tag:blogger.com,1999:blog-4796082283374801052024-03-18T21:25:47.668-07:00Hum 2: "Pulp Fictions" (Spring 2019) Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.comBlogger119125tag:blogger.com,1999:blog-479608228337480105.post-81945984260970242332019-04-22T21:44:00.001-07:002019-04-22T21:44:15.986-07:00For Wednesday: Finish The Hobbit & Comprehension Exam #9<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlUIRTMV0XaS3iRuJy4qwQQioLStyTzdJjDozohyphenhyphens1OOHfe_OlujLMOnOeUvKKFqGqgew5QG2-6ScRUT9ZLWfSA-XjJLpckYiwASdbJgf-4qx4YlMi4FjiNhUdpg7k5UXAfbd0dXPD792U/s1600/map.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="268" data-original-width="477" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlUIRTMV0XaS3iRuJy4qwQQioLStyTzdJjDozohyphenhyphens1OOHfe_OlujLMOnOeUvKKFqGqgew5QG2-6ScRUT9ZLWfSA-XjJLpckYiwASdbJgf-4qx4YlMi4FjiNhUdpg7k5UXAfbd0dXPD792U/s400/map.jpg" width="400" /></a></div>
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<span style="font-family: Verdana, sans-serif;">Be sure to finish <i>The Hobbit </i>for Wednesday's class, since I'll give you a final comprehension exam over the last chapters (bring your book as always, though, since I'll expect you to quote from it). </span><br />
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<span style="font-family: Verdana, sans-serif;">Wednesday and Friday are our last two classes! Remember that any revisions are due by Friday of <i>next week</i>. No classes next week--it's "dead week," so you can either revise a paper or work on other classes. </span><br />
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<span style="font-family: Verdana, sans-serif;">We'll discuss the Final Exam during Friday's class as well, so be sure to attend! </span><br />
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<span style="font-family: Verdana, sans-serif;">It's been a real pleasure to teach this class and it's easily one of the best Humanities class I've ever taught. I appreciate the enthusiasm the class brought to these unconventional works, and how much we got to discuss each one. Thanks again! </span><br />
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<span style="font-family: Verdana, sans-serif;">See you on Wednesday...</span>Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-38722700335635622132019-04-19T22:23:00.000-07:002019-04-19T22:23:35.474-07:00For Monday: Tolkein, The Hobbit, Chs.11-15<div class="MsoNormal">
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ27CY2uq-_J54XsjP5BeBGJbTIHGWtDJyv_XcWLc1yCLmgt9tkyrXY-FzBlS6D4wJIUrhXXqlC7LuUpqLKdJniU_MGxDwNqzYeN1jmIMn58zG7Uq1SxfA-TgRolY3VS30WRr5sAiqoYS0/s1600/the-desolation-of-smaug.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="562" data-original-width="1000" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJ27CY2uq-_J54XsjP5BeBGJbTIHGWtDJyv_XcWLc1yCLmgt9tkyrXY-FzBlS6D4wJIUrhXXqlC7LuUpqLKdJniU_MGxDwNqzYeN1jmIMn58zG7Uq1SxfA-TgRolY3VS30WRr5sAiqoYS0/s400/the-desolation-of-smaug.jpg" width="400" /></a></div>
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<span style="font-family: Verdana, sans-serif;">Group "A" should answer TWO of the following: </span><br />
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<span style="font-family: Verdana, sans-serif;">Q1: How is Smaug a lot like the dwarves (especially Thorin) as well as some of the Men in the story? Though he is a great dragon and a creature of old, how has his heart been corrupted by a lack of fantasy and a narrow view of “business?”</span></div>
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<span style="font-family: Verdana, sans-serif;">Q2: Bilbo exclaims to himself, “Now I am a burglar indeed!” when he finally steals something—in this case, the Arkenstone. Why does he take it and say nothing to the dwarves? Does it do this because it calls to him, the same way as the Ring did? Or does he have a larger plan from the beginning? </span></div>
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<span style="font-family: Verdana, sans-serif;">Q3: In the passage with Smaug, we learn that “there was one smell [Smaug] could not make out at all, hobbit-smell; it was quite outside his experience and puzzled him mightily” (201). Additionally, Bilbo refuses to tell his name, and instead indulges in a series of “kennings,” an Anglo-Saxon poetic form (clue-finder, web-cutter, etc.). What effect does this have on Smaug, and what might be his purpose in doing this? Why taunt an already awake and angry dragon in this manner? </span></div>
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<span style="font-family: Verdana, sans-serif;">Q4: Why is Bard able to destroy Smaug when no one else could? How might his seemingly "magical" ability to perform a heroic feat mirror some of Bilbo's accomplishments? If you know <i>Star Wars</i>, why might this be a Luke Skywalker destroying the Death Star moment? (consider how Luke does it, and why George Lucas might have had this moment in mind). </span></div>
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Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-29526704851392031172019-04-17T20:54:00.000-07:002019-04-19T22:23:50.647-07:00For Friday: The Hobbit, Chapters 8-10<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7LjRFeK0srH2-g8ip_1ATUKLCQQncE_ybFc0zl4FCdwFR4VahDm8kboylqvBgVOOZQk-FuV1DhlEXo34yfxlamdeOM3epOUa06rU4UINZr7HiCqUyUFfo68HuQ3fnFuDYVQ-3nJf8ErWt/s1600/511a87f003b16_bilbo_spiders.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="666" data-original-width="1000" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7LjRFeK0srH2-g8ip_1ATUKLCQQncE_ybFc0zl4FCdwFR4VahDm8kboylqvBgVOOZQk-FuV1DhlEXo34yfxlamdeOM3epOUa06rU4UINZr7HiCqUyUFfo68HuQ3fnFuDYVQ-3nJf8ErWt/s400/511a87f003b16_bilbo_spiders.jpg" width="400" /></a></div>
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<span style="font-family: "verdana" , sans-serif;">Group "C" should answer TWO of the following: </span></div>
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<span style="font-family: "verdana" , sans-serif;">Q1: In Chapter Eight, after
fighting the spiders, Bilbo says, “I will give you a name,” he said to it,” and
I shall call you <i>Sting</i>” (142). Why do
you think he names his sword, which clearly isn’t a legendary weapon like “Beater”
or “Biter”? Why might this also illustrate the transformation going on in Bilbo
by this point in the novel? <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Q2: Unlike most novels,
Tolkein’s narrator is almost a character in the novel, full of coy hints about
the world’s history, and riddling sense of humor. Where do we most see the
narrator intrude on the story itself, and why do you think he does this? Why
not just tell the story ‘straight’?<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Q3: Writing about the
Wood-elves, Tolkein remarks, “They dwelt most often by the edges of the woods,
from which they could escape at times to hunt, or to ride and run over the open
lands by moonlight or starlight; and after the coming of Men they took ever
more and more to the gloaming and the dusk. Still elves they were and remain,
and that is Good People” (152). What do the elves seem to represent for Tolkein,
since they are the greatest race in Middle Earth? Why, too, are they people of “the
gloaming and the dusk”? <o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Q4: Why do the people of <st1:place><st1:placetype>Lake</st1:placetype> <st1:placetype>Town</st1:placetype></st1:place> (unlike the Master) give the dwarves such a warm welcome? What ‘world’
does the town seem to belong to—the ancient or the modern? Likewise, why does
the Master reject them and assume they’re all frauds?</span></div>
Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-61906519983532075692019-04-12T19:02:00.000-07:002019-04-12T19:02:04.219-07:00For Monday: Tolkein, The Hobbit, Chs.5-7<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtcDryi7MwfvgXhcaez0uk79yu_oditc5ff37HwJOVW1wdf6sCW0bffnUUG1FRJu4j9QgMBBeTDJpEJ2JcpYDXLq5_B7kjXJTsR2rBvaIbjqCHrFoO4NgE308DyEG6A8-OsO20CbX5n0g4/s1600/300px-Pieter_Bruegel_d._%25C3%2584._035.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="258" data-original-width="612" height="167" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjtcDryi7MwfvgXhcaez0uk79yu_oditc5ff37HwJOVW1wdf6sCW0bffnUUG1FRJu4j9QgMBBeTDJpEJ2JcpYDXLq5_B7kjXJTsR2rBvaIbjqCHrFoO4NgE308DyEG6A8-OsO20CbX5n0g4/s400/300px-Pieter_Bruegel_d._%25C3%2584._035.jpg" width="400" /></a></div>
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<span style="mso-bidi-font-weight: bold;"><span style="font-family: Verdana, sans-serif;">Group "B" should answer TWO of the following: </span></span></div>
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<span style="mso-bidi-font-weight: bold;"><span style="font-family: Verdana, sans-serif;"><br /></span></span></div>
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<span style="mso-bidi-font-weight: bold;"><span style="font-family: Verdana, sans-serif;">Q1: In Beowulf, a work which Tolkein not only translated but was
highly influenced by, the phrase “wyrd” is often used, which translates to fate
or chance. In one significant passage, Beowulf claims, “Wyrd saves oft/the
man undoomed if he undaunted be.” How does fate (or luck?) seem to
function similarly in The Hobbit? Does the narrator seem to believe
in such a concept, and at times does it serve Bilbo when he proves worthy of
it? <o:p></o:p></span></span></div>
<span style="font-family: Verdana, sans-serif;"><o:p></o:p>
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<span style="font-family: Verdana, sans-serif;">Q2: The Hobbit is full of poetry and song, from the dwarfs’ songs
(which resemble Beowulf) to the goblins’ ferocious chants to Gollum and
Bilbo’s riddles. Why does the narrator (who has a distinct personality) include
these unnecessary embellishments in the story? After all, we don’t really
need them to understand the plot, and many people just skim over them
entirely. Why might he want us to hear the poetry and puzzle over the
riddles ourselves? </span></div>
<span style="font-family: Verdana, sans-serif;"><o:p></o:p>
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<span style="mso-bidi-font-weight: bold;"><span style="font-family: Verdana, sans-serif;">Q3: Tolkein purposely went back and revised The Hobbit to bring
it in line with his evolving mythology and the Lord of the Rings trilogy. Though
we can read The Hobbit as a stand-alone work, where do we see
foreshadowings and links to the later works in this one? How, for example,
do we know the ring isn’t just a magic trinket but a true “ring of
power”? <o:p></o:p></span></span></div>
<div style="margin-bottom: .0001pt; margin: 0in;">
<span style="mso-bidi-font-weight: bold;"><span style="font-family: Verdana, sans-serif;"><br />Q4: How does Bilbo live up to his name and pedigree in these chapters and
become, in a small way, a hero of legend? What causes him to do
this? Is it an accident, like the way Gandalf tricked him into undertaking
the Quest, or is it a conscious decision of Bilbo’s? Discuss a scene where
you see him renounce his identity as a "burgher" and become a
"burglar." </span></span></div>
Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-23883950730922572962019-04-10T15:18:00.001-07:002019-04-10T15:21:02.740-07:00For Friday: Tolkein, The Hobbit, Chapters 1-4<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggC9yK02CgExMdSOeP_xgXPjDR0EKG2YMj1sf_j1l0fcdkktrH9Z_yUZbDL6Ovg4QvFghzBjjT1jaA_K2JOlujG5gC-_M59OQYYpTEnpebit6HWDYw11p2aed_mWRW_zPTyfRSid2EEKy2/s1600/14HOBBIT-jumbo.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="683" data-original-width="1024" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggC9yK02CgExMdSOeP_xgXPjDR0EKG2YMj1sf_j1l0fcdkktrH9Z_yUZbDL6Ovg4QvFghzBjjT1jaA_K2JOlujG5gC-_M59OQYYpTEnpebit6HWDYw11p2aed_mWRW_zPTyfRSid2EEKy2/s400/14HOBBIT-jumbo.jpg" width="400" /></a></div>
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<span style="font-family: "verdana" , sans-serif;">Group "A" should answer TWO of the following: </span></div>
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<span style="font-family: "verdana" , sans-serif;">Q1: We’ve considered how Sherlock Holmes and John Carter are
prototypes for many characters in their respective genres. In the same way, how
might Bilbo Baggins have set the standard for a certain kind of character in
fantasy novels and movies? Can you think of someone he resembles either in his
character or language? </span></div>
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<span style="font-family: "verdana" , sans-serif;">Q2: In Chapter One, “An Unexpected Party,” Bilbo asks the
dwarfs, “I should like to know about risks, out-of-pocket expenses, time
required and remuneration, and so forth” (21). Why does this sound
distinctly out of place in a fantasy novel, and where else do we spy conscious
anachronisms (historical inaccuracies) in his story?<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Q3: Though The Hobbit opens with a simple domestic
scene (“in a hole in the ground there lived a hobbit”), how does Tolkein hint
that a great mythology lies behind the prosaic world of the Shire? Why do
you think he felt it necessary to let glimpses of this ancient world shine
through his simple tale? Does it affect how we read and understand the work as
a whole?<o:p></o:p></span></div>
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<span style="font-family: "verdana" , sans-serif;">Q4: In Chapter II, “Roast Mutton,” the dwarfs reflect on
Gandalf: “So far he had come all the way with them, never saying if he was in
the adventure or merely keeping them company for a while. He had
eaten most, talked most, and laughed most. But now he simply was not
there at all!” (30). What kind of character/wizard is Gandalf, and how
does he compare to the idea of a ‘wizard’ in popular culture?</span></div>
Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-71898360178138443072019-04-05T22:40:00.001-07:002019-04-05T22:40:04.279-07:00For Monday: Burroughs, A Princess of Mars, Chapters 21-End<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI6sUP2BmYcDfGxDkuTFyTfTpuXoqX8vpNxzaNr76IlDs_49OxCRH0td9oC2XDLx60iUc0_tkoQh6JnWDEXRXkiy3I8YxDK1LjnQlSYlK4J-iyUDiRKREhpLUFHPXSBhmqHWXMjRBJ7xE7/s1600/vector-superhero-mask-icon-cartoon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="337" data-original-width="231" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiI6sUP2BmYcDfGxDkuTFyTfTpuXoqX8vpNxzaNr76IlDs_49OxCRH0td9oC2XDLx60iUc0_tkoQh6JnWDEXRXkiy3I8YxDK1LjnQlSYlK4J-iyUDiRKREhpLUFHPXSBhmqHWXMjRBJ7xE7/s400/vector-superhero-mask-icon-cartoon.jpg" width="273" /></a></div>
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<span style="font-family: Verdana, sans-serif;">Group “C” should answer TWO of the following:</span></div>
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<span style="font-family: Verdana, sans-serif;">Q1: Dejah Thoris, trying to explain to John Carter why they
can never be married now, says “It is custom. We are ruled by custom upon
Barsoom” (149). Why does Burroughs create a world that prizes custom/tradition
over free-will and love? Does this contrast with our own laws and values? Or is
it a science-fiction echo of it? </span></div>
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<span style="font-family: Verdana, sans-serif;">Q2: Do you find the various twists and turns of the
plot—always in Carter’s favor—a little too unbelievable or convenient? Note
that the Zodangans never question John Carter’s strange name until he escapes,
and then exclaim, “who ever heard of such a name upon Barsoom!” (152). Why does
he make it so easy (relatively) for John Carter to dash from one escapade to
another? Or is this secretly why we like the work—because we know he’ll always
escape?</span></div>
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<span style="font-family: Verdana, sans-serif;">Q3: After the defeat of Zodanga, Carter writes, “In a
hundred places they had applied the torch, and columns of dense smoke were
rising about the city as though to blot out from the eye of heaven the horrid
sights beneath” (172). Though Carter is reunited with his love and his friend,
Tars Tarkas, the entire city is destroyed, looted, and its citizens left to the
sword. Is this supposed to darken his ‘happy ending’? Or is this simply a
reflection of his conversion to Martian beliefs: that all enemies deserve to be
destroyed?</span></div>
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<span style="font-family: Verdana, sans-serif;">Q4: The book could have easily ended with the end of Chapter
26, or at the beginning of 27, when he describes watching over his egg with
Dejah Thoris. Instead, he robs us our <st1:place>Hollywood</st1:place> happy
ending by having the <i>entire planet die</i>—or seem to die, before he is
transported back to Earth. Why do you think he did this? Was it merely to set
up a cliffhanger for his next book (and he wrote many of them)? Or does it
underline other themes we’ve encountered earlier in the book?</span></div>
Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-72864682852224016902019-03-29T22:41:00.000-07:002019-03-29T22:41:20.771-07:00For Monday: Burroughs, A Princess of Mars, Chapters 15-20<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhasP4y5knqVN7k0OW576o3R2wBHNDndNQlw1Hlm2WZY-Pa0tw1mii-YCtMRkdLBFdKqD6rdjSeq38FOL6Qzy_lKjig57rNWCOD4rkRb7M0t5STtz24hkfKpv67Ic59XjUCoRBvKdYmHrtN/s1600/71pVWtHXDyL._SY445_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1348" data-original-width="1030" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhasP4y5knqVN7k0OW576o3R2wBHNDndNQlw1Hlm2WZY-Pa0tw1mii-YCtMRkdLBFdKqD6rdjSeq38FOL6Qzy_lKjig57rNWCOD4rkRb7M0t5STtz24hkfKpv67Ic59XjUCoRBvKdYmHrtN/s400/71pVWtHXDyL._SY445_.jpg" width="305" /></a></div>
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<span style="font-family: Verdana, sans-serif;">Group “B” should answer TWO of the following:</span></div>
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<span style="font-family: Verdana, sans-serif;">Q1: How does Burroughs contrast the Red Martians with the
Green in Chapter 20? Are they the nobler, wiser breed that Dejah Thoris boasts
of? Or are they merely a different colored “Martian”? What does he learn about
their society in the Atmosphere Factory? </span></div>
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<span style="font-family: Verdana, sans-serif;">Q2: John Carter talks a lot about the ‘atavism’ of the
Martians, and whether some can rebel over their savagery and become ‘human’
again. But is he ever guilty of the reverse—of becoming too much like them? If
the Martians are a creation of their environment, can it also ‘devolve’ him
during his stay? </span></div>
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<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q3: Why might it be significant that the Tharks, though they
take no delight in love or sex themselves, are ruled by a malicious, sex-crazed
monster, Tal Hajus? Is it necessary to have a classic villain at the center of
this story, who threatens the life—and virtue—of Dejah Thoris like a Darth
Vader (or Jabba the Hutt)? Or could there be another reason why their leader is
the most primitive thark of the lot?</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q4: Somewhat related to the above, what is the significance
of Sola’s story of her parents (one of which we learn, is Tars Tarkas)? How did
her parents rise above the baser instincts of their people? And why might this
story also hint at the ceaseless malevolence of Sarkoja? <o:p></o:p></span></div>
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<br />Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-90387061761903336662019-03-27T18:57:00.001-07:002019-03-27T18:57:37.783-07:00For Friday: Burroughs, A Princess of Mars, Chapters 8-14<br />
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<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC5aeije8UzbE9Q6FtjueEJaXzlR1CHlldzxNLXmZnsdvmV8wXBuaUL-B2oXhpLastQPqDbiw7eMKWKvJchspHI4Dd4VxQF36DnZJU73qaKCZ9hagtU0tV32a37VLs2OgtG-i0A8T-l4Dr/s1600/71pVWtHXDyL._SY445_.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="445" data-original-width="289" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhC5aeije8UzbE9Q6FtjueEJaXzlR1CHlldzxNLXmZnsdvmV8wXBuaUL-B2oXhpLastQPqDbiw7eMKWKvJchspHI4Dd4VxQF36DnZJU73qaKCZ9hagtU0tV32a37VLs2OgtG-i0A8T-l4Dr/s400/71pVWtHXDyL._SY445_.jpg" width="258" /></a></div>
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<br /></div>
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<span style="font-family: Verdana, sans-serif;">Group “A” should answer TWO of the following:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q1: Having read 14 (or so) chapters of the book, what do you
think made <i>A Princess of Mars </i>a blockbuster way back in 1917? What is
the chief attraction of the book? Related to this, what aspect of the book has
been most copied in the contemporary books or movies that followed? In other
words, where do you experience <i>déjà vu </i>when reading the book? <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q2: In Chapter 13, Dejah Thoris tells John Carter that the
Green Martian women envy her because “[I] stand for everyone they have not, and
for all they most crave and never can attain. Let us pity them…since we are
greater than they and they know it” (78). Though John Carter deeply admires
her, are the Red Martians (as represented by her) truly better or more
‘civilized’ than the Green Martians? What makes her (and him) think so? </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q3: Though the book seems to present the Green Martians as a
debased and savage race, do they show any signs of being able to regain their
‘humanity’? Since Burroughs is obsessed with the idea of <i>atavism</i>, do
even these Martians have the ability to be compassionate and civil within their
ancestry? Do we see any signs of this? </span></div>
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<br /></div>
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<span style="font-family: Verdana, sans-serif;">Q4: For all his worldly experience in war, John Carter is
something of a dunce when it comes to making love, and even Dejah Thoris teases
him by saying, “What a child! A great warrior and yet a stumbling little child”
(78). Most action heroes in our own day are both fierce warriors and ready
lovers; so why did Burroughs make Carter so innocent in his attempts at
seduction? How does this complement his character and virtues? <o:p></o:p></span></div>
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<br /></div>
<br />Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-57075073358870718432019-03-25T15:30:00.000-07:002019-03-25T15:30:38.283-07:00For Wednesday: Burroughs, A Princess of Mars, Chapters 1-7<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAt5RrOKugX2065Al3V_jSnQ6wzy9aBVC2df4RuIo4lhlD_hE58lm176m6nBONreR8QUmIpiENHocJyi2f5AQfMmj8lU3y4-yDQMk0KNTGq6VfR2XXWAjzSnLvINdNGy4izbHz07IwT4Dq/s1600/c8511dfd34616a1698bfc939b452c79a.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="640" data-original-width="419" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgAt5RrOKugX2065Al3V_jSnQ6wzy9aBVC2df4RuIo4lhlD_hE58lm176m6nBONreR8QUmIpiENHocJyi2f5AQfMmj8lU3y4-yDQMk0KNTGq6VfR2XXWAjzSnLvINdNGy4izbHz07IwT4Dq/s400/c8511dfd34616a1698bfc939b452c79a.jpg" width="261" /></a></div>
<br />
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Group C should answer TWO of the following:</span></div>
<div class="MsoNormal">
<br /></div>
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<span style="font-family: Verdana, sans-serif;">Q1: We’ve discussed why Holmes and Batman are the prototype
for the superhero of the 20<sup>th</sup> century. How might John Carter
function as a prototype for a different kind of ‘hero’? Even though he has a
lot of the superhero in him (Superman, etc.), who else might he remind us of?
Where might we see this in the book itself? (you might also consider that
Burroughs created another iconic figure—Tarzan—in his most famous novel). </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q2: John Carter often criticizes the Green Martians for
being without “the finer feelings and higher humanitarian instincts” (38). How
does he explain how they came to be so savage and unfeeling, especially since
some of them—notably, Sola—have recognizably human instincts? What made them so
“broken” in his opinion?</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q3: When this book was published (1917), various theories of
race and science were often used to explain why one group was superior or more
advanced than another. <i>A Princess of Mars </i>seems to tackle this debate
head-on with its Martian world of Green Martians, Red Martians, and White Apes.
Do you think Burroughs is sympathetic to ideas we would consider racist today?
Or is the book challenging racist stereotypes from the convenient distance of
Mars? </span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q4: Though many writers wrote science fiction at this time,
what makes <i>A Princess of Mars </i>such a uniquely ‘American’ novel? How
could John Carter not be mistaken for someone like Sherlock Holmes in his
attitude and beliefs, and why does Mars specifically evoke the American ‘Wild
West’? </span><o:p></o:p></div>
<br />Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-83884071517146258482019-03-15T18:30:00.002-07:002019-03-15T18:30:56.212-07:00Paper #2: Costumed Crime Fighters<br />
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIA-DdBCAlhABpsollYuajUtVqLD7DtAo6V0DyM0OCBK5F9MYpp7_kGw-fVFk8UcBhZZrmwS19KYZ5hvYSN_Uztai5So_Q6KsyXn7FpERNTGIU2eLhOuo4L6tv7o4CqPwBMggNf5iDdw-3/s1600/vector-superhero-mask-icon-cartoon.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="490" data-original-width="700" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhIA-DdBCAlhABpsollYuajUtVqLD7DtAo6V0DyM0OCBK5F9MYpp7_kGw-fVFk8UcBhZZrmwS19KYZ5hvYSN_Uztai5So_Q6KsyXn7FpERNTGIU2eLhOuo4L6tv7o4CqPwBMggNf5iDdw-3/s400/vector-superhero-mask-icon-cartoon.jpg" width="400" /></a></div>
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<i><span style="font-family: Verdana, sans-serif;">“I was repelled by the egotism which I had more than once
observed to be a strong factor in my friend’s singular character” (“The Copper
Beeches”)</span></i></div>
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<br /></div>
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<span style="font-family: Verdana, sans-serif;">To fight crime and save the city, both Holmes and Batman are
shown to be ‘superhuman’ in their abilities and characters, though neither is
from Planet Krypton. However, both appear to be at times compassionate, at
times completely indifferent; sometimes invincible, and sometimes completely
fallible. If both characters create the prototype of the superhero, what really
makes them tick? What is the literary DNA of a costumed crimefighter, and how
have other superheroes (both of the costumed and the plain clothes variety)
followed in their example?</span></div>
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<br /></div>
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<span style="font-family: Verdana, sans-serif;">In this paper, I want you to discuss how both Doyle and
Miller examine the essential makeup of the ‘superhero.’ How do they think, act,
feel, and respond to their surroundings? <i style="mso-bidi-font-style: normal;">Why</i>
do they do what they do? What are their flaws? ALSO, are there any significant
differences? Do both authors agree on what qualities it would take to be a
superhuman crimefighter? Do you have to be a sociopath? Or just a bit insane?
Do you have to care too much for people? Or not enough? Would Holmes be Batman
in the 21<sup>st</sup> century? Or would they become rivals? </span></div>
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<br /></div>
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<span style="font-family: Verdana, sans-serif;">ADDITIONALLY, I want you to compare these works to ONE
modern ‘superhero’ who you feel is descended from one or both heroes. This
could be a literal superhero such as Iron Man, Captain <st1:country-region><st1:place>America</st1:place></st1:country-region>,
or even Deadpool; or it could be someone more like House M.D., or any number of
cops and crime solvers on the various crime shows on television. Discuss why
you think this modern hero <i>responds </i>to the ideas introduced in one or
both works, and how we can see Holmes or Batman in their shadow. </span></div>
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<br /></div>
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<span style="font-family: Verdana, sans-serif;">REQUIREMENTS: </span></div>
<ul style="margin-top: 0in;" type="disc">
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-family: Verdana, sans-serif;">At
least 3-4 pages double spaced</span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-family: Verdana, sans-serif;">QUOTE
from both books for support, though you can use one more than the other;
but don’t just quote once from each book and call it a day—consider <i>what
</i>you need to show us to make a convincing argument </span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-family: Verdana, sans-serif;">Compare
to one modern ‘hero’ that you find relevant; discuss this hero and give
context for the show/book/movie they appear in. Make connections for your
reader.</span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-family: Verdana, sans-serif;">Use MLA
format throughout and include a Works Cited page</span></li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;"><span style="font-family: Verdana, sans-serif;">DUE
Friday, April 5<sup>th</sup> by <st1:time hour="17" minute="0">5pm</st1:time>
[no class that day]</span></li>
</ul>
Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-17659433897025315252019-03-13T21:45:00.000-07:002019-03-13T21:45:23.721-07:00For Friday: Miller, Batman: Year One, Chapters Three and Four<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggXlPtCUhGdKkkFNkVnJIEl6_cca8rKjOBkVxZvzpSHH7H3EnJAXRxbNvt7o3RbkAy34vb1246CMmR0eaz_IJAbcMHcNVfDOxaqcS1oq_eSyw3I7r6Zomg3GCjJK4vf_wv6cfzL8oDtUda/s1600/12436746293_1c3b7027eb.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="285" data-original-width="326" height="348" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggXlPtCUhGdKkkFNkVnJIEl6_cca8rKjOBkVxZvzpSHH7H3EnJAXRxbNvt7o3RbkAy34vb1246CMmR0eaz_IJAbcMHcNVfDOxaqcS1oq_eSyw3I7r6Zomg3GCjJK4vf_wv6cfzL8oDtUda/s400/12436746293_1c3b7027eb.jpg" width="400" /></a></div>
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<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Groups A and B should answer TWO of the following (in other
words, if you didn’t answer the questions last time, do these ones!) </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q1: At the end of the Chapter Three, Gordon thinks to
himself, “He’s a criminal. I’m a cop. It’s that simple. But—.” What makes him
add that “but”? How has Chapter Three changed his ideas about Batman? Why is
Batman less criminal, and why is he less just in his actions? </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q2: <span style="mso-spacerun: yes;"> </span>Throughout the
comic, Batman’s plans never quite come off, even though he’s obviously spent a
lot of time planning them. What seems to be the problem with being a superhero
for him? What does even he conclude that he <i>needs </i>to make his career
more successful?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q3: The <st1:place>Gotham</st1:place> media mistakes Selina
(Catwoman) for Batman’s assistant, which pisses her off. But according to the
comic, why does Selina become a costumed vigilante? What might this suggest
about the nature of superheroes, and why there are so many of them in comic
books?</span></div>
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<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q4: Why might it be significant that Batman’s most
successful mission in the comic is when he isn’t wearing his costume at all? Why
doesn’t he wear his costume (or change in a convenient phone booth) to save
Gordon’s son? </span></div>
<div class="MsoNormal">
<br /></div>
<br />Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-79118117963238323382019-03-11T14:41:00.003-07:002019-03-12T15:01:13.927-07:00For Wednesday: Miller, Batman: Year One, Chapters One and Two<br />
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<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibwxfmDmA-VJlzRv15qJyfYUWGhXkBF1_M1t6a6iGDR60mI3V5kNSPQswNYvBNPTtvn3PXg9KkcIiVRojGJSKGk7FPXZjwxqKIDnDVobqW4xFZabS5LxR0IETaFYxanKJbvO8yUfJjIsl1/s1600/YearOneAd.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="923" data-original-width="600" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEibwxfmDmA-VJlzRv15qJyfYUWGhXkBF1_M1t6a6iGDR60mI3V5kNSPQswNYvBNPTtvn3PXg9KkcIiVRojGJSKGk7FPXZjwxqKIDnDVobqW4xFZabS5LxR0IETaFYxanKJbvO8yUfJjIsl1/s400/YearOneAd.jpg" width="260" /></a></div>
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<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Group “C” should answer TWO of the following:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Q1: In Chapter One, why isn’t it enough to have strength and
skill to be a superhero? Why does Bruce Wayne fail in his early attempts to
dispense justice? Why does he ultimately adopt the costume as an essential part
of his plan? </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Q2: Surprisingly, the comic focuses even more on Lieutenant
Gordon than on Batman himself. Why do you think this is? What does Gordon’s
story help us to see about Batman’s world and origin? Could we argue that
Gordon is Batman’s “Watson”? </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Q3: Try to describe the artwork of this comic: how does it
affect how we read the story, and how we feel about the story? Do you think
it’s appropriate to the story Miller’s trying to tell? Is it too dark? Too
cartoony? Too sketchy? Does it show too much, or leave just enough to the
interpretation? </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Q4: Unlike Sherlock Holmes, Batman doesn’t wait for cases to
come to him, but actively seeks them out—even crossing societal boundaries.
When he interrupts the dinner party of <st1:place>Gotham</st1:place>’s big
wigs, he warns them, “From this moment on—none of you are safe” (38). Does this
make him more of a “hero” and prove that he cares more about the people of <st1:place>Gotham</st1:place>?
Or is he even more into ‘game playing’ and the thrill than Sherlock is? Which
of the two do you think is more moral/ethical?</span></div>
<br />Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-33835029820502678702019-03-06T12:33:00.000-08:002019-03-06T12:33:47.203-08:00For Friday: "The Noble Bachelor" and "The Copper Beeches" + Comprehension Exam<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfyJFFJiWaz4g39RgIDkdR0YpWfdp4RIYd7wxybeXPwaw5vBFoathy34gPt1130l7CmnaPc4MylX-oKJdqkKSrKX68qPHGnhWVQToklmm7Vmyk8fO3j4S6BUGFCFy7yMAoC4X0M6B2sv_U/s1600/2990661-QKROAOPA-6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="459" data-original-width="375" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjfyJFFJiWaz4g39RgIDkdR0YpWfdp4RIYd7wxybeXPwaw5vBFoathy34gPt1130l7CmnaPc4MylX-oKJdqkKSrKX68qPHGnhWVQToklmm7Vmyk8fO3j4S6BUGFCFy7yMAoC4X0M6B2sv_U/s400/2990661-QKROAOPA-6.jpg" width="326" /></a></div>
<br />
<span style="font-family: Verdana, sans-serif;">For Friday, be sure to read "The Noble Bachelor" and "The Copper Beeches." There are no questions because <i>everyone </i>will respond to both stories on a Comprehension Exam on Friday. The exam will cover both stories, so be sure to bring your book so you can quote passages in support. This is so we stay on schedule to compensate for the snow day on Monday. </span><br />
<br />
<span style="font-family: Verdana, sans-serif;">ALSO: Be sure you have our next book<i>, Batman: Year One </i>for next week, since we'll start reading it for Wednesday's class. </span><br />
<span style="font-family: Verdana, sans-serif;"> </span>Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-34397785656893220172019-03-02T08:51:00.000-08:002019-03-04T20:07:56.358-08:00For Wednesday: The Adventures of Sherlock Holmes: “The Man With the Twisted Lip” and “The Speckled Band.”<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLwCq474rhougAHzW63lMJn2539sQyckctrspqYohobRJB6D-llsKM2qN-6Dt7Xk_wz8ctHyM2Eql8Y7_fjOzSedu9alexRDsJwPeNO_OUdJ8gN-kVy0yhHwUZia7aV50oNNc8GS8dygCs/s1600/band.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="251" data-original-width="350" height="286" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiLwCq474rhougAHzW63lMJn2539sQyckctrspqYohobRJB6D-llsKM2qN-6Dt7Xk_wz8ctHyM2Eql8Y7_fjOzSedu9alexRDsJwPeNO_OUdJ8gN-kVy0yhHwUZia7aV50oNNc8GS8dygCs/s400/band.jpg" width="400" /></a></div>
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<span style="font-family: "verdana" , sans-serif;">[NOTE: Because of the Snow Day, we're going to repeat this class on Wednesday. So if you didn't answer the questions yet, I'll give you another class to turn them in. Be sure to read these stories--we'll have a Comprehension Exam soon!] </span><br />
<span style="font-family: "verdana" , sans-serif;"><br /></span>
<span style="font-family: "verdana" , sans-serif;">Group “B” should answer TWO of the following:</span></div>
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<br /></div>
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<span style="font-family: "verdana" , sans-serif;">Q1: How is “The Speckled Band” a bit like Kipling’s earlier
story, “The Mark of the Beast”? Why might this story be Doyle’s way of
re-writing the idea of an Englishman who turns into a “beast” from his
disregard of another culture? </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Q2: Both stories play on Watson’s (and perhaps the reader’s)
racial fears and biases in their cast of characters: gypsies, ‘cripples,’ and a
Lascar (someone from <st1:place>East India</st1:place>). Why does Doyle make
specific mention of them, and initial make us assume that these characters
perpetrated the crimes?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Q3: “The Speckled Band” also references two Englishmen who
were notorious in their time: Pritchard and Palmer, both doctors who used their
skills to poison friends and family members. Why might it be significant that
the criminal in this story is also a doctor, as well as a member of “one of the
oldest Saxon families in <st1:country-region><st1:place>England</st1:place></st1:country-region>”?<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;">Q4: At the end of “The Man With the Twisted Lip,” the
exposed husband laments, “It was not the wife, it was the children…I would not
have them ashamed of their father. My God! What an exposure!” Why is his shame
so mortifying to him, and how does this story hint at several significant
taboos in English society? </span></div>
<br />Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-52930404679706150332019-02-25T14:33:00.000-08:002019-02-25T14:33:23.699-08:00For Wednesday: Doyle, The Adventures of Sherlock Holmes, “The Red-Headed League” and “The Five Orange Pips”<!--[if gte mso 9]><xml>
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<table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="margin-left: auto; margin-right: auto; text-align: center;"><tbody>
<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUdJpsSjYhtUreWv2HR4abM0wbVfMQ6MZGeVUCXuB7m0H1698PQchPSjscxIo-vMTx_xz_LuVY0W2qk2g0a-T0mMuB5ak7YdgMYXygBBEdyEfxltQ38ICA9MNwLnf8RuqUbumDiw7yWdud/s1600/Sherlock_Holmes_Museum_The_Red-Headed_League.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1600" data-original-width="1092" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUdJpsSjYhtUreWv2HR4abM0wbVfMQ6MZGeVUCXuB7m0H1698PQchPSjscxIo-vMTx_xz_LuVY0W2qk2g0a-T0mMuB5ak7YdgMYXygBBEdyEfxltQ38ICA9MNwLnf8RuqUbumDiw7yWdud/s400/Sherlock_Holmes_Museum_The_Red-Headed_League.jpg" width="272" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">An exhibit from the Sherlock Holmes Museum in London: http://www.sherlock-holmes.co.uk/</td></tr>
</tbody></table>
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<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
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</span><div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"></span><span style="font-family: Verdana, sans-serif;">Group “A” should answer TWO of the following:</span><span style="font-family: Verdana, sans-serif;"></span><span style="font-family: Verdana, sans-serif;">
</span></div>
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<span style="font-family: Verdana, sans-serif;">
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<span style="font-family: Verdana, sans-serif;">Q1: In “The Five Orange Pips,” Watson recalls a list he once
made (in an earlier Holmes novella, <i style="mso-bidi-font-style: normal;">The
Sign of Scarlet</i>), of Holmes’ skills and defects, admitting that he knows
only a little Botany, random Chemistry, but everything possible about criminal
literature. We also see Holmes resorting to an encyclopedia to learn about the
Klu Klux Klan. Why do you think Doyle is demystifying Sherlock Holmes’ skills
and omnipotence? Has even Watson lost a little of his initial awe in Sherlock’s
presence?</span></div>
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<span style="font-family: Verdana, sans-serif;">Q2: In “The Red-Headed League,” Holmes tells Watson, “the
more bizarre a thing is the less mysterious is proves to be. It is your
commonplace, featureless crimes which are really puzzling, just as a commonplace
face is the most difficult to identify.” Does this theory hold up in the
mystery of the “Red-Headed League?” If so, what might this suggest about the
psychology of criminals—and the reason they often get away? </span></div>
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<br /></div>
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<span style="font-family: Verdana, sans-serif;">Q3: In many ways, “The Five Orange Pips” could almost be a
ghost story in the vein of “The Mark of the Beast” or “The Monkey’s Paw.” What
does it have in common with these stories, and do you think Doyle ‘shifts’ the
story away from the uncanny elements? Or does he affirm it by the end of the
story? Consider, too, that this is one of Holmes’ rare failures—at least in the
sense of bringing the criminals to justice. </span></div>
<span style="font-family: Verdana, sans-serif;">
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<span style="font-family: Verdana, sans-serif;">Q4: At the end of “The Red-Headed League,” Watson calls
Holmes a “benefactor of the race.” But he waves this off, saying merely that “man
is nothing, work is everything” (to translate from the French). What do you
think he means by this? How might this reveal an important aspect of Holmes’
character, particularly if we consider him a precursor to the modern-day
superhero? </span></div>
<span style="font-family: Verdana, sans-serif;">
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<br /></div>
Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-54990329093906653352019-02-22T15:30:00.005-08:002019-02-22T15:30:52.444-08:00For Monday: Doyle, The Adventures of Sherlock Holmes: “A Scandal in Bohemia,” and “A Case of Identity” <br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCx8O9YP0SykZQEV4Fw0YN1khQIwMHO9w6z12PziROX7stVURdS8vnh03ZZU45BMMNbvnRqA9xNBhUPenL1dVnqX6dkW9jVbiG8fxMNt2OVCPUTBpbaC5vYODj2dX834S165Rfxipg37Od/s1600/7c7d1785e9ba841d52ff7981bde76525581eddf9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="251" data-original-width="446" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCx8O9YP0SykZQEV4Fw0YN1khQIwMHO9w6z12PziROX7stVURdS8vnh03ZZU45BMMNbvnRqA9xNBhUPenL1dVnqX6dkW9jVbiG8fxMNt2OVCPUTBpbaC5vYODj2dX834S165Rfxipg37Od/s400/7c7d1785e9ba841d52ff7981bde76525581eddf9.jpg" width="400" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Group “C” should answer TWO of the following:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q1: What connections does the BBC <i>Sherlock </i>series
(which we watched in class) make with these two stories? What characteristics,
mannerisms, themes, and ideas did the show translate from the page to the
stage? Another way of thinking about this is, how did the show help you read or
understand the Sherlock (or the Watson) of the stories?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q2: Both stories are about the dangers women in the late-19th century face while trying to be independent. While Irene Adler is much more
aggressive and clever than Miss Sutherland, what makes each one especially
vulnerable? Is Holmes sympathetic or oblivious to their situation? </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q3: Iain Pears, a critic and mystery novelist, wrote of
Sherlock Holmes that he “is the archetypal ‘new man’ of the Victorian age, a
meritocrat, living solely off his brains, dislocated socially and scornful of
the society in which he lives.” Where do we see this in the stories? What makes
him an ‘outsider,’ yet someone who earns his own way in the world without
relying on class or wealth? </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q4: In “A Case of Identity,” Holmes writes, “life is
infinitely stranger than anything which the mind of man could invent. We would
not dare to conceive the things which are really mere commonplaces of
existence.” This sounds like a statement someone might say in <i>Carrie</i>, or
“The Mark of the Beast.” However, since he’s not talking about ghosts and
monsters, what does he mean by the “strange” things which are completely
“normal” all around us? Why would we perceive these things as uncanny? <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<br />Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-43643351492556757702019-02-14T20:46:00.001-08:002019-02-14T20:46:15.461-08:00Paper #1: That Which Cannot Be Named!<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4mdChDuXr9xaVqTAFUQ2JCEORt0FQrT2qc-yYDH47LbEtFD-daXHlzrwXrqStQMZrxzmttp0JwxaiCDjZqlMRryYwFV2wa8kN7VrV3ZyRNJ2edGTB6Z6g_bly-NjOW-kEMQ7HHpanKJFu/s1600/Tarzan_Annual_Vol_1_1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="348" data-original-width="230" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4mdChDuXr9xaVqTAFUQ2JCEORt0FQrT2qc-yYDH47LbEtFD-daXHlzrwXrqStQMZrxzmttp0JwxaiCDjZqlMRryYwFV2wa8kN7VrV3ZyRNJ2edGTB6Z6g_bly-NjOW-kEMQ7HHpanKJFu/s400/Tarzan_Annual_Vol_1_1.jpg" width="263" /></a></div>
<div class="MsoNormal">
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<div class="MsoNormal">
<i>“People don’t get better, they just get smarter. When you
get smarter, you don’t stop pulling the wings off flies, you just think of
better reasons for doing it</i>” (King 98).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“Horror stories,” or “ghost stories” (or whatever you want
to call them) force us not only to face our fears, but to safely discuss our
taboos between the covers of a book. Yet we keep telling the same kinds of
stories, which suggests our fears (and secrets) remain the same, or that we’re
not listening to the conversation of horror going back two hundred years or
more. Maybe we should start listening? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
For your first paper, I want you to explore a significant
taboo, or secret, you see being discussed in several of the stories. It could
be something big (murder, the unknown) or something more complex and harder to
put into words (see below). Explain why you feel this subject is taboo in our
society, and how each story uses elements of terror to discuss it. Be sure to
use specific examples from the stories—QUOTE them, at least once per story—and
help your reader understand these passages. When using a quote in your paper,
it should follow the format below:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;">In King’s novel, <span style="mso-bidi-font-style: italic;">Carrie</span>, the main character fears that
the rest of her life will be “a creeping, subterranean existence in this house
supported by Momma…getting fatter, losing hope, losing even the power to think”
(147). This quote is important because…<o:p></o:p></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
[Introduce the quote, cite the page number at the end, and
then explain how you read the quote—or why you feel it’s significant to your
discussion.] </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
REMEMBER that the taboos don’t have to be easy, one-word
issues. For example, in <i>Carrie</i>, one taboo seems to be the prevalence of
human sacrifice in the modern world. Even though we don’t literally kill
people, we symbolically kill them every day—especially in high school. Carrie’s
ritual slaughter (symbolized by pig’s blood?) becomes literal when she turns
the tables on them. Or maybe it’s simply the taboo of cruelty? Or the law of
the jungle? Help us see what it is and how it operates in the stories, even if
you see it working in different ways in different stories.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
REQUIREMENTS </div>
<ul style="margin-top: 0in;" type="disc">
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">At
least 3-4 pages double spaced </li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">Must
use at least 3 stories in your discussion; you can use one story more than
another, but reference at least 3</li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">Quote
and cite stories according to MLA format and provide a Works Cited page</li>
<li class="MsoNormal" style="mso-list: l0 level1 lfo1; tab-stops: list .5in;">Due
Friday, February 22<sup> </sup>by <st1:time hour="17" minute="0">5pm</st1:time>
[no class that day</li>
</ul>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<br />Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-54092913355588289312019-02-11T21:39:00.002-08:002019-02-11T21:39:58.797-08:00For Wednesday: King, Carrie, pp. 175-277 (end of Part Two)<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8ZXCWq3bjbegqcSDZ0uVuUrM7Z6nnGHDrWvgTg_ih9G93LJKSx7WNQVu_U-HZJ8ibNRwcagIKW54AjFyC2XVjdiNKAHZoBA0jZdlTxSmiYZ2tlVxTvhOYlxDTmqhCKDGNZbalsOCWxMKE/s1600/rene-magritte-jupiter-in-virgo-1965.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="891" data-original-width="606" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh8ZXCWq3bjbegqcSDZ0uVuUrM7Z6nnGHDrWvgTg_ih9G93LJKSx7WNQVu_U-HZJ8ibNRwcagIKW54AjFyC2XVjdiNKAHZoBA0jZdlTxSmiYZ2tlVxTvhOYlxDTmqhCKDGNZbalsOCWxMKE/s400/rene-magritte-jupiter-in-virgo-1965.jpg" width="271" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Group “B” should answer TWO of the following:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q1: Part Two offers extensive transcripts from <i>The White
Commission Report</i>, which interviews several eyewitnesses on the stand. How
does the lawyer questioning these witnesses try to lead and guide their
testimony? What seems to be their agenda? How might this tie into our earlier
discussions of “forgetting”?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q2: In Norma Watson’s recollection (from the so-called book,
<i>We Survived the Black Prom)</i>, she writes, “I knew right away, even before
it hit them, that it was blood. Stella Horan thought it was paint, but I had a
premonition, like like the time my brother got hit by a hay truck” (198). Why
is it significant that many people in the book claim to have premonitions of
certain events, and most claim to know what Carrie was thinking and feeling?
What ‘taboo’ might this hint at, which the scientists and lawyers who
investigate are keen not to follow up on?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q3: How do people describe the crowd’s reaction to Carrie’s
bloodbath? Why was the laughing “raw and hysterical and awful” (199)? What else
do eyewitnesses describe or remember about the minutes immediately after her
final humiliation? Is this the expected conclusion of a ritual, or a ritual
gone wrong?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q4: As the book goes on, King writes with more parenthesis
and disjointed narration, particularly when Sue finds Carrie dying. What is he
trying to make his readers ‘see’ with these passages? Why does he often abandon
traditional grammar and capitalization when writing this way?</span></div>
<br />Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-60845861494548024732019-02-09T10:55:00.000-08:002019-02-09T10:55:21.293-08:00For Monday: King, Carrie, pp.75-175<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg_S0BeEoPgBLfBIM9n3Oe6GUJrOpUH3dVfG1lMj_Dc3tac8_G29KMR-ia5WjNBiUSgBolIoVVw5h914J9fKZbau432_5bYGpc1CLuOOMdVKDcCFSocxOAU4oGiS7-piRKmZO8KYuCRNm3/s1600/will-barnet-1911-american-figurative-painter-tuttart-11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="488" data-original-width="650" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjg_S0BeEoPgBLfBIM9n3Oe6GUJrOpUH3dVfG1lMj_Dc3tac8_G29KMR-ia5WjNBiUSgBolIoVVw5h914J9fKZbau432_5bYGpc1CLuOOMdVKDcCFSocxOAU4oGiS7-piRKmZO8KYuCRNm3/s400/will-barnet-1911-american-figurative-painter-tuttart-11.jpg" width="400" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Group “A” should answer TWO of the following:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q1: Part One of the book (there are three parts) is entitled
“Blood Sport,” and seems to obviously allude to the events that open the book.
But how else does King use the metaphor of blood throughout the first part of
the book? Also consider the meaning of “blood sport”: what <i>is </i>a blood
sport, and how could it symbolize the events and characters of this book?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q2: In the book <i>My Name is Susan Snell </i>that is quoted
throughout the novel, Sue says “Whenever anything important happens in <st1:country-region><st1:place>America</st1:place></st1:country-region>
they have to gold-plate it, like baby shoes. That way you forget it” (117).
What does she mean by this? Why would commemorating something in gold make us
forget it? Have we seen this reaction in other stories as well?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q3: In Part Two, Carrie reflects, “[she] did not think
anyone could understand the brute courage it had taken to reconcile herself to
this, to leave herself open to whatever fearsome possibilities the night might
realize” (147). What <i>does </i>give her the courage to defy both her mother
and the brutal teenagers who reject her from their society? Also, why is she
willing to go through with it, knowing that Tommy doesn’t really like her and
that she is transgressing a social boundary?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q4: The fictional book, <i>The Shadow Exploded¸ </i>which is
supposed to give the ‘true story’ of the Carrie White incident, claims that
“the two most stunning events of the twentieth century have been the
assassination of John F. Kennedy in 1963 and the destruction that came to
Chamberlain, Maine in May of 1979” (103). Why do you think some kind of prom disaster
(even if many teenagers were killed) could rank with the death of a president?
Is there a modern-day example of “Chamberlain, <st1:state><st1:place>Maine</st1:place></st1:state>”
that can help us understand why it would be such a momentous (and pivotal)
event in American culture? <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<br />Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-91729322593577370502019-02-06T12:51:00.001-08:002019-02-06T12:51:13.805-08:00For Friday: King, Carrie, pp.1-75<!--[if gte mso 9]><xml>
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<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrLSQ2vYAuhLxixpNBScZcwIJbmYAHP-wf2SgPHCmhtodCZiqK4PwBOzb8MF9qIfWqVUcm7jcOAIcvFWHsMLt8TvAoYYoPtRIo0KLgWBQ2IeIo5ETFRszpj_zepPsQvS-iU2cJdfxIhy7i/s1600/1e5ab10d39974cbb6a9d1fb5f2fd511b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1115" data-original-width="1500" height="296" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjrLSQ2vYAuhLxixpNBScZcwIJbmYAHP-wf2SgPHCmhtodCZiqK4PwBOzb8MF9qIfWqVUcm7jcOAIcvFWHsMLt8TvAoYYoPtRIo0KLgWBQ2IeIo5ETFRszpj_zepPsQvS-iU2cJdfxIhy7i/s400/1e5ab10d39974cbb6a9d1fb5f2fd511b.jpg" width="400" /></a></div>
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<span style="font-family: Verdana, sans-serif;">
</span><div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"></span><span style="font-family: Verdana, sans-serif;">Group “C” should answer TWO of the following:</span><span style="font-family: Verdana, sans-serif;"></span><span style="font-family: Verdana, sans-serif;">
</span></div>
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<span style="font-family: Verdana, sans-serif;">
</span><div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q1: What stories in our previous book seem to have most
inspired King to write <i style="mso-bidi-font-style: normal;">Carrie</i>? Where
do we see the most specific echoes of characters, themes, or imagery from one
or more of the stories to this novel? And yes, you can assume King knew all of
them—he’s one of the biggest readers of any published writer! </span></div>
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<span style="font-family: Verdana, sans-serif;">Q2: One of the most innovative aspects of the novel is how
King tells it: interspersing different characters’ perspectives with ‘non-fiction’
reports that record the aftermath of the book’s events. How does reading
excerpts from <i style="mso-bidi-font-style: normal;">Ogilvie’s Dictionary of
Psychic Phenomena </i>and <i style="mso-bidi-font-style: normal;">Carrie: The
Black Dawn of T.K. </i>add to (or alter) the narrative? </span></div>
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</span><div class="MsoNormal">
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<span style="font-family: Verdana, sans-serif;">Q3: In Estelle Horan’s interview with Jack Gaver, she says, “Nobody
wants to believe it, nor even now. You and all the people who’ll read what you
write will wish they could laugh it off and call me just another nut who’s been
out in the sun too long. But it <i style="mso-bidi-font-style: normal;">happened</i>”
(42). Related to Jackon’s story, “The Lottery,” why are the events of the past
so easy to forget even when people make a conscious effort to remember them?
Why are sometimes, eyewitnesses and records still not enough to make history
live on?</span></div>
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</span><div class="MsoNormal">
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<span style="font-family: Verdana, sans-serif;">
</span><div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q4: When the girls assault Carrie in the locker room, the
narrator suggests that “Suddenly all this and the critical mass was reached.
The ultimate shit-on, gross-out, put-down, long searched for, was found.
Fission” (10). What did this moment represent to the girls—and to the
community? What does Carrie represent to them as well? </span></div>
Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-9515162260869293682019-01-30T21:36:00.000-08:002019-01-30T21:36:05.789-08:00For Friday: Saki, “Sredni Vashtar” and Jackson, “The Lottery”<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjihPGGF8F_7ebb3O7uMOKFR7WvgjMxMec_JPmpjTbEoZW9MHA_pVKqzijF9Gnesshg-uei6kbIQY02TzWiHGIy12lGuejoOulF90b2UB1nVxVnSf5tcnOGkt-GxPFMP3fDEUYm8Xw3Wgfo/s1600/sredni_vashtar_by_rusty_renewal-d6aomhx.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="721" data-original-width="1107" height="260" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjihPGGF8F_7ebb3O7uMOKFR7WvgjMxMec_JPmpjTbEoZW9MHA_pVKqzijF9Gnesshg-uei6kbIQY02TzWiHGIy12lGuejoOulF90b2UB1nVxVnSf5tcnOGkt-GxPFMP3fDEUYm8Xw3Wgfo/s400/sredni_vashtar_by_rusty_renewal-d6aomhx.png" width="400" /></a></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Group “B” should answer TWO of the following:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q1: Besides the fact that someone is killed in each story,
what makes them uncanny or disturbing? How can stories without
monsters, ghosts, or aliens be a “horror” story? OR, is this the same kind of
story even without those elements?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q2: Why does Conradin make the ferret his deity, and why
does he give it such a strange, imposing name? Why, for example, didn’t he make
the hen his god? </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q3: In “The Lottery,” we get the sense that most people
don’t know why the lottery exists or exactly where it came from. There’s even a
sense of impatience about it: “Well now…guess we better get started, get this
over with, so’s we can go back to work” (176). Do we understand why they keep
doing it, especially when a few other towns have stopped altogether? Why is it
so important?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q4: How can we read both stories (or one particular story)
as a satire of early 20<sup>th</sup> century society? What ideas or values are
they satirizing, and how are we supposed to see this through the events and
characters of the stories? </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<br />Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-33622704352779419372019-01-28T16:06:00.001-08:002019-01-28T16:06:51.570-08:00For Wednesday: Lovecraft, “The Colour Out of Space”<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFnR4BArDgYPlDC30irZQDayQzeDCkv325jyyTCdvuUaEizqL-Q_-oyh4jqde94xiiesSLlSh_Yr11fs-bL6TbekFmDd1OMVaEy3rj3YJ_om2Z0P59O39LzhT4OFzJS52JtiN-9J905DP2/s1600/download.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="210" data-original-width="240" height="350" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFnR4BArDgYPlDC30irZQDayQzeDCkv325jyyTCdvuUaEizqL-Q_-oyh4jqde94xiiesSLlSh_Yr11fs-bL6TbekFmDd1OMVaEy3rj3YJ_om2Z0P59O39LzhT4OFzJS52JtiN-9J905DP2/s400/download.jpg" width="400" /></a></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">NOTE: The bookstore has many copies of the book in--go get one if you're still without a copy! </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">The “A” group should answer TWO of the following questions: </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q1: Prior to this story (published in 1927), there had been
relatively few stories about alien invasions or creatures from another world.
However, this story proved wildly influential and spawned a thousand imitators.
Why do you think it captured the imagination (or nightmares) of readers? What
makes it distinctly different from the other stories we’ve read in class?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q2: However, despite the story’s originality, in some ways
“The Color Out of Space” is a reworking of Bierce’s “The Damned Thing,” which
also features an invisible antagonist. How do we know Lovecraft read Bierce’s
story and was influenced by some of the story’s ideas? What (if anything ) did
he seem to change or improve from the original to make it scarier or more
uncanny? </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q3: Early in the story, the narrator remarks that “upon
everything was a haze of restlessness and oppression; a touch of the unreal and
the grotesque, as if some vital element of perspective or chiarocscuro were
awry. I did not wonder that the foreigners would not stay, for this was no
region to sleep in. It was…too much like some forbidden woodcut in a tale of
terror” (205). Why is the landscape so important to both the narrator and
Lovecraft? How does setting itself become a factor of the uncanny?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q4: In many alien invasion stories, mankind bands together
to destroy (or at least resist) an alien presence. So why in this story is the
family so easily destroyed? What makes them splinter and veer into monstrosity
and madness? Do you think Lovecraft is using the theme of alien invasion as a
metaphor to explore human nature itself? Where might we see this?</span></div>
<div class="MsoNormal">
<br /></div>
<br />Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-71383153525715224562019-01-25T19:56:00.002-08:002019-01-25T19:56:59.797-08:00For Monday: James, "O, Whistle and I'll Come to You, My Lad" <br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoEbK097Oy4CvdvB0DMdEg_A3P0fl7aTdcWndDvaWYD2UXDOSkdUnsmW9GheSNYEgdWwZv9cCRK2PJ0t0i6FtlU5xzxmJ_Ct8ti4OcsicXZ1xZdRhDHENrSsTnAjRSCwa0ofVFCxyfasS5/s1600/6419513-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="550" data-original-width="687" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgoEbK097Oy4CvdvB0DMdEg_A3P0fl7aTdcWndDvaWYD2UXDOSkdUnsmW9GheSNYEgdWwZv9cCRK2PJ0t0i6FtlU5xzxmJ_Ct8ti4OcsicXZ1xZdRhDHENrSsTnAjRSCwa0ofVFCxyfasS5/s400/6419513-1.jpg" width="400" /></a></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">The full text of the story: <a href="http://www.thin-ghost.org/items/show/150">http://www.thin-ghost.org/items/show/150</a></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Group "C" should answer TWO of the following: </span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q1: Unlike the other stories we’ve read, the narrator isn’t
one of the characters, and yet he talks directly to the reader and even
interrupts the story several times. Why do you think James does this? How might
the intrusive narrator be important to the reality or atmosphere of the story?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q2: The author, M.R. James, was himself a university
professor and lifelong academic. Why do you think he made his protagonist,
Perkins, a professor as well? And why might it be significant that Perkins
dislikes all mention of superstition and ghost stories—the very things that
made M.R. James famous? </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q2: Sigmund Freud, in his essay “The Uncanny,” explains that
“the old [beliefs] live on in us, on the look-out for confirmation…as soon as
something happens in our lives that seems to confirm these old, discarded
beliefs, we experience a sense of the uncanny.” How does this story suggest
that we all carry around vestiges of the “old ways” within us? <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Verdana, sans-serif;">Q4: What makes the ‘thing’ in the room so upsetting—and
unnatural—to Parkins? Why, too, does the boy say “it warn’t a right thing—not
to say not a right person”? Why didn’t James make this look like a devil, or a
monster, or something typically ‘evil’?</span></div>
Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-2567848924932564692019-01-23T12:57:00.003-08:002019-01-23T12:59:10.525-08:00For Friday: Comprehension Exam #1 (slight change)<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYk5mnr5LWKoGKYIVo-DF1NsI04qofmbnpjGtnfvlTh8angIvVNBvOXrskyxUjsYfn8DL7RvZIZ0hSa5U4wtX8Di77c7JRV6hNs53_-JvhLGZF_CKAg5W8sO2jRlJmPUZbJGdaWhljDCGx/s1600/Odilon-Redon_The-Smiling-Spider-e1429567832977.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="637" data-original-width="504" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYk5mnr5LWKoGKYIVo-DF1NsI04qofmbnpjGtnfvlTh8angIvVNBvOXrskyxUjsYfn8DL7RvZIZ0hSa5U4wtX8Di77c7JRV6hNs53_-JvhLGZF_CKAg5W8sO2jRlJmPUZbJGdaWhljDCGx/s320/Odilon-Redon_The-Smiling-Spider-e1429567832977.jpg" width="253" /></a></div>
<br />
<span style="font-family: "verdana" , sans-serif;">NOTE: I'm flipping the schedule for this Friday and next Monday, which will affect the next three weeks of class:</span><br />
<br />
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<br />
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 11.0pt; mso-bidi-font-weight: bold;">21<span style="mso-tab-count: 1;"> </span>MLK</span></span></div>
<div class="MsoNormal">
<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 11.0pt; mso-bidi-font-weight: bold;">23<span style="mso-tab-count: 1;"> </span>Kipling, “The Mark of the Beast and
Jacobs, “The Monkey’s Paw” (b)</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 11.0pt; mso-bidi-font-weight: bold;">25<span style="mso-tab-count: 1;"> </span>Comprehension Exam #1</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 11.0pt; mso-bidi-font-weight: bold;">28<span style="mso-tab-count: 1;"> </span>James, "O, Whistle and I'll Come to You, My Lad" (c)</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 11.0pt; mso-bidi-font-weight: bold;">30<span style="mso-tab-count: 1;"> </span>Lovecraft, “The Colour Out of Space” (a)</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 11.0pt; mso-bidi-font-weight: bold;">FEBRUARY
</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 11.0pt; mso-bidi-font-weight: bold;">1 Comprehension Exam #2</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 11.0pt; mso-bidi-font-weight: bold;">4<span style="mso-tab-count: 1;"> </span>Stoker, “Dracula’s Guest” and Kyoka,
“A Tale of Three Who Were Blind” (b)</span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 11.0pt; mso-bidi-font-weight: bold;">6<span style="mso-tab-count: 1;"> </span>Saki, “Srendni Vashtar” and Jackson, “The Lottery”
(c) </span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 11.0pt; mso-bidi-font-weight: bold;"><span style="mso-tab-count: 1;">8 </span>Comprehension Exam #3 </span></span></div>
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<span style="font-family: "verdana" , sans-serif;"><span style="font-size: 11.0pt; mso-bidi-font-weight: bold;">So for Friday's class, we'll have a short in-class response to the stories we've read so far, which will be your first "comprehension exam" (see syllabus for details). But don't worry--I'm not adding anything, just moving things around to break up the workload for you. See you on Friday! </span></span></div>
<br />
<span style="font-family: "verdana" , sans-serif;">
</span>Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0tag:blogger.com,1999:blog-479608228337480105.post-77765392702618217062019-01-18T22:12:00.000-08:002019-01-22T09:29:36.784-08:00For Wednesday: Kipling, “The Mark of the Beast” (pp.1-11); Jacobs, “The Monkey’s Paw” (pp.54-63)<br />
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<span style="font-family: Verdana, sans-serif;">LINKS TO THE STORIES: Kipling: <a href="https://en.wikisource.org/wiki/The_Mark_of_the_Beast">https://en.wikisource.org/wiki/The_Mark_of_the_Beast</a>; Jacobs: <a href="https://ebooks.adelaide.edu.au/j/jacobs/ww/monkey/">https://ebooks.adelaide.edu.au/j/jacobs/ww/monkey/</a> </span></div>
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<span style="font-family: "verdana" , sans-serif;">Group “B” should answer TWO of the following questions for
Wednesday’s class; everyone else should simply read the stories. </span></div>
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<span style="font-family: "verdana" , sans-serif;">Q1: Both of these stories are connected to <st1:country-region><st1:place>India</st1:place></st1:country-region>,
a British colony at the time Kipling and Jacobs are writing. How do you think
English and American audiences might have looked at—or felt about—<st1:country-region><st1:place>India</st1:place></st1:country-region>
at this time, that might make it a fitting setting for a horror story? Consider
the narrator in Kipling’s story, who says, “East of Suez, some hold, the direct
control of providence ceases, man being there handed over to the power of the
gods and devils of <st1:place>Asia</st1:place>” (1). </span></div>
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<span style="font-family: "verdana" , sans-serif;">Q2: At the end of Kipling’s story, the narrator admits, “we
had fought for Fleete’s soul with the Silver Man in that room, and had
disgraced ourselves as Englishmen for ever” (11). How had they <i>disgraced </i>themselves?
And why did he leave out much of what they did to the ‘beast’ and the Silver
Man in the story?</span></div>
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<span style="font-family: "verdana" , sans-serif;">Q3: Toward the end of the story, the wife tells her husband
to get the paw, since the first wish came true. “A coincidence,” her husband
answers (61). And he may be right: the first wish could have just been a
terribly unfortunate coincidence. Does Jacobs ever hint that the story is truly
supernatural in origin? Is there any proof that the monkey’s paw really works? </span></div>
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<span style="font-family: "verdana" , sans-serif;">Q4: Related to the question above, when the couple hears
knocking at the door, why does the husband assume their visitor is malevolent?
Why doesn’t the wife? Does Jacob give any hint as to who is right? Is <i>anyone
</i>at the door?</span></div>
Joshua Grassohttp://www.blogger.com/profile/18044499439462324420noreply@blogger.com0