willy is seen talking to himself. Linda reveals that these flashbacks have been occurring with increasing frequency, especially when the boys are in town. Biff tells Willy that he plans to meet with his old boss, Bill Oliver, the next day in order to ask for a business loan. Willy immediately perks up at this idea and offers Biff advice. The next morning, Willy has a meeting with his boss, Howard, asking for a non-traveling job. Howard denies the request and eventually fires Willy. Distraught, Willy goes to his neighbor Charley's office to borrow money. There, he encounters Bernard, Charley's son and Biff's high school friend. After leaving the office, Willy goes to meet Biff and Happy for dinner where they abandon him in the restaurant bathroom. When Biff and Happy return to the house, they find Willy attempting to plant a garden in the backyard. After much discussion, Willy leaves and crashes his own car, effectively killing himself. The subsequent requiem shows Linda, Biff, Happy, Charley, and Bernard at Willy's funeral. The play closes on Linda repeating the words "We're free...."
Analysis: Much of the narrative voice is provided by Willy as he reminisces and speaks to himself. The tone could be described as sympathetic toward Willy and any man that finds himself trapped by the American Dream. Miller comes across as pitying those unfortunate enough to believe the American Dream is attainable through Willy's means. Seeds are a prominent symbol throughout the play. After leaving the restaurant, Willy reflects, "Nothing's planted. I don't have a thing in the ground." He then goes on to buy seeds and plant them in the backyard in the middle of the night. The seeds symbolize Willy's hopes and dreams, which can never be realized because the city suffocates him, much like it suffocates the plants. When Linda is repairing her stockings, it sends Willy into a fit of rage. For him, the stockings remind him of his own infidelity. They also represent his inclination toward things that appear new and whole.
Cool Quotes:
"He's liked, but he's not well liked."
This idea is constantly repeated. Willy believes that to be successful is to be well liked. He thinks that the only way to advance in the business world is to have connections and to be able to bond with people. Willy tries to instill this value in his sons, constantly asking if their actions receive the approval of their peers. This also connects to the motif of social prosperity that contributes to the theme of the play.
"The only thing you got in this world is what you can sell."
Charley's statement reflects both Willy's failure as a salesman and the inclination of American society toward consumerism. Charley, having achieved the idealized American Dream, sums up Willy's incapability to understand the purpose of his job. Willy does not understand that the goal is not to be well liked, but to sell. Charley speaks from the typical American point of view, making it clear that the only thing that matters in life is money.
THEME: The sense of entitlement for the idealized American Dream of financial and social prosperity can lead to tragedy.
Set in urban America, the play reflects an area which is often seen as housing the people that have achieved the American Dream. Living in the richer neighborhoods of New York City is a testament to the wealth and prosperity of an individual. The urban landscape, specifically the apartments, symbolizes how the increasing urbanization are crushing Willy's dreams. The title works to create the irony that although Willy dies, he does not die the prosperous death of a salesman that was part of his fantasy.
Sunday, November 9, 2014
Close Reading November 9th
Comedy Central's sketch show, "Key and Peele", has been consistently popular since its first episode in 2012. The program has been making waves with the release of its fourth season in September of this year. In Rob Sheffield's article for Rolling Stone, Key and Peele Are TV's Funniest Couple, he talks about the success of the show and how it has ushered in a new era of cable comedy; Sheffield uses diction, imagery, details, and syntax to praise it.
From the very beginning, the author draws the reader's attention with his diction. Using words like "prowl" and "ravaged" in the first sentence, Sheffield brings the reader in, describing one of the sketches. He uses honorific words like "genius", "buzzing", and "daring" to describe the show. The author also uses made up phrases like "Golden-Age-ing it up" to explain the success of Key and Peele. Sheffield could have easily chosen more bland terms in his description of the show, but he uses specific words to give the reader a positive idea.
Although the article is only talking about a television show, Rob Sheffield uses imagery and details to describe some of the iconic scenes. Again, in the very first sentence he says "The scene: two men with guns prowl through a ravaged urban wasteland after an alien apocalypse." With images like "prowl" and "ravaged" the author appeals to the reader's sense of sight. These words put a clear picture in the mind of the barren wilderness Key and Peele are traversing in this sketch. The details the author employs are the key to bringing the show to life. He uses direct quotes from the program to provide both humor and approval. Quotes like "And what are you, my little friend? Not a spoon, not a fork – something
in between. A fpoon! What will you think of next, Germany?" reflect the comedy that goes along with the show. Both the images and the details that are included work together to honor Key and Peele and the cable comedy era it has led.
The author uses a more casual syntax to relate to the reader so he can get his message across. A few of the sentences are broken up by parenthetical interruptions. For example, in the sentence "Their specialty is taking a simple one-joke premise (Obama talks
differently to black people) and kicking it back and forth to the point
of hysteria – by the end, Obama's yelling, 'Afternoon, my octaroon!'", the parentheses give the reader an idea of a casual conversation with the author. In the final paragraph, Sheffield says "All these cable successes raise a sticky question: Why is it so hard for the networks to be funny?" The use of a colon better connects the independent clause to the question than a period would. All of the syntax choices come off like a chat with the author, making the reader more inclined to listen to his opinion.
The literary elements that Rob Sheffield uses, like diction, imagery, details, and syntax, all cooperate to create a dialogue between the reader and the author and act to create a decisive view of "Key and Peele" and its affect on comedy.
Sunday, October 19, 2014
Response to Course Material October 19th
After finishing the first reading of The American Dream, we discussed it, annotated it, and then discussed it again. Through this process, I was finally able to (somewhat) understand the play. Talking to my classmates helped me to begin to see the symbolism and metaphors in the play and then discussing it a second time further aided me. I really like the format of a first read, discussion, second read with annotations, and discussion again. I feel like each time I process the work, I'm gaining more from the text (which I assume is the purpose). Our class also discussed and agree on the theme of the play: Consumerism is corrupting American societal structure and values. Once we decided this, more of the play began to make sense.
In this time, we also read and annotated How to Read Literature Like a Professor by Thomas Foster and Nuts and Bolts of College Writing by Michael Harvey. The class talked about how the concepts in HTRLLAP apply to recent literature or pop culture. I didn't necessarily like reading his book, but being able to relate Foster's literary theories to books and movies I'm familiar with was immensely helpful. Next, we wrote a practice Open Prompt essay and then used Nuts and Bolts to revise it. One of the biggest things I took away from Nuts and Bolts was the idea of a "pompous voice". According to Harvey, younger and less experienced writers tend to overcompensate for their lack of knowledge by adding big words that convolute the writing. I know I have been guilty of this more than once, so reading the book helped me to be more aware of the words I'm using.
We also began doing a warm up exercise everyday at the beginning of class. Each one involves a specific literary element (diction, syntax, imagery, etc.) and has an excerpt from a text and questions that go along with it. These have helped me be able to recognize a certain element and apply it to my own writing. Also in class, Ms. Holmes went over the specifics of the multiple choice and writing sections of the AP exam. In the past, multiple choice has been one of my strengths in standardized testing, but from what I've seen, the AP Lit MC seems more difficult. On Wednesday, Thursday, and Friday of this week, we watched Death of a Salesman with Dustin Hoffman and John Malkovich. I haven't had the chance to read or see Death of a Salesman before, so I was happy we got to watch it. I enjoyed the movie and I'm excited to delve into the play this week.
In this time, we also read and annotated How to Read Literature Like a Professor by Thomas Foster and Nuts and Bolts of College Writing by Michael Harvey. The class talked about how the concepts in HTRLLAP apply to recent literature or pop culture. I didn't necessarily like reading his book, but being able to relate Foster's literary theories to books and movies I'm familiar with was immensely helpful. Next, we wrote a practice Open Prompt essay and then used Nuts and Bolts to revise it. One of the biggest things I took away from Nuts and Bolts was the idea of a "pompous voice". According to Harvey, younger and less experienced writers tend to overcompensate for their lack of knowledge by adding big words that convolute the writing. I know I have been guilty of this more than once, so reading the book helped me to be more aware of the words I'm using.
We also began doing a warm up exercise everyday at the beginning of class. Each one involves a specific literary element (diction, syntax, imagery, etc.) and has an excerpt from a text and questions that go along with it. These have helped me be able to recognize a certain element and apply it to my own writing. Also in class, Ms. Holmes went over the specifics of the multiple choice and writing sections of the AP exam. In the past, multiple choice has been one of my strengths in standardized testing, but from what I've seen, the AP Lit MC seems more difficult. On Wednesday, Thursday, and Friday of this week, we watched Death of a Salesman with Dustin Hoffman and John Malkovich. I haven't had the chance to read or see Death of a Salesman before, so I was happy we got to watch it. I enjoyed the movie and I'm excited to delve into the play this week.
Thursday, October 16, 2014
American Dream Summary and Analysis
Author: Edward Albee was adopted by a wealthy family in the late 1920s. He was never comfortable with his adoptive family and eventually went off to live in Greenwich Village in New York.
Setting, Plot, and Characters: The play is about five characters: Mommy, Daddy, Grandma, Mrs. Barker, and the Young Man. It is set in mid-twentieth century America in a small apartment in the city. The story follows Mommy and Daddy's quest for "satisfaction". In the beginning, Mommy and Daddy are discussing a mystery guest that is coming soon. Finally, the guest (Mrs. Barker) arrives. None of the characters seem to know why Mrs. Barker is there, including Mrs. Barker herself. Once Mommy and Daddy are out of the room, Grandma hints to Mrs. Barker why she is there. Grandma reveals that Mrs. Barker has been there before in order to give Mommy and Daddy a "bumble of joy", but that Mommy and Daddy mutilated it because it did not behave. Finally, a Young Man arrives that Grandma dubs "the American Dream". Mommy and Daddy decide that he is suitable for adoption and Grandma ends the play.
Analysis: This piece's point of view comes from Albee as he reflects his cynicism of the American Dream. Grandma could be considered as acting as the narrator of the play once she is removed from the action. Writing in a loosely absurdist feel, Edward Albee creates all of his characters as silly and without any real emotions. The tone throughout the play is mostly cynical and it is a satire on American culture and Albee employs many devices to accomplish this. For example, the play often references bodily mutilation. When Daddy says “I’m all ears”, Mommy squeals with joy. Mommy exclaims “I could cut my tongue out!”. Mommy and Daddy even cut off the eyes, hands, and genitalia off of their child. One of the clearest symbols in The American Dream is boxes. When Grandma first enters the stage, she is carrying neatly wrapped boxes. It is not clear until the end of the story that the boxes contain the contents of the apartment. Mommy also talks about when she was younger and Grandma would pack her lunch in a such a nice box, she would not want to open it. Both of these elements symbolize the artificiality of modern America. Albee is commenting on the fact that people don’t care about the inside, they only care about the outside.
Cool quotes:
“I’ve got to go into my act now.”
Grandma is often described by critics as the most "human" character in the play. In this instance, it seems like she is even aware that she is merely playing a part. As the only self aware actor, Grandma is able to change the direction of plot as well as end the play altogether.
“So, let’s leave things as they are right now...while everybody’s happy...while everybody’s got what he wants...or everybody’s got what he thinks he wants.”
This quote reflects on one of the main motifs of the play - superficiality. Mommy, Daddy, and Mrs. Barker all have something they want: a son, money, and praise. However, as Edward Albee explained in an interview, the Young Man is really there to kill the family, so this quote also adds to the dramatic irony. So when Albee speaks through Grandma, he is commenting on the American incapability of looking past the surface.
THEME: Consumerism is corrupting American societal structure and values.
Motifs: gender roles, the American Dream, confusion, manners, emasculation, social status, control, sexuality, artificiality, immaturity, deceit, new vs. old
Motifs: gender roles, the American Dream, confusion, manners, emasculation, social status, control, sexuality, artificiality, immaturity, deceit, new vs. old
The title has a clear connection to the theme of the play. The "American Dream" has been corrupted by the commodification of people. Albee also comments reveals the pointlessness of polite society through his dialogue. All
of the conversations between the characters are cyclical and the reader
or viewer gets the idea that they have no meaning. He also makes fun of trivial things, like when Mommy and Mrs. Barker argue over the color of a hat. The playwright's use of satire also condemns consumerism.
Sunday, October 12, 2014
Close Reading October 12th
Scientologists' constant battle against drugs, especially the psychoactive assortment, inspired the creation of an organization called Citizens Commission on Human Rights (CCHR). The Scientologist magazine "Freedom" includes articles about success stories of the CCHR, among other things. In Mark Shaefer's piece, The Letter that Shocked the World, he tells the story of the patients held in the Child and Adolescent Unit of New Zealand's Lake Alice Hospital. Shaefer's diction, imagery, and details cooperate to portray psychiatry in a negative light, while praising the CCHR.
In his discussion of acts performed by the Lake Alice Hospital, Mark Shaefer uses specific diction as a means to condemn psychiatry. The head psychiatrist of the hospital, Selwyn Leeks, administered "blasts" of electroconvulsive therapy and apparently performed experiments on the patients described as "torturous". Later, Leeks is pictured as "skulk[ing]" away. Shaefer chooses these words specifically for their negative connotations, painting a picture of a diabolical character. The CCHR, on the other hand, is described as a "watchdog", giving the reader the idea that the organization is courageous and important. Each word is chosen for the purpose of promoting the CCHR.
Powerful imagery is used in the piece to sway the reader. A quote from the director of the CCHR in New Zealand is included, saying, "Lake Alice was a dumping ground where forgotten children who were wards of the State could be experimented on without fear of consequences". Reading this, the reader envisages a garbage dump of children, thrown away like trash. To reinforce this dehumanization of children, the article goes on to say that Leeks acquired children "whom he dismissed as little more than feral animals". The images that Mark Shaefer exercises show the hospital's devaluing of human life.
The author employs certain details in order to create a negative view of psychiatry in the readers' minds. For example, the article tells of each of the punishments inflicted on the patients, including "solitary confinement, painful drug injections, beatings, sexual abuse and blasts of electroconvulsive therapy (ECT) to the head, shoulders, legs and even genitals". In a similar way, the details that Shaefer include about the CCHR make is seem almost noble. He explains the founding of it saying that "CCHR is a nonprofit organization dedicated to protecting patients’ rights and reforming the field of psychiatry". Whenever Shaefer includes a specific detail, it is used to reflect the best parts of the CCHR and the worst of the hospital.
Carefully chosen diction, vivid imagery, and specific details are all employed in this piece to condemn the activities of the Lake Alice Hospital and perpetuate the ideals of the Scientologist organization.
In his discussion of acts performed by the Lake Alice Hospital, Mark Shaefer uses specific diction as a means to condemn psychiatry. The head psychiatrist of the hospital, Selwyn Leeks, administered "blasts" of electroconvulsive therapy and apparently performed experiments on the patients described as "torturous". Later, Leeks is pictured as "skulk[ing]" away. Shaefer chooses these words specifically for their negative connotations, painting a picture of a diabolical character. The CCHR, on the other hand, is described as a "watchdog", giving the reader the idea that the organization is courageous and important. Each word is chosen for the purpose of promoting the CCHR.
Powerful imagery is used in the piece to sway the reader. A quote from the director of the CCHR in New Zealand is included, saying, "Lake Alice was a dumping ground where forgotten children who were wards of the State could be experimented on without fear of consequences". Reading this, the reader envisages a garbage dump of children, thrown away like trash. To reinforce this dehumanization of children, the article goes on to say that Leeks acquired children "whom he dismissed as little more than feral animals". The images that Mark Shaefer exercises show the hospital's devaluing of human life.
The author employs certain details in order to create a negative view of psychiatry in the readers' minds. For example, the article tells of each of the punishments inflicted on the patients, including "solitary confinement, painful drug injections, beatings, sexual abuse and blasts of electroconvulsive therapy (ECT) to the head, shoulders, legs and even genitals". In a similar way, the details that Shaefer include about the CCHR make is seem almost noble. He explains the founding of it saying that "CCHR is a nonprofit organization dedicated to protecting patients’ rights and reforming the field of psychiatry". Whenever Shaefer includes a specific detail, it is used to reflect the best parts of the CCHR and the worst of the hospital.
Carefully chosen diction, vivid imagery, and specific details are all employed in this piece to condemn the activities of the Lake Alice Hospital and perpetuate the ideals of the Scientologist organization.
Sunday, September 21, 2014
Response to Course Material September 21st
We began the year by discussing various perspectives that are used to analyze a text. We learned to use the acronym DIDLS to remember the elements of diction, imagery, details, language (figurative), and syntax. In previous years, my English teachers didn't discuss these things in depth, so I enjoyed that we talked about each part in detail. For example, we discussed some aspects of diction, such as elevation, colloquialism, informality, abstract or concreteness, connotation and denotation, and repetition. Understanding that the term "diction" can involve all of these has helped me to comprehend literature on a different level.
After diction, we brushed over a few of the other items and then delved into syntax. Like with diction, none of my other teachers really explained what syntax is and how it affects a piece. Reading and working through the adapted passage from "Artful Sentences: Syntax as Style" by Virginia Tufte was enormously helpful because not only did it explain certain types of sentence structure and how they influence a piece, it gave examples in context. Simply reading about syntax can be dry and hard to understand, but the format of Tufte's description makes it easier to follow.
I found the form follows function method in syntax especially interesting. I never realized how much the placement of words and punctuation can influence the pace and emotion of a sentence. Although the use of varying syntax made the passage a little clunky, the story that Virginia Tufte chose did a great job of illustrating how to utilize syntax.
This past week, we started (and finished) reading the single act play, The American Dream. We were also to read and annotate "Theatre of the Absurd" by Jerome P. Crabb and "Existentialism 101" in order to understand better the context of the play. I really enjoyed the article about existentialism because when I was in American Lit, I wanted to know more about that movement. The two passages we read definitely provided a small look into what The American Dream is about, but after the first read I'm still pretty lost. I'm looking forward to discussing the play in class in order to gain a different perspective on it.
After diction, we brushed over a few of the other items and then delved into syntax. Like with diction, none of my other teachers really explained what syntax is and how it affects a piece. Reading and working through the adapted passage from "Artful Sentences: Syntax as Style" by Virginia Tufte was enormously helpful because not only did it explain certain types of sentence structure and how they influence a piece, it gave examples in context. Simply reading about syntax can be dry and hard to understand, but the format of Tufte's description makes it easier to follow.
I found the form follows function method in syntax especially interesting. I never realized how much the placement of words and punctuation can influence the pace and emotion of a sentence. Although the use of varying syntax made the passage a little clunky, the story that Virginia Tufte chose did a great job of illustrating how to utilize syntax.
This past week, we started (and finished) reading the single act play, The American Dream. We were also to read and annotate "Theatre of the Absurd" by Jerome P. Crabb and "Existentialism 101" in order to understand better the context of the play. I really enjoyed the article about existentialism because when I was in American Lit, I wanted to know more about that movement. The two passages we read definitely provided a small look into what The American Dream is about, but after the first read I'm still pretty lost. I'm looking forward to discussing the play in class in order to gain a different perspective on it.
Sunday, September 14, 2014
Close Reading September 14th
David Sedaris has one of the most distinctive voices in modern writing. In his reflective essay, Tasteless, he gives a first-person narrative about what it's like living life with a severely limited sense of taste. Sedaris' dry humor can be seen in his diction and his voice shows through his use of details and his unique syntax.
The author's diction shows his natural sense of humor. To do this, he uses everyday words in a different context. For example, when Sedaris is explaining that he no longer has a sense of taste, he says that his taste buds are "paved" beneath tar. This word is very precise, as it tells the reader that his mouth was not sprinkled, but coated in an unnatural substance. Another show of Sedaris' unusual word choice is in the sentence, "She’d raise the baton of meat to her face and examine it for flaws." By describing the piece of meat as a "baton", the author is degrading it to the level of a mere object, one that is being appraised for its market value. The effect of this diction is the understanding that to David Sedaris, food is just another item. By choosing words that have a different connotation than what is expected, the author catches the reader off guard and appeals to his or her sense of humor.
David Sedaris' details help to explain to the reader what type of person he is. When he is talking about his cooking skills (or lack thereof), Sedaris says, "I guess I thought that as it baked the cavity would fill itself with rubies or butterscotch pudding. How else to explain my disappointment the first dozen times I made it?" In including this detail, the fact that he expected something exciting to happen when he cooked a meatloaf in an angel-food-cake pan, Sedaris gives away how bad he is at cooking. Without this statement, the reader isn't able to understand how little the author knows or cares about cooking. When the author's brother tells him to make a mad looking pizza, David says, "And, as proof of my versatility, I would create a frown,". This detailed assertion is included to show how highly Sedaris thought of his cooking abilities. He is constantly using details to reflect his comedic personality.
Sedaris' syntax comes off like a conversation with the reader. He uses a lot of short sentences like "Part of the problem might be me," which make the piece more casual. In the sentence, "Oh, it chews all right," in reference to Sedaris' mouth, the reader can practically hear the author speaking to him or her. This pattern of short sentences makes the piece accessible to the reader and connects him or her to the author. Furthermore, the author likes to use longer sentences separated by different punctuation, like in the paragraph, "I am a shoveller, a quantity man, and I like to keep going until I feel sick. It’s how a prisoner might eat, one arm maneuvering the fork and the other encircling the plate like a fence: head lowered close to my food, eyes darting this way and that; even if I don’t particularly like it, it’s mine, God damn it,". In this paragraph, the effect of long sentences that are made choppy with frequent use of commas and a semicolon here or there is comic paranoia. David Sedaris' use of casual syntax contrasts with his slightly more elevated diction, creating the idea of a mature conversation.
The use of diction, details, and syntax in this reflective essay work together to show sophistication without alienating the less learned readers. David Sedaris' personality is practically bursting through each word and the effect is a piece with a strong voice and great humor.
Subscribe to:
Comments (Atom)