AmLit2_VinklerA Niki Kiegészített, Átdolgozott

7/26/2019 AmLit2_VinklerA Niki Kiegsztett, tdolgozott

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American Literature 2 2016 Tth Nikolett

Modernism Introduction- Make it new! "#$ra %ound&- #$ra %ound' one o( the most in)uential writers in American and #uro*ean

culture

- 1+10-1+,0

Modernit

- late 19thcent.:Capitalism. (ree market/ consumer societ- industriali$ation- automoile industr. etreme rowin in the numer o( cars distances

ecome smaller- liberal democracy: starts a(ter the ci3il war- *ositi3e sel(-imae o( 4estern culture- secularism: a 3er reliious culture "*uritanism. e3anelical mo3ement

conser3ati3e mo3ement& slowl turns into a seculari$ed countr 5

decentrali$ation- science/philosophy' hue trends in the thinkin' rationalism. theres one

e*lanation to e3erthin/ em*hasis on humanism- world3iew o( *roress

, narcissistic traumas

- heliocentric cosmolo "7o*ernicus& the #arth is re3ol3in around the8un -5 the 8un is the centerlater turns out. that the 8un is not the center o( the whole uni3erse9ule' 8olar sstem is :ust one o( the illions o( same sstems the humans are not the center o( the world anmore

relati3it theor o( #instein- e3olutionar theor ";arwin&

s*ecies e3ol3e aainst 7reation

7reationism' theor o( 7reation a**lied to the new in(ormation

e3olution erent sm*toms these traumas decentrali$e *eo*le ine*ressiilit o( the de*th o( humans

#>ects on modernism

- decentrali$ation o( human ein- introduction o( science as a new lanuae. as a wa to decode the

uni3erse


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- uni3erse' ultimatel indescriale - the dee*er ou et the morecom*licated it ecomes

- *roress and technolo- emrace o( the N#4 search (or new 3erse (orms. modes o( e*ression- re:ection o( the L; not re:ection e3erthin/ new eneration' reellion

aainst the *re3ious eneration"s&eBB' Coert ?rost sense o( nostalia- hue cities turnin into metro*olises eBB ND7' skscra*ers uilt. and

demolished in , ears- no romantic ruins- architectural ruin' no nostalia. no romanticism. no romantic lonin- uildin. de3elo*in and *roress is etremel im*ortant. while e3erthin

that is old should not e there- willinness to e*eriment

di>erent ism!-s/ eBB (uturism. (eminism. cuism. e*ressionism.

;adaism. imaism. Eorticism. 7onstructi3ism. Fauhaus Mani(estos- monolithic uni3erse ecomes (ramented- radical e*eriments

Modernism eneral (eatures

- dualism sur(ace and de*th underneath the sur(ace theres a hidden layer. which has to e

shown somehow hidden, abstract structures

vertical structures' the imaes in the tet are alwas

meta*horical- hih modernism and radical modernism

*oetr

radicall diferenta**roaches result in di>erent -ism!-s

simultaneous canoni$ation

relationshi* to %ostmodernism' %-mB re:ects hih modernism.

emraces radical modernism

9ih Modernism

- Yeats, Eliot, Auden, Frost- smolic dualism- coherence "ecer*t #liot& a *oets mind alwas *uts etremel

di>erent thins toether in a new whole

- indirection "ecer*t Auden& language can be used as a way osymbol. ou can descrie thins that are otherwise unsayable. meta*horis a 3er asic (ormula

- #liots The Lo3e 8on o( @B Al(red %ru(rocko ontoloical uncertainto tries to e*lain transcendental transcendental and astract issues

3ia meta*hors

Cadical Modernism

- Cimaud. the Imaists. %ound. 4illiams. 8tein- direct *resentation


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- anti-smolist- 3alues are immanent"the consist within limits& rather than transcendent- the sur(ace has im*ortance- metonymyas o3ernin tro*e- the o:ect is nothin else than the o:ect- hori$ontal *oetr "Imiism&

Modernist %oetrImaism - and what came e(ore

- *recursors' 4alt 4hitman. #mil ;ickinson "*reciseness. shortness&

Imaism

- 8chool o( Imaes!- short-li3ed "1+0G-1+1H&. but extremely inuential- (undamental im*ortance

- united man im*ortant *oets' H.D., Pound, T.S. Eliot, Wallace Stevens, D.H. Lawrence, James Joce,

!rchi"ald #cLeish, !m Lowell, $arl Sand"ur. etcB "eam' Name ,imaist *oets&

9istor- oets Club !"#$%&

London

'()( 'lint, *(+( ulme

a%ainst late &ictorian 'oetic 'ractices archaic themes/ diction o(

the Eictorian *oetr was too strict/ *oetic lanuae was too

outloaded/ rhme used (or rhmes sake/ 3er (ew themes discussin technical details- 1+0+' #$ra %ound :oins the mo3ements

rand master o( the ae. 3er in)uential/ dies in 1+H2 "last o( the

Mohicans!& liked 7hinese and @a*anese *oetr in (a3or o( (ascism "was actuall a 9itler su**orter&

ecomes theleader- 1+1,

9B;. Imaiste

Antholoies'

;es Imaistes "1+1& 8ome Imaist %oets

- a(ter 1+1J' %ound lea3es the mo3ement "ets ored& 5 my .owellecomes the leader

- introduces democratic *ractices ends as a mo3ement a(ter 1+1H

%rinci*les ",K1&1B ;irect treatment2B #conom o( words,B ?ree 3erseB Imae' intellectual and emotional com*le

;irect treatment


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- CB Adlinton etract- notmimetic- no )ourishin. :ust the *oint- de(amiliari$ation- %ound' %aaninis. No3emer G/

4illiam 7arlos 4illiams' Doun 8camore *resents a still imae as amo3in o:ect/ dnamic *oem. thouh *resents a tree

?ree Eerse

- 9ulme' Lecture on Modern %oetr- not eas to use. ou ha3e to t the innate rhthm that the imae reuires

Imae' Intellectual and #motional 7om*le

- the *recise *oint re*resented in the *icture is linked to the com*le*icture

- imae

- like a @a*anese haiku- 3eral (orms and 3isual (orms how to *ut what ou see into wordswithout ein a descri*tion

- how to *ut the essence o( what he wants to sa into as (ew words as*ossile

- %ounds words on the writin

7onclusion

- imae as center- *oet as mediator o( the (amiliar

de(amiliari$ation' 3er ins*irin

- tremendous e>ect on 20th

centur *oetr earl *ostmodernists' lson. 7reele. ;uncan

cateori$ation- nativist "those who didnt lea3e America - ?rost& 3sB international "#liot

mo3ed to OFC. Fritish citi$enshi*&- popular"?rost seeminl sim*l. some sa that he was a sim*le *oet

(or the sim*le *eo*le&- elitist "#liot *oetr is an intellectual ain. ou ha3e to know -J

lanuaes in order to understand *oetr well&- igh"oth ?rost and #liot& 3sB adicalModernists

#$ra %ound- A Few Donts by an Imaginiste

A LI8T ? ;NT8 (or those einnin to write 3erses

*ieces o( ad3ice

ne ood imae is more 3aluale than an entire lirar o( mediocre

descri*ti3e tetB %a no attention to the criticism o( men who ha3e ne3er themsel3es

written a notale workB , rules 0r( 'lint

ad3ice on lanuae. rhthm and rhme

no su*er)uous word. that does not re3eal anthin

do not retell 3erses that ha3e een written. use own ideas


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dont imaine *oetr as eas and sim*le *ut e>ort in it

e in)uenced reat artists

use ood ornament

learn candences in (orein lanuae Saxon charms, Hebridean Folk Songs, verse

of Dante, Shakespeare, Goethe

use di>erent 3erse (orms. alliteration. rhmes. etc and take our time dont e descri*ti3e that is the :o o( a *ainter mainl

disco3er

do not e*ect to e celerated unless ou achie3ed somethin

alwas resemles *oets to musicians

harmon in *oetr

7onsider the deniteness o( ;antes *resentation. as com*ared with

Miltons rhetoricB Cead as much o( 4ordsworth as does not seem toounutteral dullB!

o ack to ancient *oets 8a**ho. 7atullusB etc. and 7haucer. Oautier

translation is a ood trainin

Coert ?rost "1GH-1+6,&Li(e

New #nland *oet

orn in 8an ?rancisco uran surroundins F


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%oems'

#endin% Wall

lank 3erse

central *icture is a wall

rural *icture resistance. rules set u*

wall ser3es as a arrier etween the neihours tradition. hait

sereation oulders are e3erwhere in nature

2 t*es o( *eo*le' uilds walls that are unnecessar. and those that would

reak them scolds his neihB ut mends the damae done the hunters this wa

he recreates the wall there is need (or walls elsewhere' to *rotect li3estock

rules and laws are walls. :ustice is the *rocess o( wall mendin it is also a ood ecuse (or him to interact with his neihB

what seems antisocial can e sociale ood (ences make ood neihors!

#owin% +191-

Qkas$RlRs in 9unarian

sonnet' AF7 AF; #7; O#9

sound o( sense techniue

rst G lines' the sound o( the scthe and then muse aout the astract

"heat and silence& or imainar sinicance o( the sound last 6 lines' *resent an alternati3e inter*retation. celeratin (act idllic *icture

summer scthe' smol o( death

9e re:ects the idea that the sound o( the scthe it s*eaks o( somethin

dreamlike or su*ernatural. concludin that realit o( the work itsel( isrewardin enouh

oth the re*eated use o( the term whis*er! and the swain motion o(

the meter in certain lines "such as %erha*s it was somethinS 8omethin*erha*s& *ro3ide a sense o( the scthe mo3in ack and (orth as it cuts

the ha in the eldB uses the word whis*er! is sinicant ecause itpersonifes the scythe.

trans(ormin it into a companion and wor1ing colleague(or thenarrator rather than an inanimate arming tool

*oints out that truth and (act are (ar more sinicant than imainati3e

(ancies o( old and el3esB In other words. his em*hasis on realit U thelives and struggles o real people 2 ma1es his poetry sweeter andmore efective than any traditional sonnet that narrates airytalelands

do we really need to analy3e all poems4

The oad /ot Ta0en +191-

oth are euall worn. neither o( the roads is less tra3eled


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analoical landsca*e *oem- nature as alleor- road as meta*hor

Niet$she

aVrmation W su3ersion o( the mth o( autonomous sel(hood

out-o(-controlness dilemma

(eelin o( rerettin a choice later in li(e/ no real *ossiilit o( choice. since

we dont know the outcome o( our choice. the conseuences o( ourdecisions

neus o( (ree will

remorse

2irches

nXr(Rk one o( his most antholoi$ed works

ins*ired another similar *oem Y8winin on a Firch-treeY American

*oet Luc Larcom and his own e*erience o( swinin irch trees at hischildhood

lank 3erse. sound o( sense

he act o( swinin on irches is *resented as a wa to esca*e the hard

rationalit or Truth! o( the adult world. i( onl (or a moment As the o clims u* the tree. he is climin toward hea3en! and a *lace

where his imaination can e (reeB

he also did this in his childhood The narrator e*lains that climin a irch is an o**ortunit to et awa

(rom earth awhile And then come ack to it and ein o3erB! A swiner is still rounded in the earth throuh the roots o( the tree as he

clims. ut he isale to reach eond his normal li(e on the earth and reach (or a hiher*lane o( eistenceB

reret' he can no loner nd this *eace o( mind ecause he is an adult.

unale to lea3e his res*onsiilities not e3en ale to en:o this 3iew truth "ro0e in3

o (orced to acknowlede the truth that the end ecause o( the

storm. not (rom a o withall her matter o) )act a"out the icestorm3

(reedom o( imaination. ut he cannot a3oid returnin to the truth o( the

world. to res*onsiilities the *oem mo3es etween imaination and (act

?rostZs anostic side' where hea3en is a (raile conce*t to him This

ecomes clear when he sas the inner dome o) heaven had )allen. alance. outh. s*iritualit. and natural worldB

*ut, out

title' (rom Macheth. the is shocked to know the death o( his wi(e "ut.out-&


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The u$$ saw. althouh technicall an inanimate o:ect. is descried as a

aware ein U YsnarlinY and YrattlinY re*eatedl. as well as Ylea*inY outat the oZs hand in ecitementB

innocence and *assi3it o( the o as ?rost was (orced to mo3e ack to

America due to war in Fritain :ust a ear e(ore the *oem was writtena

critiue to how war(are can (orce innocent. oun os to lea3e theirchildhood ehind. and ultimatel e destroed circumstances created the Zres*onsileZ adult

un*redictale. (raile li(e shockin

shows how indi>erent *eo*le are' !nd the, since the4Were not the one

dead, turned to their a5airs3

Dedication

at @ohn ?B PennedZs inauuration in 1+61. ?rost intended to read

Y;edication.Y a *oem heZd written (or the occasion the lare o( sunliht re)ectin o> snow made it im*ossile and ?rost

instead (amousl recited (rom memor his *oem The Oi(t utrihtB! re(erence to his ra$or-thin 3ictor o3er Eice %resident Cichard MB NionB

"The reatest 3ote a *eo*le e3er cast. 8o close et sure to e aidedB!&

And it ends with a *oinant ho*e that the new *resident would lead the

nation to the net Auustan ae! U A olden ae o( *oetr and *ower

( which this noondas the einnin hourB!

*atriotic *oem

(amous deeds. heroism

rins acknowledement

no countr can dominate the


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In order to acce*t this i(t o( identit. the *eo*le had to commit man acts

o( war and mark the land as their own. ut the end result was a trulAmerican landB

discussion o( the Ce3olutionar 4ar and remorse that the attle o3er the

land caused so man deaths

TB 8B #liot "1GGG-1+6J& one o( the most in)uential *oets o( the 20th centur

Noel-*ri$e winner "1+G&

American or #nlish= orn in the


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no clear denition o( the audience %ru(rock could e s*eakin to the

audience as well e*ira*h taken (rom ;antes ;i3ine 7omed' set in hell 5 *roram o( the

*oem structure is also in)uenced ;ante. the File. 8hakes*eare. @ohn ;onne.

etc conclusion' sonnet "%etrarchan&. sestet/ sonnet usuall concludes in a

*ositi3e mode here' the *oem ends in a *essimistic wa narration' stream o( consciousness

n the sur(ace. YThe Lo3e 8on o( @B Al(red %ru(rockY relas the thouhts

o( a seuall (rustrated middle-aed man who wants to sa somethin utis a(raid to do so. and ultimatel does not! - 4iki*edia

themes- lo3e son- alienation "miscommunication&- rowin old mortalit

- lost o**ortunities in li(e- lack o( s*iritual *roress- unattained lo3e- weariness- reret- lonin- seual (rustration

intertetualit "Oreek *oetr. 8hakes*eare&- I was not meant to e "9amlet&

not a (ull nished endin. hesitation. uestion

uses the o:ect world as a link to the inwards

h. do not ask. 4hat is it=! o3erwhelmin uestion *oem makes ou want to di dee*er

audience is not e3ident another *erson or the reader=. or internal

monoloue oin somewhere or not= or :ust *lain throuh his mind

man elie3e that %ru(rock is trin to tell a woman o( his romantic

interest "imaes o( a womans arm and clothin& or' %ru(rock is trin to e*ress some dee*er *hiloso*hical insiht or

disillusionment with societ. ut (ears re:ection meaninless eistence=

ain and deca

It was considered *rett e*erimental at the time. and a lot o( *eo*le

hated it

in3ites the listener to a :ourne

the cit is *roal London "(o. smoke. *ools that stand in drains.

chimnes& There will "e time, there will "e time/ Do I dare=hesitation. ner3ous

his a**earance is descried' ald. thin arms and les. his eleant clothes.

rich. modest he is not that sel(-conscious

knows a lot o( women. he is old hesitation aain' how should I ein. *resume


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man re*etitions

I should ha3e een a *air o( raed claws8cuttlin across the )oors o( silent seasB a cra

I I ha3e seen the moment o( m reatness )icker- ain

Thouh I ha3e seen m head "rown slihtl ald& he is rowin old hesitation. deca. lala

I com*letel hate itB

The aste !and "#$$

lot o( themes *o**ed u* in ction at this timeB

#liotZs nest

hard to *rocess

com*ared to erent Eoices "oriinal title&B %ound suestedanother title and crossed out one-third o( the *oemB

(orm 5 ironic uest romance

structure' a hea* o( roken imaes- collae- intertetualit

sources' ;ante. ;ickens. ?ra$er. Fuddhism "thunder&. 9induism. Orail

leend "the sher kin. wounded. in(ertileB his in(ertilit is mirrored in the in(ertilit o( the

kindomB&- simultaneit

hailed instantl as a master*iece

also met neati3e criticism

uest. romance. hihl historical and ironic

interconnected e*isodeBBB stimes (ollow each other without a**arent

connection techniue o( collaeBBB roken imaes. (raments *ut toether in a ctain

order simultaneous o( dream imaes that *o* u* in our consciousness. etcB

intertetualit' ,H works o( art "re(erence&

J *arts

- the urial o( the dead- a ame o( chess- the re sermon- death water- what the thunder said

themes

- irth. death. (ertilit. sterilit- uest and (utilit o( the uest- loss o( ho*e. war

- lo3e one awa- dichotomies


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- ho*elessness- imaer o( the en3ironment. wasteland. and also the *oet Tiresias- 7umeaeon 8il' omen. comin (rom mtholoB modern 3ersion'

Madam 8osostris.- e$oteric

- Lil' another (emale *ersona- also' ure o( the (emale t*ist- a multitude o( 3oices

#liot'

- later con3erted to christianism- Ash-4ednesda. etcB- ecame and #nlish citi$en. etcB

4B7B 4illiams "1GG,-1+6,& 4illiam 7arlos 4illiams

radical modernism and imaism

reat aVnit with *aintin

lon career as a *hsician. eneral medicine

randmother is #nlish. (ather married a %uerto Cican woman

studied in %aris. also in a medical school in Lei*$i. Oerman. in

%ennsl3ania as well #$ra %ound was his (riend

success(ul literar career

critici$ed8tle

oser3ant. mimetic

also writes no3els

details o( what he sees

(resh and new (orm o( *oetr

strane

in)uenced the 3isual arts

takes a *icture and writes a *oem ins*ired the *icture

radical modernism' as o**osed to #liotZs smolism. it (a3ours the imae. andthe

instance. the mediation o( 1 com*le imae. condensed into 1 s*atial-

tem*oral moment American and local 3alues

late canoni$ation

So #uch De'ends 4 The ed Wheel"arrow

rie(. haiku like. (ree 3erse

(ocuses on the o:ecti3e re*resentation o( o:ects

en:amment to slow the reader it was sim*l titled Y[[IIY


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This is Just to Sa

like a note le(t on the kitchen tale metricall reular. so it has to e a *oem this was said the *oet

himsel(

Landsca'e with the )all o) 6carus

in res*onse to the *aintin with the same title %ieter Frueel "he also

mentions the name o( the *ainter in the *oem& the Oreek traed o( Icarus that )ew too close to the 8un

not Icarus is in the center o( the *aintin as we would e*ect. ut a man

and a donke. as he descries. Icarus can hardl e reconi$ed. he is onla s*lash in the water. ut as the title suests. the landsca*e is moreim*ortant that the (all o( IcB

The (reat 7i%ure

contrastin% red8ellow

The *oem slows down in the middle. as i( to watch the re truck *assB

4e did not know that the truck was mo3in until now

the numer is unnoticed in the hea3 mo3ement. surroundins. noises o(

the truck unheededY means YnelectedY or YinoredBY No one is *ain

attention to whate3er it is that is mo3in "either the numer or there truck&B At this *oint. we think it makes more sense (or thenumer to e Yunheeded.Y ecause it is such a small *art o( thetruckB ?ew *eo*le would notice such a numer. ut e3erone would

notice the truck thus the ure is so reat ecause he could notice it. otherwise it is

small and insinicant he cares (or the details

oun% Scamore

a**reciation o( nature and his eistence within it

(ascination. ndin eaut in nature

dnamic *icture

ut also some consider it a smolist *oem'

I could not nd onl tooooooo com*licated summaries and analses (orthis one

2 the oad to the $onta%ious Hos'ital

the road' we can imaine the s*eaker tra3ellin

lookin at the landsca*e and descriin it

contaious' sets a neati3e mood (or the *oem

he worked as a doctor' the *oem can e written *ersonal e*erience

clouds' can e com(ortin and also su>ocatin

the en3ironment is dead' mudd. wasteland. (allen. dr li(eless

dead )owers

s*rin a**roaches' li(e. means a chane in state. renewal


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irth' enter the new world naked. uncertain o( all state o( a neworn

the new *lants. rass come ack to li(e - awaken

the mood o( the *oem chanes

Portrait o) a Lad

com*arin thihs to a**letrees (rustration

writin a *oem' thinkin. et new thouhts. ein distracted.

rainstormin!. strulin and editin Ah e*resses strule

*raisin a womans eaut

4atteau K ?raonard' oth ?rench *ainters o( aroue and rococo stle

Woman Wal0in%

aout a eaut o( a oun women

descried her a**earance in small details he has seen her e(ore

I!3e (elt them "her hands& assumes an intimate relationshi*=

Portrait o) a Woman in 2ed

not clear who she is talkin to the doctor=

It is the 3oice o( the woman in ed that makes this *oem. and she is a

touh character as she re3eals hersel(. *hsicall and otherwiseB YI wont

work and I3e ot no cashB 4hat are ou oin to doaout it=Y she

demands in the rst (ew linesB 8he im*lies that she is a loose woman and*erha*s e3en comes on to the *hsician' YLi(t the co3ers i( ou want me B

B B BY and later. Y7orsets can o to the de3il-- and drawers alon with

them-- 4hat do I careY

The woman shi(ts su:ects ra*idl. etween *o3ert and seualit. hintin

that she miht e *renant aain. writin o> her two sonsB At the end. she

deli3ers a *roud challene to the *hsician who has come to see her in the

aandoned house' YTr to hel* me i( ou want troule or lea3e me

alone-- that ends trouleB The count *hsician is a damned (ool and

ou can o to hell Dou could ha3e closed the door when ou camein/ do it when ou o outB Im tiredBY

4illiams titled this work a *ortrait. ut it miht easil ha3e een an

etchinB The s*eaker limns her own imae with a ra*id-re et casual

s*ra o( acid-tined *ronouncements. her *ride and deance ne3er

wa3erin e3en thouh she a**ears to know that she is in touh straitsB 9er

name. Coit$a. suests *ossile ethnic or cultural a*s to o with the

socio-economic chasm etween her and the doctor she tauntsB F makin

the *oem a monoloue rather than a dialoue. 4illiams ma e suestin

clues to his reactions' s*eechlessness. *erha*s/ mae e3en a (eelin that


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he is o3er*owered/ ut certainl a measure o( admiration and a willinness

to let someone down and out insist on kee*in her dinitB

Danse usse *ersonal thouhts

(amil is in3ol3ed

and the sun is a ame8white disc

in sil0en mists

a"ove shinin% treesthe moon or dawn what he does when he is alone in the niht

the li(e he li3es

outnumered women in the house' lonel

and it dri3es him a little cra$ em*hasi$es his isolation within his own household

descries the human nature to do thins in *ri3ate that in *ulic would e

descried as oddB

4allace 8te3ens "1GH+-1+JJ& son o( a lawer

educated at 9ar3ard. New Dork Law 8chool

s*ent most o( his li(e workin as an eecuti3e (or an insurance com*an

won the %urlit$er %ri$e (or *oetr

le(t ND to li3e at 9art(ord. where he remained (or the rest o( his li(e. wrote

*oems there he had a con)ict with #B 9aminwa 8te3ens roke his hand.

a**arentl (rom hittin 9eminwaZs :aw. and was re*eatedl knocked tothe street 9eminwaB!

su>ered (rom stomach cancer

%oetr

rst ma:or *ulication was written at ae ,J

his *oetr was hihl in)uenced the *aintins o( %aul Plee and %aul

7\$anne

there are three distinuishale moods *resent in 8te3ensZ lon *oems'ecstas. a*ath. and reluctance etween ecstas and a*ath 3olume' 9armonium

meditati3e. *hiloso*hical

a *oet o( ideas

in 8te3ensZs work YimainationY is not eui3alent to consciousness nor

is YrealitY eui3alent to the world as it eists outside our minds Cealit is the *roduct o( the imaination as it sha*es the world

The #an on the Dum'


16/66


Y;a cree*s downB The moon is cree*in u*"1&B! time *assin slowl.

dawn

Ynihtinale torture the ear. %ack the heart and scratch the mind ",+-0&B!

the mood chanes

ridiculin romanticism and smolismB The attem*ts o( humans to mimic

nature in art and (ree$e the ccle o( li(e and death

Nothin is new. the (reshness o( niht has een (resh a lon time!.

nothin is *er(ectB one rows to hate these thins ece*t on the dum*!

the usae o( lists common. e3erda o:ects contained on a dum*. YThe

wra**er on a can o( *earsthe cat in the *a*er a. the corset. the o

i3in the *oem a sim*le natured (eelB

To the ulin o( assoons. realism trium*hsB e3erthin is shed! and we

ha3e lost the manu(actured. Comantic associationsB The moon comes u*as the moon "all its imaes are in the dum*& and you see As a man"not like an imae o( a man& Dou see the moon rise in an em*t skB! Literall. the moons imaes "its re)ection& are in the dum*B

8imultaneousl. its poetic metaphors are deadB Moon and man arewhat the are. not a 8hellean meta*horB

N I;#A AFerent *ers*ecti3es

9ilda ;oolittle 9B;! 1GG6-1+61

modernist and (eminist canon

all areas' *rose. *oetr. criticism. *hiloso*h. lm

e*atriate. as o**osed to 4illiams

#nland. 8wit$erland. Ital

a3ant-arde. imaist

orn in Fetlehem. %ennsl3ania

mo3ed to London

she was cham*ioned #$ra %ound

the literar editor o( the #oist :ournal married to Cichard Aldinton roke u*


17/66


(riends with ?reud

iseual

loneliness in her *oetr

*read

short *oem a Nm*h was orderin u* the sea

two imaes sea. (orest

reen color' (orest and sea can also e reen

imaist'

Ce:ectin the rhetorics o( Late Comanticism and Eictorianism

renewin lanuae

etreme reduction

The Pool

haiku

aain. the element o( watersea

iseualit "I dont know howwh& the *oet ma e askin i( the other *erson (eels ali3e

Ceactin to the narratorZs touch. the other *erson shudders like a sh that

has een cauht and taedB The *oet *ulls near to her and asks' Y4ho are ou=Y and Y4h ha3e ou

een laeled=Y 7o3ered the net im*lies a lack o( (reedomB The mention o( the sea and net toether e3oke (eelins o( ein tra**ed

under the con3entions o( societ and the con)ictedd thouhts that come

with the traditional roles women *la diVcult in understandin (eelins

or'

%ool as Mirror

;oolittleZs *ool ma e a mirrorB The *oet. who is iseual. ma e ca*turin herinner sel(. YandedY to a a-re*ressi3e societZs idea o( her leitimate einB

This inter*retation increases the (ear(ul tone/ ;oolittle is a(raid to (ree hersel(B

Eurdice

written durin the *ain(ul disinteration o( her marriae to Cichard

Aldinton The s*eaker. #urdice. addresses r*heus (rom the underworld/ she is

lled with aner and resentment (eminist twist to the (amiliar mth. tellin the womanZs stor throuh her

own 3oice *ersonal cr o( rae and des*air aainst an un(aith(ul husand

o who was once a *oet. mentoro who made her unha**. re:ected her


18/66


cries out aainst male o**ression

8he laments what she has lost' not. notal. him. ut the 3er *resence o(

the li3in earth. listed in imaer o( )owers and colorsB her lame is aain directed at him in the (th numered section. where she

declares e3erthin she has lost is due to his YarroanceY and

YruthlessnessBY re*etitions. uestions

rae and des*air

#urdice accordin to the ook is the wi(e o( r*heus and throuh his son hemanaes to win his wi(es (reedom (rom 9ades when she dies and is sent thereB8he could lea3e under one condition that he would not look at her until the othle(t the underworldB 9owe3er. he (ailed at kee*in his *romiseB I elie3e theauthor 9ilda ;oolittle is trin to allow the reader to see #urdices side o( thestor and see how she must su>er ecause o( her husands arroanceB Fecausehe cannot control lookin ack at #urdice. she is sent ack to the underworld

and is lost aainB In the *oem. #urdice is e*lainin all o( the thins thatr*heus has now taken (rom her aain since she is sent ack to 9adesB 8hee*lains. 8o ou ha3e swe*t me ack. I who could ha3e walked with the li3esouls. aout the earth. I who could ha3e sle*t amon the li3e )owers at last! "*B2GJ. ln 1-J&B 8he is heartroken that she aain must e awa (rom the thins shelo3ed in li(eB r*heus has taken those thins (rom herB 8he elie3es that she islost and (orotten and :ust when she is i3en a second chance. his arroance andruthlessness has ruined her li(eB 8he could ha3e een at *eace ut r*heus tookher (rom the dead and then etraed herB 8he ended u* ack in the underworldwithout the thins she earned (or in li(eB 8he was cut (rom )owers. the earth.liht. and human li(eB 9owe3er. #urdice would not i3e u* her idea o( li(e and

the thins she had lostB 8he said. at least I ha3e the )owers o( msel(. and mthouhts. no od can take that/ I ha3e the (er3or o( msel( (or a *resence and mown s*irit o( liht! "*B 2GG. ln 12-12G&B 8he elie3ed in makin her own li(e!and liht! e3en in the darkness o( the underworldB 8he elie3ed that she hadmore o( oth o( these thins in the underworld then r*heus had in the realworldB 8he would not i3e u* on her earnin (or li(eB

elie3e that 9ilda ;oolittle wanted her *oem to tell a stor o( a oun womenetraed a manB 8he elie3ed that the *oem would re*resent her thouhtsand (eelins that men are condemnin. ruthless. and arroantB This was shownin r*heus character in the *oemB 8he a3e a little ho*e to her (emale

character thouh showin that she could rise aainst the darkness and deathB8he was sent ack to the underworld ut no od could take her thouhts.(eelins. and ideas o( li(e. liht. and natureB ;oolittle showed *ower in her(emale character makin her ht ack aainst her (ate caused a manB I wasins*ired #urdices character in the *oem and in the mthB #3en in the oldOreek mth. women were ein controlled menB In the 20th centur andtodas societ. ou can still see this ht etween men and womenB I areewith the author in *ortrain #urdice in a stron lihtB 8he controlled her owna(terli(e and ke*t her thouhts aout the eaut in her li(e e(ore deathB Thatwas an ins*irin *art o( the stor and I a**reciated the character (or itB


19/66


Modernist %rose3er3iew

1B Fackround2B Oeneral characteristics,B 4CP8'

- 9eminwa' The 8un Also Cises- ?it$erald' The Oreat Oats- ;:una Farnes' Nihtwood- ?aulkner' A Cose (or #mil W The 8ound and the ?ur

Modernist %rose start' 1+20s

- :a$$ ae "?it$erald& music. car*e diem! mentalit ecause o( 44I- mo3ale (east "9eminwa& not a date- lost eneration "Oertrude 8tein& car in/ those who sur3i3ed the

44I had een traumati$ed

Fackround industriali$ation hue wa3e. cities ecame industrial centers in the erent com*onentsmake u* a new thin. ut the com*onents are still 3isile


20/66


Oeneral 7haracteristics e*erimentalism (orm/ relies on the #uro*ean tradition o( (ramented

narration consciousness. suunconscious

disru*ted chronolo u*set timescale. tem*oralit o( the narrati3e is

roken chanes in narration techniue 3iew*oint characters. instead o(

omniscient narrators. corru*ted. unreliale narrators/ the in(ormation issu:ecti3e/ were tra**ed in the narrators *oint o( 3iew/ stream o(consciousness

di>erent modes o( aesthetic orderin' use o( archet*es in an ironic wa.

the are onl schemes and stereot*es/ 3ariation o( moti3es and smols/rhthm ecomes *rominent in *rose/ s*ecial (orm s*ace is a meta*hor o(the internal workins o( the mind

lurrin distinctions 5 not clear distinctions- realit' uestion o( the oundar etween the real! worls and the

su:ecti3e world- ction nonction- ction autoiora*h roman a cle(!' im*ortant t*e o( no3el around this ae. autoiora*h

written as ction taoo issues' e*licit seualit. horror 44I/ war loses its characteristic as

somethin u*li(tin

;:una Farnes 1G+2-1+G2 lesian ction

modernist

5ightwood

1+,6 e*licit homoseualit etween women! othic *rose stle unusual (orm o( narrati3e metaction *raised T8 #liot

obin 6ote, 5ora 'lood

#u 7aron 'elix 6ol1bein introduced to her by 8r 0atthew 9Connor seeks Coins hand in marriae. to emulate the traditions in #u noilit.

hel*s Coin to (eel secure uido their son. disaled Coin reali$es that she does not wish to carr on this li(e mo3es to the


21/66


@enn %etherride widow steals C awa (rom N N turns to connor. to reco3er (rom the loss o( C C and @ (ruitless she continues to wander the oth return to the


22/66


inno3ation. e*erimentation

she ouht works (rom unknown! artists "%icasso. 7haall. ;alX& to

su**ort them meetin *lace (or artists center o( intellectual li(e sensiti3e and rece*ti3e towards im*ro3isation and e*erimentation

writers a3e her their works in *rocess. she e3aluated them "9eminwa.?it$erald. etcB&

A rose is a rose is a roseB!

4CP8'- ;.E.D."1+0,/ *ulB a(ter her death& autoiora*hical work. details

aout her *ri3ate li(e "lesian&- Three Li)e"1+0J-06&' , womens stories. , inde*endent stories- The #a0in% o) !mericans"1+12&- Tender 2uttons"1+1&

she sur3i3ed 44II in %aris

Three !i%es

1+0+ , stories The Oood Anna. Melanctha. The Oentle Lena inde*endent o( each other all set in a ctional town. 7ridgepoint. In Faltimore

The (ood !nna

Anna ?ederner a ser3ant o( Ysolid lower middle-class south erman stock ha** li(e as a housekee*er (or miss Mathilda

her diVculties with unreliale under ser3ants and Ystra dos and catsY 8he lo3es her Yreular dosY' Fa. an old. lind. terrier/ Yad %eter.Y loud

and cowardl/ and Ythe )u> little CasBY the undis*uted authorit in the household 3e ears with Miss Mathilda (our under ser3ants' Li$$ie. Moll. Pat. and 8allie iron hand Miss MB is also concerned ecause Anna is alwas i3in awa mone. and

tries to *rotect her (rom her man *oor (riends ackround rother a aker

Miss Mar 4adsmith i3en a reen *arrot lala o*erated and dies

#elanctha

distinctions and lendin o( race. se. ender. and (emale health (orm o( re*etition to *ortra characters itter e*erience with lo3e dauhter o( a lack (ather. mied-race mother oes on a uest (or knowlede and *ower. as she is dissatised with her

role in the world thirst (or wisdom


23/66


sel(-disco3er thouhts o( suicide lo3e a>airs. se in des*air aandonment o( her close (riend. Cose

roken. ill death (rom tuercolosis

The %entle Lena

ser3ant irl married to 9erman Preder. son o( erman immirants etraordinar *assi3it "oth& , children. *assi3e. distant Neither Lena nor the a sur3i3es her (ourth *renanc

#rnest 9eminwa "1G++-1+61& no3elist. short stor writer. :ournalist

stron in)uence on the 20thcentur ction

won the Noel %ri$e in literature in 1+J ser3ed in Ital in 44I

li3ed in %aris

went on sa(ari to A(rica. where he was almost killed in two successi3e

*lane crashes that le(t him in *ain or ill health (or much o( his remaininli(eB

most *ulic writer

- acti3el worked on writin his own mtholo- close relationshi* etween li(e W works his li(e is e*licitl *ut into

his works his mother wanted to ha3e a irl. she raised him as a irl (or man ears 5

imae o( a macho/ he wanted to e a Man iceer theor!' when ou see his *ulic *ersonalit. ou onl see the to*

o( the iceer hea3 drinker. de*ression

*aranoia. hears 3oices. oes to shock thera*. ut it didnt hel* he committed suicide ":ust like his (ather&

he was (orotten and des*ised (or man ears. mostl (eminist critics

4CP8'

No3els'

- The 8un Also Cises "1+26&- ?or 4hom the Fell Tolls "1+0&- The ld Man and the 8ea "1+J2&

8hort stories'

- Indian 7am* "1+2&

- 9ills like 4hite #le*hants "1+2H&- The 8nows o( Piliman:aro "1+,6&


24/66


8TDL#

econom o( words "onl as man words as asolutel *ossile&.

understatement Iceer Theor 5 elli*sis "omission& ";eath in the A(ternoon&

lank!' certain t*es o( in(ormation are not *resent. ecause the are

le(t out on *ur*ose and the ha3e to e lled the readers. notecause there not im*ortant

9eminwa writes like this. the reader has to nd out a lot o( thins

MA@C T9#M#8

himsel(/ hes trin to reconstruct himsel(

war and loss he was a soldier. he also *artici*ated in the 8*anish 7i3il

4ar memor and rememerin

lo3e and death

T9# 8


25/66


Fill and @ake tra3el to the 8*anish countrside and check into a small. rural

innB The s*end 3e *leasant das shin. drinkin. and *lain cardsB#3entuall. @ake recei3es a letter (rom MikeB 9e writes that he and Frett wille arri3in in %am*lona shortlB

esta eins

ullht %edro Comeo Frett likes it. interested in the o. s*end theniht toether the hel* o( @ake

Mike. Fill drunk

insults 7ohn attacks mike and :ake. knocks them out

4hen @ake returns to the hotel. he nds 7ohn lin (ace down on his ed

and crinB 7ohn es @akes (ori3eness. and @ake reluctantl rants itBThe net da. @ake learns (rom Fill and Mike that the niht e(ore 7ohn alsoeat u* Comero when he disco3ered the ullhter with Frett/ 7ohn latereed Comero to shake hands with him. ut Comero re(usedB

Frett reaks u* with Comero' that she would ruin him and his careerB 8he

announces that she now wants to return to MikeB @ake ooks tickets (orthem to lea3e MadridB As the ride in a tai throuh the 8*anish ca*ital.Frett laments that she and @ake could ha3e had a wonder(ul time toether

om. it was orin as hell

#tras

recei3ed mied re3iews

the characters are based on real peopleo( 9eminwaZs circle. and the

action is based on real events ca< society:oun American e*atriates in %aris "An e*atriate "o(ten

shortened to e*at& is a *erson tem*oraril or *ermanentl residin. as animmirant. in a countr other than that o( their citi$enshi*B&

)pain was emingways av +uropean country

unha** characters' Eer o(ten. their merrmakin is :oless and dri3en

alcoholB weakened masculinit

ein insecure in manliness

destructi3e (orce o( seualit tears (riendshi*s a*art. underminin honor.

lo3e. etc

9ILL8 LIP# 49IT# #L#%9ANT8 "1+2H&

a con3ersation etween lo3ers

aout a woman who is aout to ha3e an aortion and the two oin

se*arate was then dialoue o( oin under a *rocedure. which the man su**orts. the woman

has her douts it is aortion. althouh it is ne3er e*licitl said one o( the 3er (ew instances in 9eminwas work. where the male

character is the neati3e and the (emale character is the *ositi3e no conclusion. sto*s at a *oint. where a decision is seeminl made. ut

we dont know (or sure

8ettin'


26/66


set' at a train station to hihliht the (act that the relationshi* etween

the American man and the irl is at a crossroads in the middle o( a desolate 3alle. the station isnt a nal destination ut

merel a sto**in *oint etween Farcelona and MadridB white hills and arren 3alle li(e 3sB death. (ertilit. sterilit

- =C+7+ theory' 9eminwa stri**s e3erthin ut the are essentials (romhis stories and no3els. lea3in readers to nd out the meanin. the essentials ontheir own

- Iceer' onl the ti* can e seen. a reat mass o( ice hides eneath thesur(ace

- must inter*ret od lanuae. dialoue.

?B 8cott ?it$erald "1G+6-1+0& celerit o( the @a$$ Ae W roarin twenties

ction W autoiora*h intertwined "_elda 8are&

alcohol was the cause o( his earl death

went to %rinceton. started to date! with _elda. dauhter o( a court :ude comes (rom a wealth = (amil

1sttri* to #uro*e' 1+21 "%aris& 1+20' marries _elda

no nancial success. ecause he makes and also s*ends lot o( mone

9ollwood' 1+2H. screen*las. not success(ul

diVcult relationshi* with _elda. lo3e and hatred. she *roduces an

autoiora*h he elie3es she used *arts o( his new ook in her work

ner3ous reakdowns o( _elda. she s*ends the end o( her li(e in a mentalinstitution. dies in a re

1+0' he drinks himsel( to death resurrection' 1+J-1+J0

4orks'

This 8ide o( %aradise "1+20&

The Feauti(ul and the ;amned "1+22&

*he reat atsby !"#>?& )a**er' woman in the 1+20s. inde*endent. emanci*ated. morall

amiuous character ;ais in this ook. his wi(e in realit Tender Is The Niht "1+,2&

The Oreat Oats "1+2J&

Oreat American No3el! ?it$erald intended this to e the reatest

American no3el e3er TB8B #liot' In (act. it seems to me to e the rst ste* American ction has

taken since 9enr @ames! intention o( ?it$erald'

- intricatel *atterned! and consciousl artistic! no3el- Ealle o( Ashes 5 nod to #liots 4aste Land

lot:


27/66


Nich 7arrawa

- a(ter 1+22

- :ust mo3ed (rom the Midwest to 4est # "ctional cit&. Lon Island seekshis (ortune as a ond salesman

- 3isit his cousin. ;ais Fuchanan and her husand. Tom

- *ro(essional ol(er. @ordan Faker

- the li3e *ri3ilided li3es. luur. mone. etc

- Nick' modest. rounded li(estle

- 4hen Nick returns home that e3enin. he notices his neihor. Oats.msteriousl standin in the dark and stretchin his arms toward the water. anda solitar reen liht across the 8oundB

- Tom' adulterer

- 9is mistress' Mrtle 4ilson middle class woman. husand runs a arae. asstation. etc in a rundown area

- drunken a(ternoon toether

- MB and Tom htin o3er ;ais. rae. T reaks M-s nose

- Nick turns his attention to his neihor. who hosts weekl *arties (or the richand (ashionale

- in3ites Nick to his *arties "strane. ecause he is an outsider&

- OB remains a*art (rom his uests. oser3er. more like a *artici*ant

- As the *art winds down. Oats takes @ordan aside to s*eak *ri3atelB Althouhthe reader isnZt s*ecicall told what the discuss. @ordan is reatl ama$ed what sheZs learned

- O and N ecome (riends- @ and N ein to see each other on a reular asis

- n that same da. while ha3in tea with @ordan Faker. Nick learns the ama$instor that Oats told her the niht o( his *artB Oats. it a**ears. is in lo3e with;ais FuchananB The met ears earlier when he was in the arm ut could note toether ecause he did not et ha3e the means to su**ort herB In theinter3enin ears. Oats made his (ortune. all with the oal o( winnin ;aisackB 9e ouht his house so that he would e across the 8ound (rom her andhosted the elaorate *arties in the ho*es that she would noticeB


28/66


- Oats asks Nick to in3ite ;ais to his little house where Oats will show u*unannounced

- OB is a ho*eless romantic. e3er detail is *er(ect in the house

- rst ner3ous. ut then the loose u*

- N (eels as an outsider

- )ashack here' the stor o( OB

- @ames Oat$. chaned his name at 1H

- ;an 7od his mentor

- he went , times around the continent

- le(t the *ast ehind

- entre*reneur

Mo3in ack to the *resent. we disco3er that ;ais and Tom will attend one o(OatsZs *artiesB Tom. o( course. s*ends his time chasin women. while ;aisand Oats sneak o3er to NickZs ard (or a momentZs *ri3ac while Nick.accom*lice in the a>air. kee*s uardB A(ter the Fuchanans lea3e. Oats tellsNick o( his secret desire' to reca*ture the *astB Oats. the idealistic dreamer.

rml elie3es the *ast can e reca*tured in its entiretB Oats then oes on totell what it is aout his *ast with ;ais that has made such an im*act on himB

-their lo3e *roresses. meetin reularl

- T chases women at that time

- eatin out toether with N. O. ;. T. @ ; does not hide her lo3e (or O. Tmanaes to reali$e whats oin on

- T sto*s at the as station o( the husand o( M. who is in des*air ecause he otto know that he cheats him w another man. her secret li(e wants to take her tothe 4est

- T loses his mistress and also his wi(e at the same time

- %la$a 9otel continue drinkin

- T eins to ader O. aout ;

- The truth comes out


29/66


Oats wants ;ais to admit sheZs ne3er lo3ed Tom ut that. instead. she hasalwas lo3ed himB 4hen ;ais is unale to do this. atsby declares that 8aisyis going to leave *omB Tom. thouh. understands ;ais (ar etter than Oatsdoes and knows she won&t lea%e him' (is wealth and power, maturedthrough generations o) pri%ilege, will triumph o%er *atsby&s newly

)ound wealth(In a esture o( authorit. Tom orders ;ais and Oats to headhome in atsby@scarB Tom. Nick. and @ordan (ollowB

- Mrtle 4ilson. TomZs mistress. has een hit and killed a *assin car thatne3er othered to sto*. and it a**ears to ha3e een OatsZs car

- Nick Learns that ; was dri3in the car. O will take all the lame

- N and Os (riendshi* ends

- 4ilson kills O and then himsel( with a un

- N ha3e to make arranements (or the urial o( O

- No one is concerned with Os death

- ;ais and Tom msteriousl lea3e on a tri* and all the *eo*le who so eaerlattended his *arties. drinkin his liuor and eatin his (ood. re(use to ecomein3ol3edB #3en Meer 4ol(shiem. OatsZs usiness *artner. re(uses to *uliclmourn his (riendZs deathB A teleram (rom 9enr 7B Oat$. OatsZs (ather.indicates he will e comin (rom Minnesota to ur his son

- 8espite all his popularity during his lietime, in his death, atsby iscompletely orgottenB

- N oes ack to the #ast. disusted. disillusioned

- N re(uses to shake hands with TAou 1now what = thin1 o youBY

- Tom was the cause ehind OatsZs deathB 4hen 4ilson came to his house. hetold 4ilson that Oats owned the car that killed MrtleB In *om@s mind, he hadhelped Bustice alongB

- Nick. disusted the carelessness and cruel nature o( Tom. ;ais. and those

like them. lea3es Tom. *roud o( his own interitB

Characters:- @a Oats' amiuous. 3er rich character- Nick 7arrawa the stor is told his *oint o( 3iew. was once

Oatss neihor- ;ais Fuchanan W Tom Fuchanan ; is the cousin o( Nick. Tom is his

husand- @ordan Faker *ro(essional ol(er. lo3e interest o( Nick- Oeore 4ilson W Mrtle 4ilson

)tructure- + cha*ters


30/66


- 7h J' mid*oint. this is where the meet aain in their new li3es- 7h 1-' *relude to meetin. 7h 6-+' conseuences

5arrative techniue and style- told Nick 7arrawas *oint o( 3iew- ,rd-*art witness 5 *artiall in3ol3ed oser3er. moral center/ alwas kee*s his distance. ut i3es moral

ad3ice still. he seems to e as morally ambiguousas the others are

unreliable narrator we 1now only his point o view,

Budgements- di>used in(ormation central character "Oats& *ermeates tet/ he is the central character

and the central mster as well truth about *atsby is %ery di+cult to now, he always lies

about himsel), he )uels the mystery about himsel)- snesthesia is a recurrin techniue in the no3el

*hemes:- time' (reuent mention. time-words used more than 00 times 5

Oatss strule with time to et to ;ais re*etition o( the *ast ;ais and Oats ettin toether. cclin

nature o( time time is a tra*' time means the re*etition o( (ailures clock on the mental *iece. (alls on the round as i( time stood still- money and its position in society' mone cant u ou a *lace in

societ/ the old New #nland societ will ne3er ha3e ou in theircircles. ecause not mone what matters. ut aristocrac!

- love D illusion Oats can e read as a (airtale. ut as a neati3e(airtale

- merican 8ream' su3ersion and destruction o( it he had thisdream in mind e3er since his childhood. ut it is an in(antile (antas o(how to succeed

retained his childlike ualit us a house o**osite ;aiss house. reen liht at the end o( the

docks 5 (alse ho*e- (uneral o( Oats' a*art (rom his (ather and Nick. no one is there.

includin ;ais

4illiam ?aulkner "1G+H-1+62& one o( the most inno3ati3e and im*ortant authors o( the 20thcentur

8outh/ orn in Mississi**i. oriinall. he was ?alkner *ut in the u! to

make the arm elie3e hes Fritish7anadian thus he was acce*ted to thearm

(ather' 7olonel recurrin character in his works

Dokna*ataw*ha countr' imainar settin (or his works

deals with the *re- and the *ost-7i3il 4ar southern societ nostalia.

uto*ia not 3er success(ul in the 1st*art o( his li(e strulin and drinkin like

?it$erald oes to 9ollwood. on the 3ere o( ankru*tc ood mone

1+,6' total colla*se. thinks himsel( a (ailure

he li3es to see his own literar resurrection 2 essas aout him in the NDMaa$ine


31/66


1+J0' literar Noel *rice

immense success. teacher at the uni3ersit

death' heart attack. drinkin

4orks

The 8ound and the ?ur "1+2+& As I La ;in "1+,0&

8anctuar "1+,1&

Liht in Auust "1+,2&

Asalom Asalom "1+,6&

ose or +mily !"#E$&

A Cose (or #mil

short stor

set in Dokna*atawha. a ctional count

in the ctional cit. @e>erson alleorical title' a salute to e*ress *it (or the traed o( a woman that

could not do anthin aout it characters'

- 1st*erson %L


32/66


- earl 20thcentur- elements (rom othic stle. ut not all- aout human *scholo etreme antisocial eha3iors. illusions in

societ. disuised realities or twisted minds- here' deca. old mansion

Time'

- 4e learn aout #mils li(e throuh a series o( )ashacksB- The stor eins with a descri*tion o( #mils (uneral and then mo3es into

the near-distant *ast

Narrator'

- unnamed- the towns collecti3e 3oice- msterious- ne3er nd out how much thehe eactl knew aout #

The 8ound and the ?ur

thno3el. immediate critical success

title (rom 8hakes*eares Maceth "Jthact&

central theme' reakdown o( the 7om*son (amil

ince*tion' with the *icture o( the little irls drawers! and her rothers.

who didnt ha3e the courae to clim the tree! waitin to hear what shesaw!

a**endi written (or it later. hel*s to understand the no3el

Characters:

7andace "7add&' not *resent *ersonall. ut re*resented throuh her

rothers relationshi* MrsB 7om*son

`uentin. @ason. Fen:

Miss `uentin

;ilse

TB%B. Eersh. Luster

5arrative techniue

interior monoloue stream o( consciousness

narrati3e indeterminac

8ettin

@e>erson. Missisi**i

7om*son (amil

(ormer aristocrats. strulin to deal with the dissolution o( their (amil

and their re*uB nancial ruin

loses reliious (aith man o( them die traicall


33/66


lose the res*ect o( the town o( @e>erson

)tructure

distinct sections

Ch( "(: pril Fth , "#>% "Oood 8aturda&

- Fen:' ,, ears old. disaled "not clear what are its characteristics hinted' de3elo*mental disailit&

- stle' no conce*t o( time. we dont know where we are. dis:ointednarrati3e stle. (reuent lea*s in the chronoloical order. nonliterar3oice

- he is the shame! (or the (amil- 7add and ;ilse show care and true lo3e (or him- italici$ation marks the )ashacks. and the thouhts (rom the *ast "di>

names o( caretakers in di> times&- he has , *assions' re. ol( and his sister. 7add

%rolems arise when'- 7add is anished' di3orce (rom his husB. ecause o( a child that is not

his- (amil sells the ol( clu to nance s education at 9ar3ard

- Luster' ser3ant o (or him- In 1G+G when their randmother died. the (our 7om*son children were

(orced to *la outside durin the (uneralB In order to see what was oinon inside. 7add climed a tree in the ard. and while lookin inside.her rothers looked u* and noticed that her underwear was muddB

- This is 7enBy@s Grst memory. and he associates Caddy with trees

throuhout the rest o( his arc- chane o( name' (rom Maur to FB- F is castrated at the ae o( 1J odil im*otence re)ects his mental

im*otence attack on a irl- (amil is on the 3ere o( etinction

- im*ressionistic lanuae

h. $.' /une $nd , "#"0 ùentin. older than Fen:- last da o( uentin. leadin to his suicide drownin- 9amlet-like ure. 9ar3ard intellectual. tormented

- osessed with chi3alr. stronl *rotecti3e o( women- not strictl linear narrati3e. est eam*le on ?aulkners narrati3eo stream o( consciousness in a @oce-ian sense

- dee* lonin (or his sister. he lo3es her 3er much. wantin to *rotect7addo her *urit and 3irinit

- when 7 enaes in seual *romiscuit horriedo turns to his (athero he' 3irinit is in3ented men and should not e taken

seriouslBo 9e also tells ùentin that time will heal all

- s*ends all his time *ro3in that his (ather is wron- in the (all o( 1+0+. 7add ecomes *renant a lo3er she is unaleto identi(. *erha*s 8alton mes. whom ùentin con(rontsB The two


34/66


ht. with ùentin losin disrace(ull and 7add 3owin. (orùentinZs sake. ne3er to s*eak to ;alton aain

- ` sas the ha3e committed incest. ut his (ather knows he is lin- (eels to take res*onsiilit (or 7s sin- 7 marries erbertead nds out the *renanc. sends her awa

- ` heartreak o3er losin cadd- he meets a small Italian immirant irl who s*eaks no #nlishB8inicantl. he calls her YsisterY and s*ends much o( the da trin tocommunicate with her. and to care (or her ndin her home

8tle'

- es*eciall at the end ?aulkner com*letel disreards an semlance ogrammar, spelling, or punctuation,instead writin in a rambling series o

words, phrases, and sentencesthat ha3e no separationto indicate whereone thouht ends and another einsB

- This con(usion is due to Huentin@s severe depression anddeteriorating state o mind. and ùentin is there(ore arual an e3enmore unreliable narratorthan his rother Fen:B

Ch( E(: pril Ith , "#>% J ;ason"Oood ?rida&- ùentins itter. cinical. straiht(orward ouner rother. neati3e

character

- he hates e3erone in his (amil- he is the (a3 o( the mother. 7aroline- his character is dri3en reed. the desire (or wealth. and re3ene

aainst 7add and ùentin "oth the orther and 7adds dauhter&- lackmails 7add into makin him Miss ùentinZs sole uardian. then

uses that role to steal the su**ort *aments that 7add sends (or herdauhter

- a(ter their (ather dies. he su**orts e3erone in the (amil nanciall- lot o( reliious smolism. in contrast with e3erthin @ason re*resents- lea3es (rom work to nd Miss run awa mischie(- 7aroline' h*ochondriac

Ch( ?(: pril %

th

, "#>% ;ilse. @ason "#aster 8unda&- ;ilse' matriarch o( the A(rican-American (amil ser3ants. has eenwith the (amil (or a 3er lon time

- strenth. (aith in her. *roud ure in the din (amil- ,rd*erson *oint o( 3iew- aout deeds o( e3erone in the (amil- mistreated and aused ut remains loal- takes her (amil and Fen: to the ZcoloredZ church- Luster is her randson- reliious e*i*han o( ;ilse- entra*ment- Fen:. )ower. etc

lot o( internal monoloues taken to the etreme in the character o( Fen:


35/66


circles o( the narrati3e. the narrator is comin ack to the same *oint

"7add&

Title'

- (rom Maceth

-Ytale told an idiot(ull o( sound and (ur!. in this case Fen:. whose 3iew o(the 7om*sonsZ stor o*ens the no3elB The idea can e etended also to `uentinand @ason. whose narrati3es dis*la their own 3arieties o( idiocB More to the*oint. the no3el recounts the decline and death o( a traditional u**er-class8outhern (amil. Ythe wa to dust deathYB

New Nero CenaissanceIntroduction

denition- Cenaissance' rather inaccurate. not a return ut rather a birth

histor- slave narrative, abolitionist movement' ad3ocates education as

the ke- sla3er was aolished this time. ut the situation was not eual

"3otin. se*aration&- line di3idin whites and lacks

*eriods- awa1ening' Fooker TB 4ashinton. 4B#BF ;uFois. @ames 4eldon

@ohnson. etcB

- arlem enaissance "20s and ,0s&' ;uFois. @ohnson. Alain Locke.Lanston 9uhes. Nella Larsen. etcB

- second generation: eond 9arlem "0s and J0s& Cichard 4riht.;oroth 4est. Anne %etr. Owendoln Frooks. Mararet 4alker

Lanston 9uhes "1+02-1+6H& *oet laureate o( lack erent kind o( state- ancient histor "Meso*otamia. #*t& with A(rica and America

etremes o( identication. dualit- connectin Lincoln with the Mississi**i "sla3e-holdin states. racial

sereation&


36/66


- written while he was 1H and on a train crossin the Mississi**i Ci3er onthe wa to 3isit his (ather in Meico in 1+20

erent (rom the one the were elie3ed to elon to was known asYpassing.Y e3en when it was ased on a *ersonZs ancestr this iswhat the title re(ers to

- *assin-narrati3e. ut can e also read as a romance stor. endin indeath murder= nood knows. ut most o( the *eo*le elie3e thatthere are racial moti3es

- onl wa out (rom a ad situation like this is to acce*t oursel(

Narrati3e'- ,rd*erson. *ers*ecti3e o( Irene. liht-skinned lack woman

%lot'

*art 1

I recei3es a letter (rom 7. causin her to recall the *ast ncounter she had

with her at the roo( restaurant o( the ;raton 9otel in 7hicao the rew u* toether. ut lost touch

learns that she *asses (or white. her husand is rich. the li3e in #u.

the ha3e a dauhter. he sus*ects nothin she 3isits 7 with another (riend, ertrude


37/66


@ makes racist 3iews. makin the women uneas. still knowin nothin

"==== how& the act white. to maintain 7s secret identit

Oertrude decide that 7lareZs situation is too danerous (or them to

continue associatin with her

Irene recei3es a letter o( a*olo (rom 7lare ut destros it and oes onwith her li(e with her husand. 7rian. and two sonsB

*art 2

re-encounter

new letter (rom 7. inores. 7 3isits her

Irene ser3es on the committee (or the YNero 4el(are LeaueY "N4L& 7lare

in3ites hersel( to their u*comin dance. des*ite IreneZs ad3isin aainst it(or (ear that @ack will nd out

attends the dance. continues to s*end more time in 9arlem

*art ,

e(ore 7hristmas

I eins to sus*ect that 7 has an a>air with her husand. Frian

;urin a sho**in tri* with her 3isil lack (riend 'elise 'reeland. Irene

encounters @ack. who ecomes aware o( herUand etension. 7lareZsUracial statusB

Irene considers warnin 7lare aout @ackZs new-(ound knowlede ut

decides aainst it. worried that the *airZs di3orce miht encourae herhusand to lea3e her (or 7lareB

7lare accom*anies Irene and Frian to a *art hosted ?eliseB

The atherin is interru*ted @ack. who accuses 7lare o( ein a

Ydamned dirt nierY Irene rushes to 7lare. who is standin an o*en windowB

7lare (alls out o( the window (rom the to* )oor o( the uildin

4hether she has (allen accidentall. was *ushed Irene or Fellew. or

committed suicide. is unclearB

_ola Neale 9urston "1G+1-1+60& multi*le canoni$ation

Alice 4alker 1+H,

anthro*oloist W writer

#aton3ille all lack town in ?lorida. no dualit in the *o*ulation

Their Eyes ere atching *od"1+,H&

- central ure';anie Craword her rite o( *assae maturation as woman ri*enin (rom a 3irant. ut

3oiceless. teenae irl into a woman with her ner on the trier o( herown destin!

settin' ?lorida. south. #aton3ille heoby Latson her > she tells @anieZs stor on her ehal( to

de(end her (rom the ossi* o( the towns*eo*le

she returns (rom a lon *eriod o( asence 9er li(e has three ma:or *eriods corres*ondin to her marriaes


38/66


o , marriaes. 3er di>B men

Nann randma was a sla3e. ra*ed. mied-race dauhter. .eay

o Nann esca*ed (rom her :ealous mistress and (ound a ood home

a(ter the end o( the American 7i3il 4aro Lea( was ra*ed her school teacher and ecame *renant with

@anieBo 8hortl a(ter @anieZs irth. Lea( ean to drink and sta out at

nihtB #3entuall. she ran awa. lea3in her dauhter @anie withNannB

o she is taken care Nann kissin w a o "@ohnn Talor&. N ets

scared. (ears that she will ecome a mule to someone. wantin onlher od and laour

.ogan Killic1s

o arraned marriae. older man. (armero @anie is not interested in himo N wants @ to et the stailit she ne3er had. o**ortunities. a man must

take care o( hero @aines idea' lo3e must come (rom lo3e "*ear tree&o traditional ender roles Loan wants a hel*er in the (arm. not a lo3er or

a *artnero he thinks that @anie is unrate(ul. @anie is unha**o Nann dies

;ody !;oe& )tar1so runs o> with himo o to #aton3illeo lo3e. ut also ender roleso land. eneral store (or local residentso he ecomes the maor o( the towno she is a tro*h wi(e (or himo (orids her (rom *artici*atin in the sustantial social li(e that occurs on

the storeZs (ront *orchBo treats her as his *ro*ert. controllin hero later' teases her in *ulic aout ein old "in her ,0s&o she strikes ack ' ets hardl hito he ets a (atal illness kidne disease - 4hen @anie learns that he miht

die. she oes to 3isit himB 8he tells him who she reall is. and that hene3er knew ecause he would not let her e (reeB

- a(ter he dies' nanciall inde*endent. ets o>ers (rom men. turns themdown

*ea Ca1e !6ergible Loods&

romantic reasons. much ouner than @anie 5 di>erent t*es o( marriaes *las the uitar. amler

treats her with kindness and res*ect (alls in lo3e with him


39/66


sell the store head to @ackson3ille to marr *lantin and har3estin eans toether mutual :ealous . u*s and downs he whi*s @anie in order to demonstrate his *ossession o( her ut @anie reali$es she now has the marriae with lo3e that sheZs alwas

wanted The area is hit the reat keechoee hurricaneB Tea 7ake is itten a raid do while sa3in @anie (rom the do and (rom

drownin. and he contracts the disease he ecomes increasinl :ealous and un*redictale 9e ultimatel tries to shoot @anie with his *istol. ut she shoots him with a

ri)e in sel(-de(ense 8he is chared with murderB

At the trial. Tea 7akeZs lack male (riends show u* to o**ose her. ut a rou* o(local white women arri3e to su**ort @anieB The all-white :ur acuits @anie. andshe i3es Tea 7ake a la3ish (uneralB Tea 7akeZs (riends are a*oloetic and (ori3e

her. and the want her to remain in the #3erladesB 9owe3er. she decides toreturn to #aton3illeB As she e*ected. the residents are ossi*in aout herB Thestor ends where it started. and @anie nishes tellin her stor to %heoB

aolishes male *resence in her li(e. returns to #than3ille as a sel(-

sustained woman indi3idualist

- lack 3ernacular' reional dialect di>erences in s*eech is connectedto a lack o( education. it was im*osed on them the white communit

narrator in the stor s*eaks in the blac1 vernacular "Muh wi(e donZt

know nothinZ out no s*eech-makinZB Ah ne3er married her (or nothinZ lakdatB 8heZs uh woman and her *lace is in de homeBY&

- racism- comments on the di3ersit mostl 4IT9IN the A(rican American

communit di3ided A(rican American communit on man lines internal racism within the AA communit color-codin' lihter skin is

*ositi3e. darker skin is neati3e. e3en inside the communit 9urston was widel critici$ed (or this. the author who ecomes the 3oice

o( the AA communit doesnt show the communit as unied

Themes

ender roles relationshi* w men and women marrin (rom lo3e or to et securit= domestication o( women

Cichard 4riht 1+0G-1+60 contro3ersial no3els. *oems. short stories racial themes

2ati%e 3on

1+0


40/66


social *rotest no3el 7igger *homas 20BoB li3in in utter *o3ert 7hicao. 1+,0s

crimes. sstem ehind them

FierZs lawer makes the case that there is no esca*e (rom this destin(or his client or an other lack American since the are the necessar*roduct o( the societ that (ormed them and told them since irth whoeactl the were su**osed to e!

MN5o merican 5egro exists who does not have his private 7igger

*homas living in his s1ull(N - he wrote it once

lot O some points

wakes u*. hue rat that kills a skillet elie(' he has no control o3er his li(e cannot as*ire to anthin other than low-wae laour

mother' *esters him to take u* a :o at a rich man' 0r( 8alton Fier' instead chooses to meet u* with his (riends to *lan the robbery

o a white mans store aner. (ear. (rustration

(ear o( con(rontin his (ate roed man lack-owned usinesses. ne3er attem*ted to ro a white

e(ore

3iolentl attacks one o( his an memers to saotae the roer takes the :o as a chau>eur (or the ;altons 0r( 8alton

o ier landlord. where Fiers (amil li3es. he owns lots o(

a*artmentso he e>ecti3el ros he *oor lack tenants. re(usin them to rent

a*artmentso e>ect' o3er*o*ulation in some areas. 7hicaos 8outh 8ideo howe3er. he donates mone to lack schoolso o>ers :o to *oor. timid lack oso to et rid o( his uilt

0ary 8altono his dauhtero (rihtens F (or inorin the taooso relationshi* w and wo communist o(riend. @an

the (orce Fier to take them to a restaurant to show their toleranceBB

the order drinks. do not care aout Fiers emarrassment et drunk.

all , dri3es around. MK@ ha3e se on the ackseat M too drunk F takes her to her room. kisses her 0rs 8alton lind F ets terried o( her hostlike *resence she does not know he is there accidentally 1ills 0 tried to co3er her (ace with a *illow. not to re3eal

him. aand (ailed

tries to burn 0aryPs body in the urnace the elie3ed she

3anished


41/66


Mars murder i3es Fier a sense o( *ower and identit he has ne3er

known Fessie' his O? tries to collect mone (rom the ;altons -5 ransom letter -5 sined as ed

"hatred (or communism&

Maries ones are (ound in the (urnace Fier )ees with Fessie ra*es her (rihtened that she will i3e him awa. bludgeons her to deathwith a

rick a(ter she (alls aslee* massi3e manhunt (or him ca*tured a(ter a dramatic shootout *ress. *ulic e3en thouh he is reall uilt rumours. ad :udment. ecause he is

lack ad not onl (or him. ut (or the communit' white mob use 7iggers

crime as an excuse to terrori3e the entire )outh )ide @an 3isits him in :ail - he terried. anered. and shamed Fier throuh

his 3iolation o( the social taoos that o3ern tense race relations! his (riend' Foris AB Ma to de(end Fier (ree o( chare he s*eaks to him as a human ein also an e>ect on Fier' sees whites as indi3iduals. and eual

Ma tries to sa3e Fier (rom the death *enalt. aruin that while his clientis res*onsile (or his crime. it is 3ital to reconi$e that he is a product o hisenvironmentB %art o( the lame (or Fiers crimes elons to the (ear(ul,hopeless e4istence that he has e4perienced in a racist society since

birth. Ma warns that there will e more men like Fier i( America does not*ut an end to the 3icious ccle o( hatred and 3eneanceB I think it is acomment made directl the author. his ideas. thouhts

Fier is sentenced to death not a traditional hero. ut 4riht (orces us to enter his mind and show

the de3astatin e>ects o( social :udments and *re:udice. theconditions he was raised

Modern ;ramariins1+ th centur

- *rose and *oetr accom*lished- drama relati3el unim*ortant- *roduction o( #uro*ean dramatic works

centers- %hiladel*hia- ND "*ost-1G2J' Froadwa&

oom in theatre-uildin (rom mid-1+thcentur

(ocus on the 3isual *art. not the *lot "ee-cand!&


42/66


20 th centur

Froadwa' commercial *roductions #[%#CIM#NT8' mo3e away romFroadwa 5 Little Theater! mo3ement

- also re(errin to the si$e o( the theatres- one-act *ieces- *las too marinal (or Froadwa

o #uro*ean e*erimentalism. e*ressionism. a3ant-ardeo Deats. 8haw. Isen. etcB

- 3aried content "ideoloical 5 Olas*ells Tri)es 5 (eminism& im*ortantsocial issues as to*ics

- (ormal inno3ation 5 eBB em*loment o( Oreek (orms in #ournin%2ecomes Electra"Neill&

- metatheatrical de3ices "Thornton 4ilder& eBB *la within a *la T9#ATC#8

- the irth*lace o( the New American ;rama! "4illiam Archer&- Little Theater "7hicao 1+12-1H&

o mostl staed #uro*ean a3ant-arde and modernist drama"Olas*ell&

- %ro3incetown %laers "%ro3incetown. MA then ND 1+1J&o 8usan Olas*ell' Tri)es "1+16&o #uene Neill' Feond the 9ori$on "1+20&. The #m*eror @ones

"1+20& A(rican American issues. social disad3antaes1B esca*e Froadwa and commercial settins2B e*ress somethin new "(orm or content&

- eBB *schoanalsis o( ?reud and @un "Olas*ells 8u**ressed ;esires.Neills Mournin Fecomes #lectra&

- re)ect on transressi3e issues' (eminism. homoseualit. seual

taoos. etcB,B characteristics

- domestic realism mo3ement awa (rom melodrama- mo3ement awa (rom the outside to the inside- em*hasis on *ri3ate(amil

o con)icts within the (amil. usuall ds(unctional (amilo used as *lat(orm (or national alleor eBB 4hos A(raid o(

Eirinia 4ool(=' main characters are Oeore and Martha- restrictions in s*ace usuall onl one house

o can e read in man was. eBB house as the human mind

#uene Neill "1GGG-1+J,& *lawriht realism

American drama can reach the le3el o( the euro*ean works

ds(unctional (amil. recurrin theme in his work

o( Irish descent

(ather' actor ut alcoholic. mother' mor*hine addict a(ter #uenes irth.

rother' alcoholic- (eel o( uilt

Noel %ri$e 1+,6

The #m*eror @ones "1+20&. Mournin Fecomes #lectra "1+,1&. The Iceman

7ometh "1+,+. rst *er(ormed in 1+6&. Lon ;as @ourne into the Niht"wrB 1+0&


43/66


Lon das @ourne into the Niht

1+0 5 *roduced 1+J6 one o( the nest American *las

recei3ed %ulit$er *ri$e (or this

semi-autoiora*hical. ne3er intended (or *roduction acts

*yrone amily5 @ames. Mar. @amie W #dmund "sons& like his (amil

0onte Cristo cottage

setting: living room

e3ents take *lace durin one da "Auust. 1+12. GB,0-0B00&- classical unit o( drama

themes- addiction to mor*hine. whiske- illness 5 ouner rother' tuerculosis. no medication- miserliness 5 (ather

- intra-(amil relationshi*s- trauma and *ain no ha** endins. :ust like in modern dramas in usual

%lot

@ames 6J o actor. re*utation. onl 1 role

Mar has :ust come ack (rom a sanator "addiction to mor*hine&o decaino lies to her (amil o( ein curedo li3es in a (antas world. insomnia. ecame addict a(ter i3in irtho hates the house the li3e ino was a *ianist e(oreo lo3ed her li(e e(ore meetin @ames

#dmund 2,. couhs 3er 3iolentl. ad health. ner3ous the sus*ect

that he has tuercolosis. his mother is na3e. thinks he is :ust cold. theother (amil memers will tr to hide the truth (rom hero works at a news*a*ero worries onl aout the condition o( his mother

constant hts in the (amil Mar 3s :ames. @ames 3 @amie @ames' cons*iration theories hears the os lauh. assumes the lauh at

him. ets anr easil. not sel( condent. mone in houses' eh @amie' ,,. @ attacks him (or his lack o( amition and la$iness. (ail to

succeed in anthin. ad in)uence to #. ut that is not true (amil oriinates (rom Ireland

;oc 9ard doctor o( #

Attack' @amie onl suanders loads o( mone on whores and liuor in townB

@amie arues ack that Trone suanders mone on real estate s*eculation @' resistant on s*endin mone on ood doctors. *enn-*incher

s*are edroom' M used to satis( her addiction there. mae she is doin it

aain waterin down (athers alcohol

7athleen maid. chatt. )irts with #

@amie and # oth drinkers # re3eals his disease . M re(uses to elie3e. wants onl attention


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a(raid o( the death o( her son

#uene Trone A son orn e(ore #dmund who died o( measles at the ae

o( two At midniht. #dmund comes home to nd his (ather *lain solitaireB 4hile

the two arue and drink. the also ha3e an intimate. tender con3ersation

# as*iration to ecome a reat writer someda uarrel

Mar lost in her dreams. comes down. *ra

Tennessee 4illiams "1+11-1+G,& *lawriht

one o( the decisi3e ures o( this era

alcohol. dru addiction

later works "60s-H0s&' (ailin ualit

)treetcar 5amed 8esire"1+H&

o lms 20s' haste code 7at onS' made into lm/ details chanedo %ulit$er *rice (or it

%lot'

o 7lanche 8u7ois in her ,0s no mone #nlish teacher. *ause ecause o( her ner3es hates the new )at. 8tanle is rouh. the oth dislike each

other

married 3er ound. widowed distressed aout ito 7elle eve her (amil home. lost ito tra3els to Laurel. Mississi**io her 8ister- )tella,tra3els to lea3e with her

oin to ha3e a ao )tanley Kowals1i the husand o( 8tella

aressi3e. ill-willed. hates F worries that he is cheated out o( inheritance. wonders what

ha**ened to Felle Ce3eo 0itch 8tanles *oker *lain udd

courteous. ood mannered

like each othero 8TA strikes 8T# in rae. drunko #unice neihour. re(ue at himo a*oloi$e. oes ack. Flanche is ewildered. ecause o( that

eha3iour and aressiono 8T# still lo3es 8TAo weeks *ass 8TA and 8T# ha3e *rolemso 8tella that she wants to o awa with him MIT79o TC


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who tells Flanche that the need each otherB It seems certain thatthe will et marriedB

o 8TA' Cumour o( Flanche' was red (rom her teachin :o (or ha3in

se with a student and that she li3ed at a hotel known (or *rostitutes8T# anr

o Mitch hears the rumours. F con(esses its true. ets re:ectedo attem*ts to ra*e her. she runs awao 8tanle and Flanche are le(t alone in the a*artment -5 ra*es her. ut

it is onl IM%LI#;o F mental reakdown. mental hos*italo 8T# cannot elie3e her aout the ra*eo Mitch cries oes with her - Y4hoe3er ou are. I ha3e alwas

de*ended u*on the kindness o( stranersBY

F- (allen in the ees o( the societ. ad drinkin *rolem

southern elle. (adin eaut

de*ends on male seual admiration

Arthur Miller "1+1J-200J& ;eath o( a 8alesman "1++&.

The 7rucile "1+J,&' Mc7arth-era. (ear o( communism - 8alem witch

hunt %ulit$er %rice

Ton Award (or est *la

7om*arisonLilliams 0iller

8outh North

senses.emotions

intellect

*ri3ate social

(emale male

con(ession triunal

Looman'

)treetcar 5amed 8esire !"#?F& 8eath o a )alesman !"#?#&

New rleans memor *la!

e*isodic American ;ream

lrical/ *scholoical realism sel(-deceit. thwarted dreams


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Characters:

8tanle Powalski

Flanche ;uFois

Mitch

8tella

Flanche ra*ed 8tanle *hsical and mental trauma

3iolent man. constantl hurtin his

wi(e oth mentall and *hsicall seual encounter etween the two

cultures

Characters:

4ill Loman

Fi>

9a**

Linda

The 4oman 9oward

7harle

Fernard no action in the *resent.

e3erthin is aout thinkin aoutthe *ast

instantl ecame success(ul in the

older son. (ootall star. *otential

in hih school. (ailed it a(terseein his (ather with anotherwoman. kee*s it as a secret. thisruins him

(athers dream (or him' to e a

usinessman he wants to e a (armhand ut

he wants to make his (atherha**. lea3es his own ha**iness


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ehind9a**'

ouner. shadow o( Fi> almost inored restless li(estle. womani$er

an assistant to the assistant uerat the local store. ut is willin tocheat a little in order to do so. takin ries

tries to et attention' oin to et

married he tries o(ten to kee* his (amilZs

*erce*tions o( each other *ositi3eor Yha**Y de(endin each o(them durin their manaruments

Linda looks down on him he i3es the (amil mone

7harle lends 4ill mone to kee* u* his

secret li(e 4 treats him *oorl 4 is :ealous o( him. o>ered a :o

ut declines itFernard

7harles son. worshi*s Fi> success(ul lawer. married.

children 5 the o**osite o( 4ssituation

#dward Alee "B 1+2G& *lawriht

Americani$ation o( the theathre o( the asurd

ado*ted at a 3er earl ae tension etween his ado*tin (amil and

himsel(

o*enl homoseual addressed in man *las

4hos A(raid o( Eirinia 4ool(=

1+62 "lm ada*tation Cichard Furton and #li$aeth Talor&

title' *un. the son Y4hoZs A(raid o( the Fi Fad 4ol(=Y (rom 4alt ;isneZs

Three Little %is "1+,,& M and O sin this re*eatedl in the *lao wol( (uture. a(raid o( death intellectuali$es it

, acts

settin' night Jend' sun rises. a new ho*e is einnin

reakdown o( the marriae o( a middle aed cou*le

characters'- eorge and 0artha


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- Oeore' associate *ro(. at the collee. Martha' dauhter o( the*resident o( the collee

- 5ic1 and oney are in3ited to OWMs house a(ter a *art- Nick' iolo *ro(- "Marthas (ather& main authorit ure. *resident

- "son& wa to esca*e realit. to a3oid the (act that there middle-aed5 son killed Martha ames *laed durin the niht cruel and weird ames

- *eelin awa laers o( lies- testin the oundaries o( each others emotional ca*acit- Forderline %ersonalit ;isorderB==- theater o( the asurd. ?reudian *scholo. and eistentialism- TotA irrational. i$arre characters. tra**ed in reakdowns o(

communication. understand each other well. ut not others alleorical le3el' American dream

*ri3ate le3el' thera* "Nick and 9one are read to ha3e children alread&

all the characters chane the end no action. onl con3ersation/

nothin reall im*ortant ha**ens. e3erthin that ha**en. ha**en in thelanuae

realit and illusion

social e*ectations

%LT'

Martha and Oeore 3erall ause each other in (ront o( Nick and 9one The ouner cou*le is rst emarrassed and later enmeshedB The staB *assi3e aression is shown. ausin. attackin each other. humiliatin

each other

O' un Marthaumrella *o*s u* reakin a ottle emarrassment 9one oes to the toilet. 3omits. too much drinks Lalpurgisnacht- name o( an annual witchesZ meetin N and O outside N wi(e had a hysterical pregnancy J tric1ing him to marry her,

alse preg( his *ast. oardin school one accidentall killed his mother shootin

her. then his (ather while dri3in. ot in aslum. ne3er s*oke aain Oalso wrote aout it. the murder was intentional

M and N danceB O attacks M et the uests - tale o( the Mousie too much rand- stor aout

9one M seducti3el towards N the o u* to (uck. ut the cant. N is to drunk ook thrown to them Oeore comes u* with a *lan to tell Martha that their son has died 4T? I8 OINO N 9#C#== ?lores *ara los muertos re(erence to A 8treetcar Named ;esire moon u* or down=

7ringing up baby - gameo their son eauti(ul. talented


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o Oeore in(orms Martha that their son was Ykilled late in the

a(ternoonBBBon a countr road. with his learnerZs *ermit in his *ocketYo Martha screams. YDou canZt do thatY and colla*sesBo It ecomes clear to the uests that Oeore and MarthaZs son is a

mutually agreed-upon Gction nal ame. the ha3e een

*lain it (or earso ot killed. ecause 0artha mentioned him to othersinstead o(

kee*in it as a secret "Cule one' N#E#C talk aout theSBB& Nick and 9one lea3e M suest' new imainar child. nooo acc to Oeore. time (or the ame to

end Oeore sinin' Y4hoZs a(raid o( Eirinia 4ool(=Y to Martha. whereu*on she

re*lies. YI am. OeoreBBBI amBY

%ostmodernism no denition

- *rolematic- di3erin 3iews on what makes %oMo%oMo- *luralism seems to a**l to di>erent thins- no *aradim chane 5 co-eistence with modernit- time(rame (rom the 1+60s until toda

%oMo' its sel(-denition. allows (or a non-hierarchal *luralit

7ulturalhistorical ackround

traumas

- 9olocaust- 9iroshima W the (ear o( nuclear a*ocal*se- Penned-assassination "same as +11 e3erone knows where the

were and what the were doin at that time& *ostindustrial societ the reci*rocate o( what it was e(ore

acknowledement o( di3ersit lack mo3ements. ure to dene what

American! is mass culture cinema. media. etcB/ innite numer to access in(ormation

toda- hierarch o( in(ormation- hih and low culture

- in(ormation is accessile to e3erone counterculture o( the 60s

- o**osition to the Eietnam war %henomena

eistential insecurit- modernism5 e*istemolo Q uestions reardin knowlede

is there truth= what is it= 5 se3eral other uestions arisin

like these- o0o5 ontolo Q uestions reardin ein

uestion o( realit still toda in contem*orar mo3ies

"Matri. Ince*tion&

Fasic conce*ts o( *ostmodernism


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all is relati3e and su:ecti3e- no hierarch etween readins

re:ection o( master narrati3es- no omniscient narrators

ske*ticism towards *rocess

multi*licit W sense o( (ramentation realit as construct

- moralit. lanuae. sel( recei3er *art o( the messae

%oMo literature' eneral characteristics

intertetualit

*astiche take se3eral enres/ (rom these. ou assemle into on coherent

whole "eBB Neil Oaimann' A 8tud in #merald&- iron

metaction the tet comments u*on itsel( ein a tet "*re3iousl

American drama dealin with the (act that it is on stae& (ramentedness the narrati3e is *resented in a non-linear. non-loical

chronolo/ no conclusion destaili$ation o( the reader ou dont know our realit

%ostmodern *rose characteristics

(ramented totalit- no metanarrati3es. no master narrati3es

center*eri*her 5 decentrali$ation

denial o( re*resentation

- simulacrum "Faudrillard& em*hasis on ctionalit illusion that the narrati3e the readers *resented

with is realit "@as*er ?(orde' The #re A>air& death o( the author "Coland Farthes. ?oucault& the author disa**ears

(rom the work relationshi* to modernism 5 *rolematic

two 3iews1& reak etween two *aradims "eBB Iha 9assan&2& no discontinuit "eBB Linda 9utcheon& (ather-son relationshi*

o hih modernism 5 re:ected "oedi*

AmLit2_VinklerA Niki Kiegészített, Átdolgozott

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Transcript of AmLit2_VinklerA Niki Kiegészített, Átdolgozott