Copyright 2010. Todos os direitos reservados desta edio ao Instituto UFC Virtual. Nenhuma parte deste material poder ser reproduzida, transmitida e gravada por qualquer meio eletrnico, por fotocpia e outros, sema prvia autorizao, por escrito, dos autores.
Crditos desta disciplina
Coordenao Coordenador UAB Prof. Mauro Pequeno Coordenador Adjunto UAB Prof. Henrique Pequeno Coordenador do Curso Prof.Smia Alves Carvalho Coordenador de Tutoria Prof. J oo Tobias Lima Sales Coordenador da Disciplina Prof.Salete Nunes
Contedo Autor da Disciplina Prof.Salete Nunes
Setor Tecnologias Digitais - STD Coordenador do Setor Prof. Henrique Sergio Lima Pequeno
Centro de Produo I - (Material Didtico) Gerente: Ndia Maria Barone Subgerente: Paulo Andr Lima / J os Andr Loureiro Transio Didtica Dayse Martins Pereira Elen Cristina Bezerra Ftima Silva Souza Hellen Paula Pereira J os Adriano Oliveira Karla Colares Viviane S de Lima
Formatao Camilo Cavalcante Elilia Rocha Emerson Mendes Oliveira Francisco Ribeiro Givanildo Pereira Sued de Deus Lima
Publicao J oo Ciro Saraiva Design, Impresso e 3D Andr Lima Vieira Eduardo Ferreira Iranilson Pereira Luiz Fernando Soares Marllon Lima
Programao Andrei Bosco Damis Iuri Garcia
Gerentes Audiovisual: Andra Pinheiro Desenvolvimento: Wellington Wagner Sarmento Suporte: Paulo de Tarso Cavalcante
Sumrio
Class 01: 20TH Century American Short Story Ernest Hemingway ................................................ 01 Tpico 01: Hemingway and the Lost Generation .................................................................................. 01 Tpico 02: Hemingways Hills Like White Elephants ....................................................................... 05 Tpico 03: Hemingways A Clean, Well-Lighted Place .................................................................... 08 Tpico 04: Analysis of Film Versions ................................................................................................... 10
Class 02: Twentieth Century American Poetry ..................................................................................... 13 Tpico 01: Introduction .......................................................................................................................... 13 Tpico 02: Modernism ........................................................................................................................... 15 Tpico 03: The Beat Generation ............................................................................................................ 25 Tpico 04: Contemporary Poetry ........................................................................................................... 30 Tpico 05: Interconnections ................................................................................................................... 37
Class 03: Twentieth Century American Drama ..................................................................................... 40 Tpico 01: Introduction .......................................................................................................................... 40 Tpico 02: Arthur Miller ........................................................................................................................ 42 Tpico 03: The Trial of Arthur Miller : an article by J ohn Steinbeck ................................................... 45 Tpico 04: Tragedy and the Common Man - an essay by Arthur Miller ............................................... 48 Tpico 05: A View from the Bridge Introduction ............................................................................... 49
Class 04: Twentieth Century American Drama (Part 2)....................................................................... 52 Tpico 01: Introduction .......................................................................................................................... 52 Tpico 02: A View from the Bridge Act 1 .......................................................................................... 54 Tpico 03: A View from the Bridge Act 2 .......................................................................................... 57 Tpico 04: A View from the Bridge Stage Version ............................................................................ 59 Tpico 05: A View from the Bridge Film Version ............................................................................. 61 Tpico 06: Glimpses of Another View .................................................................................................. 64 TPICO 01: HEMINGWAY AND THE LOST GENERATION MULTIMDIA Ligue o som do seu computador! Obs.: Alguns recursos de multimdia utilizados em nossas aulas, como vdeos legendados e animaes, requerem a instalao da verso mais atualizada do programa Adobe Flash Player
. Para baixar a verso
mais recente do programa Adobe Flash Player, clique aqui! [1] PALAVRA DA COORDENADORA DA DISCIPLINA DE LITERATURA EM LNGUA INGLESA IV Para assistir ao vdeo acesse o ambiente Solar. 1.1 INTRODUCTION English Literature IV is a course which will explore the American Literature of the twentieth century in terms of three main genres: short story, poetry and drama. Thus, a selection of the works of some of the most representative authors from this period will constitute the required reading material for the course. The reading of short stories, poems and plays will be followed by the analysis of adaptations/translations of such literary works into other art forms/ media, such as films, videos, songs, etc. Fonte [2] This first lesson of this course focuses on the genre short story. Most literary critics and scholars, who have studied this genre in the twentieth century, seem to agree that the American author who best developed the short story in this period was Ernest Hemingway. Harold Bloom, a famous contemporary American critic, states that: Brief fictional prose narrative. It usually presents a single significant episode or scene involving a limited number of characters. The form encourages economy of setting and concise narration; character is disclosed in action and dramatic encounter but seldom fully LITERATURA EM LNGUA INGLESA IV CLASS 01: 20TH CENTURY AMERICAN SHORT STORY ERNEST HEMINGWAY 1 developed. A short story may concentrate on the creation of mood rather than the telling of a story. Despite numerous precedents, it emerged only in the 19th century as a distinct literary genre in the works of writers such as E.T.A. Hoffmann [3], Heinrich Kleist [4], Edgar Allan Poe [5], Prosper Mrime [6], Guy de Maupassant [7], and Anton Chekhov [8]. Fonte: Britannica Concise Encyclopedia http://www.answers.com/topic/short-story [9] It could be argued persuasively that Hemingway is the best short-story writer in the English language from Joyce's Dubliners until the present. (BLOOM, 2011, p. 3) Hence, we will study two short stories by Hemingway in this lesson. 1.2 LOST GENERATION When studying an author it is of utmost importance to understand the historical and literary context in which he lived and produced his works. In order to study Hemingway's short stories, one must refer to a period and a place that not only influenced his writing, but also played a decisive role in terms of defining what he wrote and how he did it. This period is the 1920's and the place is Paris. In the 1920's, the world had just gone through the World War I (1914- 1919). The effects of the war were devastating. A whole generation of young people was absolutely disillusioned and trying to figure out a meaning for life. Among them were many expatriate Americans who stayed in France after the war, or arrived there in the early 20s. A number of American young writers were part of that group of expatriates, including Gertrude Stein, Ezra Pound, F. Scott Fitzgerald and Ernest Hemingway. The last two ones were to become the icons of this Lost Generation. Lost Generation, in general, the post-World War I generation, but specifically a group of U.S. writers who came of age during the war and established their literary reputations in the 1920s. The term stems from a remark made by Gertrude Stein [10] to Ernest Hemingway [11], "You are all a lost generation." Hemingway used it as an epigraph to The Sun Also Rises [12] (1926), a novel that captures the attitudes of a hard-drinking, fast-living set of disillusioned young expatriates in postwar Paris. The generation was "lost" in the sense that its inherited values were no longer relevant in the postwar world. Encyclopedia Britannica http://www.britannica.com/EBchecked/topic/348402/Lost- Generation [13] 2 The two main representatives of the Lost Generation: STOP AND CHECK Click on the link below the picture of Ernest Hemingway to learn about this American writer. Fonte [15] ERNEST HEMINGWAY (CLICK HERE) "Hemingway now is myth, and so is permanent as an image of American heroism, or perhaps more ruefully the American illusion of heroism. The best of Hemingway's work, the stories and The Sun Also Rises, are also a permanent part of the American mythology. Faulkner, Stevens, Frost, perhaps Eliot, and Hart Crane were better writers than Hemingway, but he alone in this American century has achieved the enduring status of myth." (BLOOM, 2005, P. 125) FURTHER READING Are you interested in learning more about Hemingway? If so, click on the link below. The text will also be available in "Material de Apoio". Ernest Miller Hemingway (1899 1961)Fonte [14] Francis Scott Fitzgerald (1896 1940)Fonte 3 Ernest Miller Hemingway (click here) (Visite a aula online para realizar download deste arquivo.) FONTES DAS IMAGENS 1. http://www.adobe.com/products/flashplayer/ 2. http://www.google.com.br/search? hl=en&biw=1069&bih=725&gbv=2&tbm=isch&sa=1&q=literature&oq=litera ture&aq=f&aqi=g10&aql=&gs_sm=e&gs_upl=45667l48755l0l10l10l0l1l1l0l3 81l2154l0.4.3.2 3. http://www.answers.com/topic/e-t-a-hoffmann 4. http://www.answers.com/topic/heinrich-von-kleist 5. http://www.answers.com/topic/edgar-allan-poe 6. http://www.answers.com/topic/prosper-m-rim-e 7. http://www.answers.com/topic/guy-de-maupassant 8. http://www.answers.com/topic/anton-chekhov 9. http://www.answers.com/topic/short-story 10. http://www.britannica.com/EBchecked/topic/564945/Gertrude-Stein 11. http://www.britannica.com/EBchecked/topic/260825/Ernest- Hemingway 12. http://www.britannica.com/EBchecked/topic/573581/The-Sun-Also- Rises 13. http://www.britannica.com/EBchecked/topic/348402/Lost- Generation 14. http://upload.wikimedia.org/wikipedia/commons/thumb/e/e1/Ernest _Hemingway_1923_passport_photo.TIF.jpg/210px- Ernest_Hemingway_1923_passport_photo.TIF.jpg 15. http://www.biografiasyvidas.com/biografia/h/fotos/hemingway.jpg Responsvel: Prof. Salete Nunes Universidade Federal do Cear - Instituto UFC Virtual 4 TPICO 02: HEMINGWAYS HILLS LIKE WHITE ELEPHANTS READING AND LISTENING TO THE SHORT STORY: HILLS LIKE WHITE ELEPHANTS Hills near Zaragoza, Spain Fonte [1] This story is part of the collection Men Without Women, published in 1927. Here Hemingway employs his art of dialogue in the most radical way, once the presence of the narrator is almost completely removed. As Paul Lamb explains, What, then, were Hemingway's technical accomplishments in the writing of dialogue? They can be summed up in three phrases: minimum speech with maximum meaning; the elevation of banality into art; and the blurring of distinctions between the genres of drama and fiction. To achieve these goals, he removed or subtilized the controlling presence of the author's voice and incorporated into dialogue the techniques of his non-dialogue prose: indirection, juxtaposition as a means of having meaning derive from proximity, irony, omission, repetition, the objective correlative, and referential ambiguity. In doing so, he met the challenge of writing modern dialogue: representing the dynamics of real-life speech. After Hemingway, writers would have the option of making dialogue illustrative or constructive, and of having their characters show themselves in ways hitherto only revealed by other methods. (LAMB, 2011, p. 71) READING THE STORY Click on the following link to read the story. After reading it, answer the questions in Practice 1. Hills Like White elephants (click here) [2] PRACTICE 1 After reading "Hills like White Elephants", answer the questions below. 1. The way that the conversation of the couple is "transcribed" by the author seems to denote that they are going through a/an LITERATURA EM LNGUA INGLESA IV CLASS 01: 20TH CENTURY AMERICAN SHORT STORY ERNEST HEMINGWAY 5 1. adventurous summer trip feeling very happy to be together 2. point in their relationship in which their dreams are all coming true 3. difficult situation, but keeping a very harmonious relationship 4. moment of crisis and an overwhelming sense of misunderstanding 2. The connection of the title with the main theme of the story could be stated in terms of the drawing of a parallel with the 1. other elements of the setting 2. singular situation of the couple 3. couple and the people in the station 4. drinks the couple orders CLICK HERE TO CHECK YOUR ANSWERS. 1 - D 2 - B LISTENING LISTENING TO THE STORY Click on the following link to listen to "Hills like White Elephants". After listening to it, answer the questions in Practice 2. Hills Like White Elephants (click here) [3] PRACTICE 2 After listening to "Hills like White Elephants", answer the questions below. 1. Contrasting elements mentioned in the setting, like "the country was brown and dry" and on the other side "fields of grain and trees" may be said to establish an opposition between 1. ancient and new 2. warm and cold 3. dark and bright 4. barren and fertile 2. The couple's choice to have this conversation at a train station may imply/hint that they 1. felt it was just natural, as they were travelling 2. did not feel comfortable to discuss the issue privately 6 3. had to part soon, so a decision was urgent 4. were eager to get rid of the 'white elephant CLICK HERE TO CHECK YOUR ANSWERS. 1 - D 2 - B FONTES DAS IMAGENS 1. http://records.viu.ca/~lanes/hills.htm 2. http://pt.scribd.com/doc/94569/Hills-Like-White-Elephants 3. http://www.miettecast.com/authors/hemingway-ernest/ Responsvel: Prof. Salete Nunes Universidade Federal do Cear - Instituto UFC Virtual 7 TPICO 03: HEMINGWAYS A CLEAN, WELL-LIGHTED PLACE READING ANOTHER SHORT STORY BY HEMINGWAY: A CLEAN, WELL-LIGHTED PLACE Fonte [1] This short story was published in the collection Winner take Nothing (1933). It constitutes another very good example of Hemingway's style and of the themes that are recurrent in many of his works. According to H. P. Werlock, Spare and short, "A Clean, Well-Lighted Place" develops almost entirely by dialogue. The narrative depends on the reader's ability to provide the framework of existential despair (see EXISTENTIALISM) and NIHILISM, the encounter with the cultural wasteland, and loss of faith. For many it is the seminal story in Hemingway's short story catalog, the quintessential illustration of his theory of omission. It is one of his most anthologized short stories. (WERLOCK, 2010, p. 145) READING THE STORY Click on the following link to read the story. After reading it, answer the questions in Practice. A Clean, Well-Lighted Place (click here) [2] PRACTICE After reading A Clean, Well-Lighted Place, answer the questions below. 1. Through the conversation between the two waiters, it can be inferred that the younger waiter 1. is in a hurry that specific night because his wife is waiting for him in bed, but he is a very understanding person when it comes to dealing with older people 2. is not able to grasp the existential issue involved in the old man's attitude of desperation in relation to his own life 3. feels that getting old is just an avoidable process and that he can picture himself in the future as he observes the old man in his loneliness LITERATURA EM LNGUA INGLESA IV CLASS 01: 20TH CENTURY AMERICAN SHORT STORY ERNEST HEMINGWAY 8 4. admires and respects old people for their wisdom and dignity, but as the old man has stayed for too long in the cafe, he has lost his temper 2. When the old man, in an attitude of despair, tried to put an end to his own life, the person who saved him was 1. a close relative who takes care of him 2. a stranger who had never seen him before 3. his wife's niece, who was visiting at that moment 4. his wife, who arrived just in time to cut the rope 3. In the older waiter's monologue toward the end of the story, when he paraphrases the Lord's Prayer using the Spanish word nada, one can find the expression of the 1. absolute meaning of religion 2. meaninglessness of life 3. ability to create out of nothing 4. belief in human goodness 4. The older waiter expresses his solidarity with the old man, showing that he understands what it means to feel lonely and to wish for a "clean well-lighted place" in order to temporarily escape from the darkness of 1. a sinful soul 2. a moonless night 3. life and ultimately of death 4. a disturbed mind CLICK HERE TO CHECK YOUR ANSWERS. 1 - B 2 - A 3 - B 4 - C FONTES DAS IMAGENS 1. http://www.wordle.net/thumb/wrdl/3300548/A_clean% 2C_well_lighted_place 2. http://www.mrbauld.com/hemclean.html Responsvel: Prof. Salete Nunes Universidade Federal do Cear - Instituto UFC Virtual 9 TPICO 04: ANALYSIS OF FILM VERSIONS Fonte [1] In Topic 4, you will watch the film versions of the stories you read in Topic 2 and 3: Hills Like White Elephants A Clean, Well-Lighted Place After watching a film version of each story you previously read, discuss the questions related to the films in the FORUM. FORUM A Click on the links below to watch the film versions of Hills Like White Elephants. After watching the films, discuss the following questions in FORUM A. Film versions for Hills Like White Elephants: 1. HILLS LIKE WHITE ELEPHANTS - Directed by Bruno Schiebel [2] 2. HILLS LIKE WHITE ELEPHANTS - Directed by by Yuriy Mikitchenko and Sean Brown [3] =>Watch the two film versions for "Hills Like White Elephants" and establish a comparison between the film versions and Hemingway's short story, considering the following aspects: 1. Setting: Is the setting in the films similar to or different from the setting in the story? How does that setting contribute to/is relevant to the development of the story? 2. Characters: How does the process of characterization of Jig and the American man show that the story unfolds in the 20s? If it doesn't, which aspects do you have to indentify another time period? 3. Performance: Do you think that the performance of the actors was able to convey the state of anxiety of the couple and the lack of ability to communicate with each other that one senses when reading the story? 4. As to the end of the story, do you think that the way it was acted out in the films gives the viewer any hint in relation to Jig's decision? Or does it sound uncertain as it does to the reader? FORUM B LITERATURA EM LNGUA INGLESA IV CLASS 01: 20TH CENTURY AMERICAN SHORT STORY ERNEST HEMINGWAY 10 Click on the links below to watch the film versions of A Clean, Well- Lighted Place. After watching the films, discuss the following questions in FORUM B. Film versions for A Clean, Well-Lighted Place: 1. A CLEAN, WELL-LIGHTED PLACE Ash Blodgett [4] 2. A CLEAN, WELL-LIGHTED PLACE Peter Hastic (PART 1 [5]) (PART 2 [6]) =>Watch the two film versions for "A Clean, Well-Lighted Place" and establish a comparison with Hemingway's short story, considering the following aspects: 1. Setting: Is the setting in the films similar to or different from the setting in the story? How does that setting contribute to/is relevant to the development of the story? 2. Characters: How does the process of characterization of the two waiters and the old man reveal their traits as characters in the written story? 3. Performance: Do you think that the performance of the actors was able to convey the contrasting attitudes of the waiters in relation to the old man? 4. As to the end of the story, what aspects were omitted or are different from the written story and what implication does that have for the understanding of Hemingway's theme? PORTFOLIO ACTIVITY Choose one of the stories and one of its film versions and write a short essay in which you analyze the adaptation process, taking into account the elements/aspects suggested for discussion in the forum and adding further comments on specific points, on choices of the directors to represent Hemingway's story. BIBLIOGRAPHY (CLICK HERE) BLOOM, Harold. Bloom's Modern Critical Views: Ernest Hemingway. New Edition. New York: Infobase Publishing, 2011. ______. Short Story Writers and Short Stories.(Bloom's 20th anniversary collection). New York: Chelsea House, 2005. DONALDSON, Scott (ed.) The Cambridge Companion to Hemingway. Cambridge:Cambridge University Press, 1996. GELFANT, Blanche H.( Ed.).The Columbia Companion to the Twentieth Century American Short Story. New York: Columbia University Press, 2000. LAMB, Robert Paul. Hemingway and the Creation of Twentieth- Century Dialogue.In: BLOOM, Harold. Bloom's Modern Critical Views: Ernest Hemingway. New Edition. New York: Infobase Publishing, 2011. MONK, Craig. Writing the Lost Generation: expatriate 11 autobiography and American modernism. Iowa City: University of Iowa Press, 2008. QUINN,Edward. History in Literature: A Reader's Guide to 20th- Century History and the Literature It Inspired. New York: Facts On File, 2004. SCOFIELD, Martin. The Cambridge Introduction to The American Short Story. Cambridge: Cambridge University Press, 2006. STRINGER, Jenny (Ed.) The Oxford Companion to Twentieth- Century Literature in English. New York: Oxford University Press, 1996. WERLOCK, Abby H. P. . The Facts On File Companion to the American Short Story. Second Edition.New York: Facts on File, 2010. FONTES DAS IMAGENS 1. http://www.mundoeducacao.com/upload/conteudo_legenda/ca50cc9cd 1a95f938128f5f1d4ac9cfe.jpg 2. http://www.youtube.com/watch?v=jAjJ4HE6woc 3. http://www.youtube.com/watch?v=TIA_k5G7stQ&NR=1 4. http://www.youtube.com/watch?v=hsnkIIlK6l0&feature=related 5. http://www.youtube.com/watch?v=7QAxqhkuZAU 6. http://www.youtube.com/watch?v=-UZaueA2V50&feature=related Responsvel: Prof. Salete Nunes Universidade Federal do Cear - Instituto UFC Virtual 12 TPICO 01: INTRODUCTION Fonte [1] THE SECOND UNIT OF THIS COURSE FOCUSES ON THE GENRE POETRY. CLICK HERE TO READ A DEFINITION OF POETRY. POETRY, language sung, chanted, spoken, or written according to some pattern of recurrence that emphasizes the relationships between words on the basis of sound as well as sense: this pattern is almost always a rhythm or metre, which may be supplemented by rhyme or alliteration or both. The demands of verbal patterning usually make poetry a more condensed medium than prose or everyday speech, often involving variations in syntax, the use of special words and phrases ( poetic diction) peculiar to poets, and a more frequent and more elaborate use of figures of speech, principally metaphor and simile. Poetry is valued for combining pleasures of sound with freshness of ideas, whether these be solemn or comical. Some critics make an evaluative distinction between poetry, which is elevated or inspired, and verse, which is merely clever or mechanical. The three major categories of poetry are narrative, dramatic, and lyric, the last being the most extensive. OXFORD DICTIONARY OF LITERARY TERMS Fonte: http://www.answers.com/topic/poetry#ixzz1OcxjUcn9 [2] Twentieth century American poetry is characterized by a great variety of trends and poets, reflecting the complexity and the multiculturalism of modern and contemporary American society. However, some movements can clearly be identified as broad categories that include most of other classifications and tendencies: Modernism, Beat Generation and Contemporary/Postmodern Poetry. We are going to concentrate our readings on the works of three poets, each representing one of these movements, respectively: William Carlos Williams, Allen Ginsberg and Billy Collins. FONTES DAS IMAGENS LITERATURA EM LNGUA INGLESA IV CLASS 02: TWENTIETH CENTURY AMERICAN POETRY 13 1. http://bernasvibethewayiseeit.files.wordpress.com/2013/01/poetry- corner.gif 2. http://www.answers.com/topic/poetry#ixzz1OcxjUcn9 Responsvel: Prof. Salete Nunes Universidade Federal do Cear - Instituto UFC Virtual 14 TPICO 02: MODERNISM Fonte Modernism expanded the use of nonmetrical or irregular verse, following a certain tendency in all the arts to liberate aesthetics from the constraints of a way of thinking, of a paradigm considered outdated. Modernist poets and poetry react especially productively to the period's pre- eminent modes of avant-garde experimentation: manifestoes and the leading techniques of modernist visual art, collage and abstraction. Responding to and reinventing these avant-garde discourses and practices not in any conventional sense poetic twentieth-century poets derive modernist poetry's signal formal techniques: free verse, montage, juxtaposition, intertextuality and linguistic abstraction. (DAVIS& JENKINS, 2007, p. 29) The poems of William Carlos Williams are representative of Modernism. Let's read about this poet. 2.1 WILLIAM CARLOS WILLIAMS William Carlos Williams (1883 1963) Fonte [1] William Carlos Williams was born, lived all his life and died in Rutherford, New Jersey. Nowadays he stands, together with Pound and Eliot, as one of the main representatives of modernist American poetry. He is the one who managed to use the language of everyday speech for poetry, recording the "local" as a necessary first step to presenting the "universal" During most of his life, Williams kept a balance between his successful career as a doctor in his small town and his production as a poet. He was a very versatile writer, for he wrote not only poetry, but also short stories, plays and essays. He thought it was his duty to improve society, both through medicine and writing. Poetry does not hold a mirror up to nature, Williams argues, but, by a process analogous to nature's own, transfigures nature into new, living form. The contemporary poet must strive to heave the most seemingly insignificant, 'unpoetic' materials into the transfigured light of the imagination ('So much depends / upon // A red wheel / barrow'), and he must also work to wrestle LITERATURA EM LNGUA INGLESA IV CLASS 02: TWENTIETH CENTURY AMERICAN POETRY 15 objects and emotions away from their traditional poetic associations, the 'crude symbolism' that associates 'anger with lightning, flowers with love'. (DAVIS& JENKINS, 2007, p. 183-184) Now let's read some poems by William Carlos Williams. The poems we are going to read are from two different moments: first from his final collection of poems, "Pictures From Brueghel" (1962), and then from earlier collections from the 1920s and 1930s. POEMS The poem Landscape with the Fall of Icarus is taken from the collection Pictures From Brueghel, published in 1962, in which all the poems are based on paintings by Pieter Brueghel (1525-1569). The book was awarded the Pulitzer Prize for poetry just two months after the poet's death in 1963. A point to be highlighted in relation to these poems is style. And here it is necessary to mention a poetic resource that is frequently used by Williams, which is enjambment. Enjambment or enjambement, the running over of the sense and grammatical structure from one verse line or couplet to the next without a punctuated pause. In an enjambed line (also called a 'runon line'), the completion of a phrase, clause, or sentence is held over to the following line so that the line ending is not emphasized as it is in an endstopped line. Oxford Dictionary of Literary Terms: http://www.answers.com/topic/enjambement#ixzz1OmPem1Zo [2] In Landscape with the Fall of Icarus, this type of verse contributes to give the poem a sense of continuity all along the falling journey of Icarus. The absence of punctuation and the very short lines also add to that point/aspect. The description of the scenery, of the beautiful landscape in the painting leads the reader on a descent towards the crucial moment in the final stanza: Icarus drowning. CHALLENGE Observe the painting and answer these questions: 1. Where is Icarus? 2. How many other people are there in the painting? Do they see the fall of Icarus? 16 Fonte [3] CLICK HERE TO CHECK YOUR ANSWERS. After answering these questions, read the poem. VERSO TEXTUAL Landscape with the Fall of Icarus by William Carlos Williams According to Brueghel when Icarus fell it was spring a farmer was ploughing his field the whole pageantry of the year was awake tingling near the edge of the sea concerned 17 with itself sweating in the sun that melted the wings' wax unsignificantly off the coast there was a splash quite unnoticed this was Icarus drowning PRACTICE 1 Now that you have read the poem, answer these questions: 1. Among the people in the painting, who is mentioned in the poem? 2. Which verse/verses in the poem show(s) that the people did not pay attention to Icarus fall? CLICK HERE TO CHECK YOUR ANSWERS. 1. From the people portrayed in the painting, only the ploughman/ farmer is mentioned in Williams' poem. 2. As to the fact that people did not really pay attention to Icarus' fall, it is clearly shown in the verse: a splash quite unnoticed. FURTHER READING Click on the tabs below to read 2 other poems from the collection Pictures From Brueghel. Fonte [5] THE HUNTERS IN THE SNOW (CLICK HERE) by William Carlos Williams 18 The over-all picture is winter icy mountains in the background the return from the hunt it is toward evening from the left sturdy hunters lead in their pack the inn-sign hanging from a broken hinge is a stag a crucifix> between his antlers the cold inn yard is deserted but for a huge bonfire the flares wind-driven tended by women who cluster about it to the right beyond the hill is a pattern of skaters Brueghel the painter concerned with it all has chosen a winter-struck bush for his foreground to complete the picture Fonte [6] SELF PORTRAIT (CLICK HERE) by William Carlos Williams In a red winter hat blue eyes smiling just the head and shoulders crowded on the canvas arms folded one big ear the right showing the face slightly tilted a heavy wool coat with broad buttons 19 gathered at the neck reveals a bulbous nose but the eyes red-rimmed from over-use he must have driven them hard but the delicate wrists show him to have been a man unused to manual labor unshaved his blond beard half trimmed no time for any- thing but his painting 2.2 POEMS: THE YOUNG HOUSEWIFE AND THIS IS JUST TO SAY Williams embraced the concrete pictorialism of imagist poetry, mainly in his earlier works, being also interested in exploring the interconnections between painting and poetry. In general, his poems contain a very strong visual appeal. That is especially true in the case of the poem The Young Housewife, in which the reader can almost "see" her. Listen to the poet reading this poem. The poem is copied down for you to follow the poet's reading. William Carlos Williams (1883-1963) reads his poem 'The Young Housewife' for a Columbia Records 78 rpm disc in the series 'Pleasure Dome: an audible anthology of modern poetry read by its creators," May 20, 1949. The Young Housewife (1920) At ten A.M. the young housewife moves about in negligee behind the wooden walls of her husband's house. I pass solitary in my car. 20 Then again she comes to the curb to call the ice-man, fish-man, and stands shy, uncorseted, tucking in stray ends of hair, and I compare her to a fallen leaf. The noiseless wheels of my car rush with a crackling sound over dried leaves as I bow and pass smiling. Listen to the poet reading another poem. The poem is copied down for you to follow the poet's reading. William Carlos Williams reads his poem This Is Just To Say - Recorded by Richard Wirtz Emerson in Rutherford, NJ, August 1950. This Is Just To Say (1934) by William Carlos Williams (1883-1963) I have eaten the plums that were in the icebox and which you were probably saving for breakfast Forgive me they were delicious so sweet and so cold PRACTICE 2 After reading and listening to the two poems, do the following activities: 1. Answer these questions about the poem The Young Housewife 21 a. Identify verses that picture the housewife as an object of desire or that might imply desire/sensuality on the part of the speaker. b. Which line(s) could be said to contain word(s) with and onomatopoeic quality? 2. Write a parody of the poem This is just to say. Parody: A ludicrous imitation, usually for comic effect but sometimes for ridicule, of the style and content of another work. The humor depends upon the reader's familiarity with the original. Poetry Glossary: [7] http://www.answers.com/topic/parody#ixzz1P66mAPDT [8] Parody: A literary or artistic work that imitates the characteristic style of an author or a work for comic effect or ridicule. American Heritage Dictionary: [9] http://www.answers.com/topic/parody#ixzz1P65wRfXO [10] CLICK HERE TO CHECK YOUR ANSWERS. 1. The verses in red are related to question 1.a. and the verse in green is related to question 1.b. At ten A.M. the young housewife moves about in negligee behind the wooden walls of her husband's house. I pass solitary in my car. Then again she comes to the curb to call the ice-man, fish-man, and stands shy, uncorseted, tucking in stray ends of hair, and I compare her to a fallen leaf. The noiseless wheels of my car rush with a crackling sound over dried leaves as I bow and pass smiling. 2. Here are 2 examples of parodies of the poem This is just to say. This is just to say I have read all the mail that was in your inbox and which you were probably thinking were private Forgive me they were so tempting and your password known By Renee This is just to say Forgive me for leaving the plums from my science project in the icebox. You probably thought that I was saving them for breakfast. The trash can was so far away and I was so tired. By Steve Faires 22 TIPS Click on the link below if you wish to read more examples of parodies for this poem. http://somewhereinthesuburbs.wordpress.com/2008/04/21/this-is- just-to-say/ [11] FORUM PART A: 1. Discuss the following questions about the poem The Young Housewife. a. Which verse/verses provide(s) us with hints as to the type of relationship husband/wife? b. What does the poem let us know about the role of women in the 1920s? 2. Read an excerpt from a poem by W. H. Auden (1907-1973), Muse des Beaux Arts, that refers to the painting Landscape with the Fall of Icarus, and compare it with Williams' version, taking into consideration the 2 questions in practice 1 as a starting point for your comments, and consider also: a. Which verse/verses in Williams' poem express(es) the beauty of the landscape? b. In the painting, Brueghel brings to the foreground all the exhilarating beauty of the landscape and places Icarus in a corner, almost hidden from view, thus saying, somehow, that Icarus' fall was not of importance for the surrounding world. In which verse/verses does Williams express this idea? What about Auden's poem? MUSE DES BEAUX ARTS (CLICK HERE) W. H. Auden About suffering they were never wrong, The old Masters: how well they understood Its human position: how it takes place While someone else is eating or opening a window or just walking dully along;
In Breughel's Icarus, for instance: how everything turns away
Quite leisurely from the disaster; the ploughman may Have heard the splash, the forsaken cry, But for him it was not an important failure; the sun shone As it had to on the white legs disappearing into the green Water, and the expensive delicate ship that must have seen Something amazing, a boy falling out of the sky, Had somewhere to get to and sailed calmly on. 23 FONTES DAS IMAGENS 1. http://www.uiowa.edu/~c008055/images/william-carlos-williams.jpg 2. http://www.answers.com/topic/enjambement#ixzz1OmPem1Zo 3. http://www.oxfordtimes.co.uk/resources/images/2218056.jpg? type=articleLandscape 4. http://www.adobe.com/go/getflashplayer 5. http://www.artgalleryartist.com/pieter-bruegel-the- elder/paintings/images/pieter_bruegel_pieter_-_caccioatori_nella_neve.jp g 6. http://upload.wikimedia.org/wikipedia/commons/thumb/0/06/Jean_ Fouquet-_Portrait_of_the_Ferrara_Court_Jester_Gonella.JPG/380px- Jean_Fouquet-_Portrait_of_the_Ferrara_Court_Jester_Gonella.JPG 7. http://www.answers.com/library/Poetry%20Glossary-cid-59568 8. http://www.answers.com/topic/parody#ixzz1P66mAPDT 9. http://www.answers.com/library/Dictionary-cid-59568 10. http://www.answers.com/topic/parody#ixzz1P65wRfXO 11. http://somewhereinthesuburbs.wordpress.com/2008/04/21/this-is- just-to-say/ Responsvel: Prof. Salete Nunes Universidade Federal do Cear - Instituto UFC Virtual 24 TPICO 03: THE BEAT GENERATION Beatnik - A person, especially a member or follower of the Beat Generation, whose behavior, views, and often style of dress are pointedly unconventional. American Heritage Dictionary: http://www.answers.com/topic/beatnik#ixzz1P72KfSN7 [1] The two main writers of the Beat Generation: Jack Kerouac (prose) and Allen Ginsberg (poetry) Fonte [2] The Beat Generation emerged in the context of post-1945 American society, a period characterized by a culture of consumption and of conformity with values that were very restrictive in terms, for example, of aesthetic norms and moral issues. A new generation of Americans viewed those values as a form of repressive attitude and rebelled against them. In doing so, they challenged several other aspects of American life, expressing their alienation and eventually inventing a new form of youth culture that would have a long lasting influence on the following generations. According to Charters (apud CREIGHTON, 2007, p. 30-31) "It was a rebellious group, I suppose, of which there many on campuses, but it was one that really was dedicated to a 'New Vision'. It was trying to look at the world in a new light, trying to look at the world in a way that gave it some meaning. Trying to find values that were valid. And it was through literature all this was supposed to be done." Although the Beat Generation continues to be identified as an American phenomenon, it is important not to overlook its global dimensions. FURTHER READING Would you like to know more about the Beat Generation? READ WHAT OTHER AUTHORS HAVE WRITTEN ABOUT IT. (CLICK HERE) " the Beat Generation is classified as a generation because its writers were looking to break free of some of the constraints of an older tradition (metrical poetry, for example). Their shared philosophy also brings them together. To much of mainstream America, their philosophy seemed to be an irresponsible anything- for-a-kick ideal, but the writers saw themselves on a religious quest, looking for sense out of the senselessness of modern life and trying LITERATURA EM LNGUA INGLESA IV CLASS 02: TWENTIETH CENTURY AMERICAN POETRY 25 to quiet their anxiety, as the world entered the looming danger of the atomic age."( DITTMAN, 2007, P. 2) "The Beat generation would graft itself into the San Francisco renaissance, launch it and usurp it as a national spectacle by way of jazz and scandal, flamboyant personality, charismatic literature, and through the invention of literary-historical Beat fiction. With the advent of the Howl trial in San Francisco in 1957, Beat generation writers crossed the threshold from being a small contingent of an obscure U.S. avant-garde, to becoming controversial symbols of a new generation. Although the transformation seemed to happen in a day, the Beats had long been building momentum, developing their style, and waiting for an opening."( WHALEY, 2004, p. 10) 3.1 ALLEN GINSBERG Allen Ginsberg is one of the main poets of the Beat Generation. Allen Ginsberg (1926 1997) Fonte [3] Ginsberg's parents were both schoolteachers, and his father was also a poet. They participated in the bohemian life of Greenwich Village around the 1920s. Thus, Ginsberg had a background within which an ambition to be a creative writer was celebrated. Although the first time his father read "Howl" he was shocked, he also recognized that it was the expression of the great talent of his son and later declared that he was an admirer of the young Ginsberg poetry. "Howl" is a poem of protest, outrage, attack, but at the same time of affirmation, of a desperate search. The poet seems to go through an underworld of darkness, solitude, while trying to achieve some sense of union with others and with a certain spiritual element. It is filled with images of destruction and starvation, persecution and alienation, but it also contains images of illumination, some glimpse of a transcendent reality. Although full of personal allusions, it is not reduced to them. Ginsberg makes use of constant repetitions and parallel structures, which make the poem sound very powerful. That is a poetic style that was extensively first used in American poetry by Walt Whitman (1819-1892) and that influenced most poets in the twentieth century, especially Ginsberg. 26 Allen Ginsberg (1926 1997) Fonte [4] " Howl and Other Poems (1956) gave rise to a censorship trial that brought the beats into the public eye for the first time and cast them as literary rebels prepared to test the limits of censorship and social convention." Gale Encyclopedia of US History: http://www.answers.com/topic/beat- generation#ixzz1OYT5cMDz [5] PRACTICE 3 Read this extract (montage) of the poem (click here) (Visite a aula online para realizar download deste arquivo.) and, through the analysis of the verses starting with who, identify some features that characterize the generation mentioned in the first verse (who they were, how they lived, what they did). Now see a video of John Turturro reciting this extract of HOWL in the following link: https://www.youtube.com/watch?v=Iyh3tVyuQNU CLICK HERE TO CHECK YOUR ANSWER. Here is a transcription of the verses starting with who, in which the passages in red help us characterize the generation Ginsberg mentions. who poverty and tatters and hollow-eyed and high sat up smoking in the supernatural darkness of cold-water flats floating across the tops of cities contemplating jazz, who cowered in unshaven rooms in underwear, burning their money in wastebaskets and listening to the Terror through the wall, who got busted in their pubic beards returning through Laredo with a belt of marijuana for New York, who ate fire in paint hotels or drank turpentine in Paradise Alley, death, or purgatoried their torsos night after night 27 with dreams, with drugs, with waking nightmares,
who talked continuously seventy hours from park to
pad to bar to Bellevue to museum to the Brooklyn Bridge, a lost battalion of platonic conversationalists jumping down the stoops off fire escapes off windowsills off Empire State out of the moon, yacketayakking screaming vomiting whispering facts and memories and anecdotes and eyeball kicks and shocks of hospitals and jails and wars,
who loned it through the streets of Idaho seeking visionary
indian angels who were visionary indian angels,
who howled on their knees in the subway and were dragged off the roof waving genitals and manuscripts,
who wandered around and around at midnight in the
railroad yard wondering where to go, and went, leaving no broken hearts, who lit cigarettes in boxcars boxcars boxcars racketing through snow toward lonesome farms in grand-father night, "The Ballad of the Skeletons" The poem "The Ballad Of The Skeletons" was written in 1995. It was set to music by Paul McCartney and Philip Glass. MULTIMEDIA Read the poem and click on the link to watch a performance of Paul McCartney and Allen Ginsberg reciting the poem accompanied by music. Allen Ginsberg & Paul McCartney Live at the Royal Albert Hall, October 16, 1995. 28 The Ballad of the Skeletons (Click here) (Visite a aula online para realizar download deste arquivo.) FORUM Part B: Now that you have read the poem "The Ballad of the Skeletons", and watched the video, choose the speech of 05 skeletons and explain why they are still meaningful nowadays. FONTES DAS IMAGENS 1. http://www.answers.com/topic/beatnik#ixzz1P72KfSN7 2. http://1001buecher.files.wordpress.com/2012/07/beatlitmosaic4.jpg 3. http://t2.gstatic.com/images? q=tbn:ANd9GcQPb9vip07chw34wRYo231uEC_cm0G2gWn5szOZfsLYN23J 5bsmuw 4. http://1.bp.blogspot.com/-DhwEDk_bCS0/UXAR7XgIdKI/AAAAAAAA Fqw/ic3jdQ4CVfE/s1600/tumblr_m6jipwQFHz1qam3qao1_1280.jpg 5. http://www.answers.com/topic/beat-generation#ixzz1OYT5cMDz Responsvel: Prof. Salete Nunes Universidade Federal do Cear - Instituto UFC Virtual 29 TPICO 04: CONTEMPORARY POETRY Fonte [1] Contemporary or postmodernist writers tend to use multiple styles and approaches in their writing, and to argue against the possibility of established meanings. Another feature is that they tend not to distinguish between various kinds of art or different modes of expression, incorporating photographs, illustrations, footnotes, bibliographies, parodies, just to mention a few. As a result of that trend, all aspects of daily life can be treated with similar consideration and be part of the work of art, of literature, of poetry. Billy Collins's poems are representative of Contemporary poetry. 4.1 BILLY COLLINS Billy Collins 1941 Fonte Probably the best way to introduce Billy Collins is giving him voice in this poem in which he expresses his view of the teaching of poetry. VERSO TEXTUAL Introduction to Poetry I ask them to take a poem and hold it up to the light like a color slide or press an ear against its hive. I say drop a mouse into a poem and watch him probe his way out, or walk inside the poem's room and feel the walls for a light switch. I want them to waterski across the surface of a poem waving at the author's name on the shore. But all they want to do is tie the poem to a chair with rope and torture a confession out of it. LITERATURA EM LNGUA INGLESA IV CLASS 02: TWENTIETH CENTURY AMERICAN POETRY 30 They begin beating it with a hose to find out what it really means. William J. Collins (Billy Collins) was born in New York City in 1941. He studied at the College of the Holy Cross and, for his M.A. and PhD. he went to the University of California, Riverside. He taught for thirty-five years at Lehmann College of the City University of New York. He has received many awards, including the Mark Twain Award for Humor in Poetry, in 2005. He was US Poet Laureate in the period 2001-2003 and New York State Poet Laureate in 2004. QUESTION What is Poet Laureate? CLICK HERE TO READ ABOUT POET LAUREATE. Poet Laureate, a position created in 1937 for the purpose of raising Americans' consciousness of and appreciation for the reading and writing of poetry. The librarian of Congress, in consultation with poetry experts and critics, appoints the poet laureate for a one-year term. Serving from October to May, the poet laureate receives a stipend of $35,000 funded by a gift trust. Although the appointee is encouraged to pursue his or her own projects while in residence at the Library of Congress, the laureate's duties also include giving a lecture and a poetry reading. The poet laureate also customarily introduces participants in the library's annual poetry series, which dates back to the 1940s. In addition, those holding the position often use the forum to bring their own artistic and educational concerns to the fore. Gale Encyclopedia of US History: http://www.answers.com/topic/poet-laureate#ixzz1Ou1TIORB [3] By the time Billy Collins was selected the nation's poet laureate in 2001, he had produced a number of volumes of poetry that enjoyed both critical success and an impressive level of popularity among readers from a wide range of ages. In his position as laureate, it was the young adult audience he most actively sought to reach, mobilizing a movement to reinvigorate poetry in classrooms across America through a project he called Poetry 180, named not only for the number of days in a typical school year but also for the number of degrees in a complete about-face turn. (BLANCHARD, 2007, p. 51) Unlike many poets of his generation, Collins often uses humorous anecdotes as the basis for his work. This sense of humor, tempered with wise observation and skillful manipulation of image and story, attracts both an academic and a nonacademic audience. Critics praise his craft, which 31 transforms the apparent superficial image or idea into verse that is metaphysically and lyrically surprising. (KIMMELMAN, 2005 p. 96) 4.2 POEMS 4.2.1 "THE LANYARD" From The Trouble with Poetry,2005. Read the poem The Lanyard (click here) (Visite a aula online para realizar download deste arquivo.), and listen to the poet reading it. PRACTICE 4 After reading and listening to the poem, answer the following questions: 1. The humorous aspect of the poem lies mainly in the irony that pervades it. What irony is that? 2. By the end of the poem, after weaving each stanza carefully through the ironic statements, what is it that the poet manages to "seriously" imply about mother/son relationship? CLICK HERE TO CHECK YOUR ANSWERS. 1. This poem leads the reader through different moments in time: in stanza 1, the poet presents the context in which he wrote or had the inspiration to write the poem. In stanzas 2 and 3 he goes further back in time and explains to the reader the moment in which he had made the lanyard, now subject of the poem. In stanzas 4, 5 and 6 (subject of this question) the poet lists a number of things, great things that his mother did for him all along life, and pairs all these deeds with the statement that what he gives her in return is simply a lanyard. That's the great irony. That's what makes the poem funny, because it sounds so absurd that you think you can repay with such a 'useless' object someone who gave you life, took 32 care of your health, provided you with an education, prepared you "to read the world". 2. In the final stanza, commenting on his mother's reaction when receiving the lanyard, which leads us to understand that it was an attitude of happiness and gratitude, the poet conveys the idea that a mother does not expect/need great gifts from her children to feel rewarded. 4.2.2 A PORTRAIT OF THE READER WITH A BOWL OF CEREAL Now read the poem: "A Portrait of the Reader with a Bowl of Cereal," from Picnic, Lightning, 1998. When asked to explain his connection to readers, Collins explains, 'As I'm writing, I'm always reader conscious. I have one reader in mind, someone who is in the room with me, and who I'm talking to, and I want to make sure I don't talk too fast, or too glibly. Usually I try to create a hospitable tone at the beginning of a poem. Stepping from the title to the first lines is like stepping into a canoe. A lot of things can go wrong. (LEHMANN, G. http://jmww.150m.com/Collins.html) In his books of poems Billy Collins usually includes a poem in which he addresses the reader directly, as if having a friendly conversation. He talks about this strategy just before reading the poem in this video. Listen to his explanation and the reading of the poem. Billy Collins at 2009 NWP Annual Meeting A PORTRAIT OF THE READER WITH A BOWL OF CEREAL (CLICK HERE) Every morning I sit across from you at the same small table, the sun all over the breakfast things curve of a blue-and-white pitcher, a dish of berries 33 me in a sweatshirt or robe, you invisible. Most days, we are suspended over a deep pool of silence. I stare straight through you or look out the window at the garden, the powerful sky, a cloud passing behind a tree. There is no need to pass the toast, the pot of jam, or pour you a cup of tea, and I can hide behind the paper, rotate in its drum of calamitous news. But some days I may notice a little door swinging open in the morning air, and maybe the tea leaves of some dream will be stuck to the china slope of the hour then I will lean forward, elbows on the table, with something to tell you, and you will look up, as always, your spoon dripping milk, ready to listen. No specific activity will be assigned for you to do in relation to this poem you have just read and listened to - A Portrait of the Reader with a Bowl of Cereal. As the poet says in the last line, he expects the reader is 'ready to listen'. Thus, we expect that this sounds like an invitation for you to continue reading his poems, and not only his, but poetry in all forms and styles. As Shakespeare says through Hamlet, his most famous character, "words, words words," FURTHER READING Read more Interview with Billy Collins for The Paris Review Billy Collins, The Art of Poetry No. 83 (click here) [4] Read also (and listen to) Litany To listen (click here) [5] 34 TO READ You are the bread and the knife, The crystal goblet and the wine. JACQUES CRICKILLON - Belgian poet (b. 1940). You are the bread and the knife, the crystal goblet and the wine. You are the dew on the morning grass, and the burning wheel of the sun. You are the white apron of the baker and the marsh birds suddenly in flight. However, you are not the wind in the orchard, the plums on the counter, or the house of cards. And you are certainly not the pine-scented air. There is no way you are the pine-scented air. It is possible that you are the fish under the bridge, maybe even the pigeon on the general's head, but you are not even close to being the field of cornflowers at dusk. And a quick look in the mirror will show that you are neither the boots in the corner nor the boat asleep in its boathouse. It might interest you to know, speaking of the plentiful imagery of the world, that I am the sound of rain on the roof. I also happen to be the shooting star, the evening paper blowing down an alley, and the basket of chestnuts on the kitchen table. I am also the moon in the trees and the blind woman's teacup. But don't worry, I am not the bread and the knife. You are still the bread and the knife. You will always be the bread and the knife, not to mention the crystal goblet andsomehowthe wine. Read also (and listen to) Forgetfulness To listen (click here) [6] TO READ The name of the author is the first to go followed obediently by the title, the plot, the heartbreaking conclusion, the entire novel which suddenly becomes one you have never read, never even heard of, 35 as if, one by one, the memories you used to harbor decided to retire to the southern hemisphere of the brain, to a little fishing village where there are no phones. Long ago you kissed the names of the nine Muses goodbye and watched the quadratic equation pack its bag, and even now as you memorize the order of the planets, something else is slipping away, a state flower perhaps, the address of an uncle, the capital of Paraguay. Whatever it is you are struggling to remember, it is not poised on the tip of your tongue, not even lurking in some obscure corner of your spleen. It has floated away down a dark mythological river whose name begins with an L as far as you can recall, well on your own way to oblivion where you will join those who have even forgotten how to swim and how to ride a bicycle. No wonder you rise in the middle of the night to look up the date of a famous battle in a book on war. No wonder the moon in the window seems to have drifted out of a love poem that you used to know by heart. FONTES DAS IMAGENS 1. http://www.poetsgraves.co.uk/forum/styles/prosilver/imageset/rothko7 .jpg 2. http://www.adobe.com/go/getflashplayer 3. http://www.answers.com/topic/poet-laureate#ixzz1Ou1TIORB 4. http://www.theparisreview.org/interviews/482/the-art-of-poetry-no- 83-billy-collins 5. http://www.youtube.com/watch?v=56Iq3PbSWZY&feature=related 6. http://www.youtube.com/watch?v=9w_Ve7-mhMU&feature=related Responsvel: Prof. Salete Nunes Universidade Federal do Cear - Instituto UFC Virtual 36 TPICO 05: INTERCONNECTIONS Recently (May 11, 2011), The White House promoted a poetry workshop for students/poets from all over the country. Poets were invited to speak for 5 five minutes only (and had 5 more minutes to answer questions from the students). In these 5 five minutes they were supposed to provide the participants with advice they considered really relevant when attempting to write poetry/become a poet. Click on the link to watch the video of Billy Collins' participation (it starts in minute 04:34) in the 'White House Poetry Workshop' (May 11, 2011) and answer the question: what are the two pieces of advice that the poet gives to anyone aspiring to write poetry? Billy Collins at White House poetry workshop pt 1 CLICK HERE TO SEE THE ANSWERS. 1. Your voice has an external source. Your voice is lying in other people's poetry; it is lying on the library shelves. To find your voice, you need to read deeply. Of course you need to look inside for material because poetry honors subjectivity, but to find a way to express that, you need to look outside yourself, read widely, read all the poetry you can get your hands on. And in your reading, you search for something, for poets who make you furiously jealous. And then you start imitating them. 2. Don't forget that poetry is play. Poetry is not a place to take yourself more seriously than you take yourself in normal life. It's a place to have fun with language; it's a place to play. If you wish to see the complete workshop, here is the link: Poetry Student Workshop at the White House PRACTICE 5 LITERATURA EM LNGUA INGLESA IV CLASS 02: TWENTIETH CENTURY AMERICAN POETRY 37 PORTFOLIO ACTIVITY Choose one of these options: 1. Write a brief essay in which you compare the two poems you have read based on Brueghel's Landscape with the Fall of Icarus, taking into consideration the questions in Practice 1 and in Forum A, and expanding your comments. 2. Write a brief essay in which you analyze the speech of at least five of the skeletons in The Ballad of the Skeletons, discussing how, through a single line of speech, the poet conveys a multiplicity of meanings that apply to the specific figures being portrayed. TIPS Here are some links to videos, in case you wish to continue having fun with poetry. "Walking Across the Atlantic" by Billy Collins recited by a 3-year-old child http://www.youtube.com/watch?v=ahcrYHgK7wg&feature=related [1] Sweet Talk -- Billy Collins http://www.youtube.com/watch?v=B0yn7nS_wuc&feature=related [2] Billy Collins - Consolation http://www.youtube.com/watch?v=uXx5K6gfQBw&feature=related [3] The Conversation: Child Poet a YouTube Star http://www.youtube.com/watch?v=D9Ur-S_mp_4&NR=1 [4] BIBLIOGRAPHY 38 BLANCHARD, M. L. & FALCETTI, C. POETS FOR YOUNG ADULTS: Their Lives and Works. Westport: Greenwood Press, 2007. CREIGHTON, David. ECSTASY OF THE BEATS: on the road to understanding. Toronto: Dundurn Press, 2007. DAVIS, Alex. & JENKINS, Lee M. (Eds.). THE CAMBRIDGE COMPANION TO MODERNIST POETRY. New York: Cambridge University Press, 2007. DITTMAN, Michael J. MASTERPIECES OF BEAT LITERATURE. Westport: Greenwood Press, 2007. FERGUSON, M., SALTER, M. J., STALLWORTHY, J. (Eds.) THE NORTON ANTHOLOGY OF POETRY. 5th.ed. New York: W. W. Norton & Company, 2005. KIMMELMAN, B. THE FACTS ON FILE COMPANION TO 20TH- CENTURY AMERICAN POETRY. New York: Facts on File, 2005. LEHMAN, David. THE OXFORD BOOK OF AMERICAN POETRY. New York: Oxford University Press, 2006. RASKIN, Jonah. AMERICAN SCREAM:Allen Ginsbergs Howland the Making of the Beat Generation. Berkeley: University of California Press, 2004. WHALEY, Preston. BLOWS LIKE A HORN: beat writing, jazz, style, and markets in the transformation of U.S. culture. Cambridge, Mass.: Harvard University Press, 2004. WILLIAMS, W. C. THE COLLECTED EARLIER POEMS OF WILLIAM CARLOS WILLIAMS. Norfolk: New Directions Books, 1951. FONTES DAS IMAGENS 1. http://www.youtube.com/watch?v=ahcrYHgK7wg&feature=related 2. http://www.youtube.com/watch?v=B0yn7nS_wuc&feature=related 3. http://www.youtube.com/watch?v=uXx5K6gfQBw&feature=related 4. http://www.youtube.com/watch?v=D9Ur-S_mp_4&NR=1 Responsvel: Prof. Salete Nunes Universidade Federal do Cear - Instituto UFC Virtual 39 TPICO 01: INTRODUCTION The third unit of this course focuses on the genre Drama. Click here to read a definition of drama. Drama: the general term for performances in which actors impersonate the actions and speech of fictional or historical characters (or nonhuman entities) for the entertainment of an audience, either on a stage or by means of a broadcast; or a particular example of this art, i.e. a play. Drama is usually expected to represent stories showing situations of conflict between characters, although the monodrama is a special case in which only one performer speaks. Drama is a major genre of literature, but includes nonliterary forms (in mime), and has several dimensions that lie beyond the domain of the literary dramatist or playwright (see mise en scne). The major dramatic genres in the West are comedy and tragedy, but several other kinds of dramatic work fall outside these categories (see drame, history play, masque, melodrama, morality play, mystery play, tragicomedy). Oxford Dictionary of Literary Terms http://www.answers.com/topic/drama#ixzz1Pdib0W90 Twentieth century American drama tends to raise questions about the pluralized and fragmented self, about the role of spatiality in the individual's condition and position in society. Another tendency is the exploration of drama's own conditions and processes of existence. All these aspects are major modern/postmodern concerns. Two main playwrights remain as center figures in the scene of American drama in the twentieth century: Tennessee Williams and Arthur Miller. Fonte [1] Fonte [2] "During the years immediately following the Second World War, two major playwrights, Tennessee Williams and Arthur Miller, dominated the American stage. These playwrights were often interested in exploring social issues, specifically the human costs of postwar industrial capitalism and the contradictory nature of the American dream. Both essentially followed the LITERATURA EM LNGUA INGLESA IV CLASS 03: TWENTIETH CENTURY AMERICAN DRAMA 40 conventions of domestic realism, yet freely utilized anti-realistic devices in order to most effectively convey their visions for the stage." (SADDIIK, 2007, p. 40) According to Miller, "When I began writing, when Tennessee Williams began writing, we shared the illusion that we were talking to everybody. Both of us wrote for the man on the street. So consequently the architecture of our plays, the embrace of our plays, their breadth, was in accordance with that conception. It was the very opposite of an elitist theatre, the very opposite of an intellectual theatre." (Miller, apud BLOOM, 2005, p. 116) In this unit, we are going to study about Arthur Miller and read/start discussing one of his most frequently performed plays both in the US and abroad: A View from the Bridge. FONTES DAS IMAGENS 1. http://hansenpublishing.com/assets/tw-4x4-web.jpg 2. http://www.literaryhistory.com/20thC/Other_Photos/Miller.jpg Responsvel: Prof. Salete Nunes Universidade Federal do Cear - Instituto UFC Virtual 41 TPICO 02: ARTHUR MILLER Arthur Miller (1915-2005) Fonte [1] Arthur Miller was born and grew up in New York City. His father was a prosperous businessman until the Crash of 1929, after which the family went through serious financial problems during the Great Depression. Great Depression: the longest, deepest, and most pervasive depression in American history, lasted from 1929 to 1939. Its effects were felt in virtually all corners of the world, and it is one of the great economic calamities in history. Economic activity began to decline in the summer of 1929, and by 1933 real GDP fell more than 25 percent, erasing all of the economic growth of the previous quarter century. Industrial production was especially hard hit, falling some 50 percent. Gale Encyclopedia of US History http://www.answers.com/topic/great-depression#ixzz1Pmmhm9ND The DEPRESSION period (1930s) had a great impact on Miller's sense of himself, his family, and his society. During this period, he worked as a truck driver, as a waiter, and as a clerk in a warehouse among other jobs. These jobs made it possible for him to be in contact with the kind of working-class people/characters who appear in his plays. His father's fall from financial security and the way the people around him had to struggle to hold on their place in society put Miller in a position of a keen observer of social relations. Miller started writing plays in the period he was at the University of Michigan (1934-1938). Nevertheless, success and recognition as a playwright only came about a decade later, with the play All My Sons (1947), confirmed with Death of Salesman (1949). In the sequence came The Crucible (1954) and A View from the Bridge (1956). All these plays explore social themes, and that is what came to be a distinguishing feature in Miller's works. The author was involved in the web of MCCARTHYISM. CLICK HERE TO LEARN WHAT MCCARTHYISM WAS. LITERATURA EM LNGUA INGLESA IV CLASS 03 :TWENTIETH CENTURY AMERICAN DRAMA 42 McCarthyism: Generally, the use of unscrupulous methods of investigation against supposed security risks and the creation of an atmosphere of fear and suspicion. Specifically, Joseph McCarthy was a US senator for Wisconsin from 1946 until his death in 1957. He is remembered for his demagogic crusade between 1950 and 1954 to root out alleged communists and spies in American public life. As chairman of the Senate Government Operations Committee conducting investigations, he appalled observers by his coarse and brutal behaviour. Witnesses were remorselessly bullied, currency was given to wild and unsubstantiated charges, and evidence falsified. As a result an ugly mood of national hysteria was created, the careers of honourable men and women were damaged, and the reputation of the United States abroad suffered badly. McCarthy operated at the height of the Cold War when international communism could be reasonably seen as a serious threat to the American way of life and many others shared McCarthy's fears. Eventually, however, the senator overreached himself in virulently attacking the Army on security grounds. He was subsequently censured by his colleagues in the Senate and ended his life as a broken and discredited figure. Oxford Dictionary of Politics http://www.answers.com/topic/mccarthyism#ixzz1PdZzfRYS Miller supported various liberal and radical causes in the 1940's and 1950's and was called to testify about his political commitments before HCUA (House Committee on Un-American Activities or HUAC - House Un- American Activities Committee) in 1956 (this was also the year he married Marilyn Monroe, from whom he divorced in 1961). And "while he willingly answered all questions regarding himself and his own activities, he refused to give the names of alleged communist writers with whom he attended a few meetings in New York in 1947. He was cited for contempt for refusing to testify and was blacklisted by Hollywood. In 1958, however, he was officially cleared of contempt after a two-year legal battle." (SADDIIK, 2007, p. 50) "His (Miller's) theater emphasizes the tragic conditions of human existence, a theater that oftentimes depicts frustration, anguish, and failure as the prevailing condition of people trapped by circumstances and the crush of overwhelming forces in their society or within their own psyche. His plays offer hope and solace for a world desperately seeking to find a glimmer of hope in a world of darkness. In spite of his tragic vision and brutally honest confrontation with the dark forces of human depravity, Miller's plays show the possibility for redemption, transcendence, even triumph in the face of seemingly overpowering odds and adversity most inimical to human enterprise and achievement. Miller's theater is not escapist in nature, but neither is it fatalistic, pessimistic, or nihilistic. It is a drama of hope not despair, transcendence not reduction, and, above all else, the limitless potentialities and possibilities of the human spirit." (CENTOLA, 2007, p. 201) 43 FURTHER READING Click here to read an interview with Arthur Miller. Arthur Miller, The Art of Theater No. 2 Spring 1966 http://www.theparisreview.org/interviews/4369/the-art-of-theater- no-2-arthur-miller. [2] FONTES DAS IMAGENS 1. http://www.bydewey.com/miller3.jpg 2. http://www.theparisreview.org/interviews/4369/the-art-of-theater-no- 2-arthur-miller Responsvel: Prof. Salete Nunes Universidade Federal do Cear - Instituto UFC Virtual 44 TPICO 03: THE TRIAL OF ARTHUR MILLER : AN ARTICLE BY JOHN STEINBECK John Steinbeck (1902-1968) Fonte [1] John Steinbeck (1902-1968), one of the greatest American novelists of the twentieth century, winner of the Novel Prize in Literature in 1962, wrote, in 1957, an article for Esquire Magazine in which he vehemently defends Arthur Miller in relation to his trial from the HUAC's sentence of contempt of congress. TIPS Click on the link to read Steinbeck's article, "The Trial of Arthur Miller". http://www.oocities.org/tleeves/huac.html [2] PRACTICE 1 Now that you have read the article by Steinbeck, answer these questions: 1. Along the article, written in a perfectly woven sequence of arguments to show the absurdity/irrationality of the decision of the committee against Miller, Steinbeck develops his reasoning using parallel sentences / structures and juxtaposing opposing ideas, which make his arguments really powerful. Identify some instances of this stylistic strategy. PARALLELISM in sentences refers to matching grammatical structures. Elements in a sentence that have the same function or express similar ideas should be grammatically parallel, or grammatically matched. Parallelism is used effectively as a rhetorical device throughout literature and in speeches, advertising, and popular songs. Example: Reading is to the mind what exercise is to the body. Joseph Addison LITERATURA EM LNGUA INGLESA IV CLASS 03 :TWENTIETH CENTURY AMERICAN DRAMA 45 http://www.cliffsnotes.com/Section/What-is-parallel-structure- in-writing-.id-305408,articleId-27144.html JUXTAPOSITION is a literary device that is used as an important tool in Literature to bring a dramatic effect to certain situations and thereby make more of a mark for the work of art in its entirety. But what does juxtaposition mean? Juxtaposition is the placement of two concepts, characters, things, events, ideas, phrases, settings or words side by side in order to draw a contrast, create suspense, bring about a rhetorical effect, compare, or as a tool for character development. http://www.buzzle.com/articles/juxtaposition-in-literature.html 2. At a certain point in the text, Steinbeck is quite satirical/ ironical about the almost absolute power of the congress to interfere in a citizen's life. Identify a paragraph /paragraphs in which this occurs. 3. Steinbeck mentions other laws in his country that had to be abolished either because people rebelled against them or because they were found to be really unjust. Find these examples in the text. 4. The author also mentions situations in other countries in which certain laws provoked a reaction from people in his own country, as if they were at a higher level in relation to that sort of attitude. Cite examples. CLICK HERE TO CHECK YOUR ANSWERS. 1. The people I knew were not and are not, in my estimation, traitors to the nation. If they were, I would turn them in instantly.If I give names, it is reasonably certain that the persons named will be called up and questioned. In some cases they will lose their jobs, and in any case their reputations and standing in the community will suffer. And remember that these are persons who I honestly believe are innocent of any wrongdoing. Perhaps I do not feel that I have that right; that to name them would not only be disloyal but actually immoral. The Committee then is asking me to commit an immorality in the name of public virtue. If I agree, I have outraged one of our basic codes of conduct, and if I refuse I am guilty of contempt of Congress, sentenced to prison and fined. One way outrages my sense of decency and the other brands me as a felon. And this brand does not fade out. 2. There is no doubt that Congress has the right, under the law, to ask me any question it wishes and to punish my refusal to answer with a contempt charge. The Congress has the right to do nearly anything conceivable. It has only to define a situation or an action as a "clear and present danger" to public safety, public morals, or public health. The selling or eating of mince pie could be made a crime if Congress determined that mince pie was a danger to public health--which it 46 probably is. Since many parents raise their children badly, mother love could be defined as a danger to the general welfare. 3. The Congress had a perfect right to pass the Alien and Sedition Act. This law was repealed because of public revulsion. The Escaped Slave laws had to be removed because the people of the free states found them immoral. The Prohibition laws were so generally flouted that all law suffered as a consequence. 4. We have seen and been revolted by the Soviet Union's encouragement of spying and telling, children reporting their parents, wives informing on their husbands. In Hitler's Germany, it was considered patriotic to report your friends and relations to the authorities. And we in America have felt safe from and superior to these things. But are we so safe or superior? FONTES DAS IMAGENS 1. http://upload.wikimedia.org/wikipedia/commons/e/e7/John_Steinbec k_1962.jpg 2. http://www.oocities.org/tleeves/huac.html Responsvel: Prof. Salete Nunes Universidade Federal do Cear - Instituto UFC Virtual 47 TPICO 04: TRAGEDY AND THE COMMON MAN - AN ESSAY BY ARTHUR MILLER Fonte [1] Click on the link to read Miller's essay, "Tragedy and the Common Man" [2] FORUM PART A: Discuss the following questions with your classmates and tutor in the forum. 1. How does Miller justify his view that the common man is as apt a character for tragedy as the ancient kings and characters of a high rank, as mentioned by Aristotle in his definition of tragic hero? 2. In which terms, then, does Miller define "tragic flaw"? 3. In Miller's view, where do the qualities in tragic plays, that move/disturb us as human beings, stem from? 4. In which aspect, according to miller, does tragedy express the belief in the perfectibility of man? FONTES DAS IMAGENS 1. http://upload.wikimedia.org/wikipedia/commons/thumb/3/38/Arthur- miller.jpg/200px-Arthur-miller.jpg 2. http://vccslitonline.cc.va.us/tragedy/milleressay.htm LITERATURA EM LNGUA INGLESA IV CLASS 03 :TWENTIETH CENTURY AMERICAN DRAMA Responsvel: Prof. Salete Nunes Universidade Federal do Cear - Instituto UFC Virtual 48 TPICO 05: A VIEWFROM THE BRIDGE INTRODUCTION Fonte The play A View from the Bridge is based on the true story of a Brooklyn longshoreman who ruined his life by informing the Immigration Bureau about two illegal immigrants from Italy. First written and staged on Broadway in 1955 as a one-act play, it was not successful. Miller tried to simply tell the story he himself had heard, but he later recognized it was too direct and cold. Thus, in 1956, he decided to rewrite it for a production in London. That's when he made it into a two-act play. He also expanded some characters, especially Beatrice and Catherine. It was then a great success not only in London, but also in Paris. After that, the play has had many productions in the US. Recently (2010/2011) it has had very successful revivals both in New York and London. A View from the Bridge is a play which bears a similarity to Greek Drama , not only in its tragic approach, but also in the way it is structured, with the figure of a narrator/commentator, who, somehow, plays the role of the Greek chorus. Greek Drama According to Aristotle, Greek drama, or, more explicitly, Greek tragedy, originated in the dithyramb. This was a choral hymn to the god Dionysus and involved exchanges between a lead singer and the chorus. It is thought that the dithyramb was sung at the Dionysia, an annual festival honoring Dionysus. Tradition has it that at the Dionysia of 534 B.C., during the reign of Pisistratus, the lead singer of the dithyramb, a man named Thespis, added to the chorus an actor with whom he carried on a dialogue, thus initiating the possibility of dramatic action. Thespis is credited with the invention of tragedy. Eventually, Aeschylus introduced a second actor to the drama and Sophocles a third, Sophocles' format being continued by Euripides, the last of the great classical Greek dramatists. Generally, the earlier Greek tragedies place more emphasis on the chorus than the later ones. In the majestic plays of Aeschylus, the chorus serves to underscore the personalities and situations of the characters and to provide ethical comment on the action. Much of LITERATURA EM LNGUA INGLESA IV CLASS 03 :TWENTIETH CENTURY AMERICAN DRAMA 49 Aeschylus' most beautiful poetry is contained in the choruses of his plays. The increase in the number of actors resulted in less concern with communal problems and beliefs and more with dramatic conflict between individuals. Columbia Encyclopedia http://www.answers.com/topic/drama#ixzz1PddPV6Ru TIPS Click on the link to watch a video of an interview with Arthur Miller for BBC, in which he is talking about A View from the Bridge. [1] FORUM PART B: After watching the video, discuss the following questions with your classmates and tutor in the forum. 1. According to Miller, in this extract of the interview, there is an aspect which is implicit in tragedies in general. He even mentions Hamlet and Macbeth to exemplify it. Which aspect is this? 2. How did Miller get to know the story that gives origin to the play? 3. Miller also explains the meaning of the title of the play. Why A View from the Bridge? 4. And about the function of the character Alfieri, what does Miller say? BIBLIOGRAPHY BIGSBY, Christopher. The Cambridge Companion to Arthur Miller. Sixth Printing. New York: Cambridge University Press, 2005. BLOOM, Harold (Ed.). Modern American Drama. Bloom's Period Studies. New York: Chelsea House, 2005. BLOOM, Harold (Ed.). Arthur Miller. Bloom's Modern Critical Views. New York: Infobase Publishing, 2007. BORDMAN, G. & HISCHAK, T. S. The Oxford Companion to American Theatre. 3rd. ed. New York: Oxford University Press, 2004. BRYER, J. R. HARTIG, M. C. The Facts on File Companion to American Drama. Second Edition. New York: Facts on File, 2010. CENTOLA, Steven R. Arthur Miller and the Art of the Possible. In: BLOOM, Harold (Ed.). Arthur Miller. Bloom's Modern Critical Views. New York: Infobase Publishing, 2007. KRASNER, David (ed.). A Companion to Twentieth-Century American Drama. Oxford: Blackwell Publishing, 2005. 50 MEYERS, Jeffrey. A Portrait of Arthur Miller. In: BLOOM, Harold (Ed.). Arthur Miller. Bloom's Modern Critical Views. New York: Infobase Publishing, 2007. OAKES, E. H. American Writers. New York: Facts on File, 2004. SADDIIK, Annette J. Contemporary American Drama. Edinburgh: Edinburgh University Press, 2007. FONTES DAS IMAGENS 1. http://www.youtube.com/watch?v=fVv_9jKRODI&feature=related Responsvel: Prof. Salete Nunes Universidade Federal do Cear - Instituto UFC Virtual 51 TPICO 01: INTRODUCTION Fonte [1] Fonte [2] The fourth unit of this course focuses on the analysis of the play A View from the Bridge, by Arthur Miller. In terms of structure, A View from the Bridge is divided in two acts. Although there is no formal division of scenes, they can quite clearly be identified through the sequence of episodes in the story and also through the interludes (in this case, a short time intervening between events), when the narrator (Alfieri) appears to comment on the events or to give the audience guidance to better understand other characters' attitudes, mainly Eddie's (the protagonist). He not only narrates, explains, but also judges Eddie's behaviour. As already mentioned in unit 3, Alfieri's function is that of the Greek chorus, an intermediary between the audience and the characters. His role as a lawyer reflects this in-between space. He is both an insider and an outsider. Here are the main characters in the play, illustrated by the cast of the 2010 Broadway revival of A View from the Bridge. Fonte [3] Fonte [4] Fonte [5] TIPS If you wish to see the cast for the other characters in this Broadway production, click here and watch a video in which they talk about their roles. It starts at 1:28. Opening Night: A View from the Bridge http://www.youtube.com/watch? v=IyVcPZ1chO0&playnext=1&list=PL4A2BA91FE5A9F2F5 [6] LITERATURA EM LNGUA INGLESA IV CLASS 04: TWENTIETH CENTURY AMERICAN DRAMA (PART 2): A VIEWFROM THE BRIDGE BY ARTHUR MILLER 52 FONTES DAS IMAGENS 1. http://www.angelfire.com/art/masks/images/mask430.jpg 2. http://farm4.static.flickr.com/3585/3323510096_9689066ed3_o.jpg 3. http://www.google.com.br/search? hl=ptBR&biw=1360&bih=552&gbv=2&tbm=isch&sa=1&q=cast+of+a+view+ from+the+bridge&oq=cast+of+a+view+from+the+bridge&aq=f&aqi=&aql= undefined&gs_sm=s&gs_upl=174417l177225l0l8l8l0l0l0l0l351l1990l1.1.3.3l 8 4. http://www.google.com.br/search? tbm=isch&hl=ptBR&source=hp&biw=1088&bih=473&q=a+view+from+the +bridge+cast+2010+boadway&gbv=2&oq=a+view+from+the+bridge+cast+ 2010+boadway&aq=f&aqi=&aql=undefined&gs_sm=s&gs_upl=6985l29091 l0l55l55l6l36l39l0l441l3556l0.4.3.5.1l13 5. http://www.broadway.com/shows/view-bridge/photos/first-look-a- view-of-bways-bridge-starring-scarlett-johansson-and-liev- schreiber/143373/a-view-from-the-bridge-show-photos-scarlett-johansson- jessica-hecht 6. http://www.youtube.com/watch? v=IyVcPZ1chO0&playnext=1&list=PL4A2BA91FE5A9F2F5 Responsvel: Prof. Salete Nunes Universidade Federal do Cear - Instituto UFC Virtual 53 TPICO 02: A VIEWFROM THE BRIDGE ACT I Fonte [1] Penguin Edition of A View from the Bridge. All the references to pages are from this book. In 'Tpic 2' you are going to read and analyze Act One of the play "A View from the Bridge". In order to make the process of reference to the parts of the play easier, we have done the segmentation of the acts into scenes. For Act One, the division is as follows: PROLOGUE: (Alfieri); pp. 1-2 SCENE 1: Eddie gets home from work bringing the news about the arrival of Beatrice's cousins, two illegal immigrants from Italy; pp. 3-15 INTERLUDE: (Alfieri); p. 15 SCENE 2: The arrival of the cousins (Marco and Rodolpho) at Eddie's home, where they are going to stay temporarily; Rodolphos singing of "Paper Doll"; pp. 15-23 INTERLUDE: (Alfieri); p. 23 SCENE 3: Catherine and Rodolpho go to the movies (weeks later); pp. 23- 33 INTERLUDE: (Alfieri); p. 33 SCENE 4: Eddie is increasingly upset by the developing relationship between Catherine and Rodolpho and visits Alfieri in search of legal advice; pp. 33-37 INTERLUDE: (Alfieri); p. 37-38 SCENE 5: An evening at home Catherine and Rodolpho's dancing; boxing lesson; increasing tension; pp. 38-46 PRACTICE 1 LITERATURA EM LNGUA INGLESA IV CLASS 04: TWENTIETH CENTURY AMERICAN DRAMA (PART 2): A VIEWFROM THE BRIDGE BY ARTHUR MILLER 54 After you finish reading ACT ONE of A VIEW FROM THE BRIDGE, answer these questions: 1. In scene 1, what gives us hints that Eddie is extremely jealous of Catherine, maybe not in a way appropriate for a father-like/uncle x niece relationship? 2. When Eddie seeks Alfieris advice (scene 4), trying to find a way of stopping Rodolpho and Catherine's relationship, Alfieri tries to make him see that he has gone too far in his feelings for Catherine, but he refuses to/is unable to see it. Identify evidence of this fact. CLICK HERE TO CHECK YOUR ANSWERS. 1. Eddie's speech lines on page 4. 2. ALFIERI, rising: But, Eddie, she's a woman now. EDDIE: He's stealing from me! ALFIERI: She wants to get married, Eddie. She cant marry you, can she? EDDIE, furiously: What're you talkin' about, marry me! I don't know what the hell you're talkin' about! STOP AND CHECK Read the lyrics of the song PAPER DOLL, which is sung by Rodolpho in scene 2, and then click on the link to listen to a recording of it by Michael Bubl. After that, answer the questions (1 and 2) about it in FORUM A. PAPER DOLL BY MICHAEL BUBL (CLICK HERE) Paper Doll' - written by Johnny S. Black, 1915 - lyrics as recorded by The Mills Brothers in 1942 I'm gonna buy a Paper Doll that I can call my own A doll that other fellows cannot steal 55 And then the flirty, flirty guys with their flirty, flirty eyes Will have to flirt with dollies that are real When I come home at night she will be waiting She'll be the truest doll in all this world I'd rather have a Paper Doll to call my own Than have a fickle-minded real live girl? I guess I had a million dolls or more I guess I've played the doll game o'er and o'er I just quarrelled with Sue, that's why I'm blue She's gone away and left me just like all dolls do I'll tell you boys, it's tough to be alone And it's tough to love a doll that's not your own I'm through with all of them I'll never fall again Say boy, whatcha gonna do? I'm gonna buy a Paper Doll that I can call my own A doll that other fellows cannot steal And then the flirty, flirty guys with their flirty, flirty eyes Will have to flirt with dollies that are real When I come home at night she will be waiting She'll be the truest doll in all this world I'd rather have a Paper Doll to call my own Than have a fickle-minded real live girl FONTES DAS IMAGENS 1. http://i43.tower.com/images/mm113412134/a-view-from-bridge- arthur-miller-paperback-cover-art.jpg Responsvel: Prof. Salete Nunes Universidade Federal do Cear - Instituto UFC Virtual 56 TPICO 03: A VIEWFROM THE BRIDGE ACT 2 Fonte [1] In 'Tpic 2' you are going to read and analyze Act Two of the play "A View from the Bridge". In order to make the process of reference to the parts of the play easier, we have done the segmentation of the acts into scenes. For Act Two, the division is as follows: Interlude: (Alfieri); p. Scene 6: Christmas time(December 23rd); Catherine and Rodolpho first time alone at home; Eddie's arrival and kisses; pp. 47-53 Interlude: (Alfieri); p. 53 Scene 7: December 27th; Eddie visits Alfieri again and is warned against a radical attitude; pp. 53-54 Scene 8: Eddie and Beatrice's conversation; Marco and Rodolpho found and arrested; Eddie accused; pp. 54 Scene 9: Marco and Rodolpho released from prison; Alfieri advises /warns Marco; pp. 55-67 Scene 10: Wedding day; Fight between Eddie and Marco; Eddie's death; pp. 67-72 Epilogue: (Alfieri); p. 72 PRACTICE 2 After you finish reading Act Two of A View from the Bridge, answer these questions: 1. In Catherine's conversation with Rodolpho in scene 6, there is a moment in which she expresses the dilemma she is going through: the fact that she loves Eddie as a father figure, that she knows and understands him so well and would not like to see him hurt, but, at the same time, the fact that she is afraid of what he might do to prevent her from marrying Rodolpho. Identify this in the conversation. 2. In his visit to Alfieri in scene 7, Eddie is desperate to find a way to prohibit Catherine's marriage to Rodolpho. As Alfieri shows him that there is nothing to be done, that he has to let her go, he (Alfieri) can clearly see Eddie is going to risk all and call the immigration office. Thats when LITERATURA EM LNGUA INGLESA IV CLASS 04: TWENTIETH CENTURY AMERICAN DRAMA (PART 2): A VIEWFROM THE BRIDGE BY ARTHUR MILLER 57 Alfieri uses the argument that has to do with the code of honor in such cases. What is that ultimate argument? CLICK HERE TO CHECK YOUR ANSWERS. 1. Catherine's speech lines on page 50. 2. The final part of Alfieri's speech on page 54 starting with, "You won't have a friend in the world, Eddie!" FORUM PART A: Discuss the following questions with your classmates and tutor in the forum. 1. Rodolpho sings a part of the song Paper Doll in scene 2. In which sense is the song very to the point in relation to Eddie's feelings toward Catherine? 2. In scene 5, after Eddie knocks Rodolpho down in the boxing lesson, Catherine puts Paper Doll on the phonograph to dance with Rodolpho. Whats the significance of that choice then? 3. What is the meaning of Eddie's kisses (Catherine and Rodolpho) in scene 6? 4. In which way is the tragic ending also a statement made by Miller in relation to what was going on (the McCarthy period) at that moment in his country? FONTES DAS IMAGENS 1. http://www.google.com.br/search? hl=ptBR&biw=1088&bih=442&gbv=2&tbm=isch&sa=1&q=a+view+from+th e+bridge+students+performance&oq=a+view+from+the+bridge+students+ performance&aq=f&aqi=&aql=undefined&gs_sm=s&gs_upl=61683l72046l 0l35l34l2l20l20l2l339l2083l1.7.2.2l12 Responsvel: Prof. Salete Nunes Universidade Federal do Cear - Instituto UFC Virtual 58 TPICO 04: A VIEW FROM THE BRIDGE STAGE VERSION Fonte [1] Click on the links to watch a stage version of A View from the Bridge. Then answer the questions related to it in FORUM B. View From The Bridge opening credits http://www.youtube.com/watch?v=tjr9IEf2ZV4&feature=related [2] View From The Bridge part 1/16 http://www.youtube.com/watch? v=g4aLMNrdl5s&feature=related [3] View From The Bridge part 2/16 http://www.youtube.com/watch? v=t1jQCmICx0Y&feature=related [4] View From The Bridge part 3/16 http://www.youtube.com/watch? v=UMNPF0IoWq4&feature=related [5] View From The Bridge part 4/16 http://www.youtube.com/watch?v=nO324eN9Mbk&NR=1 [6] View From The Bridge part 5/16 http://www.youtube.com/watch? v=HQluPcet6Xw&feature=related [7] View From The Bridge part 6/16 http://www.youtube.com/watch? v=vbZ8QRwUR5s&feature=related [8] View From The Bridge part 7/16 http://www.youtube.com/watch?v=3u- nXWWb2lA&feature=related [9] View From The Bridge part 8/16 http://www.youtube.com/watch? v=YbSeGP3CkRc&feature=related [10] LITERATURA EM LNGUA INGLESA IV CLASS 04: TWENTIETH CENTURY AMERICAN DRAMA (PART 2): A VIEW FROM THE BRIDGE BY ARTHUR MILLER 59 View From The Bridge part 9/16 http://www.youtube.com/watch? v=m42UOygsTuo&feature=related [11] View From The Bridge part 10/16 http://www.youtube.com/watch?v=w1-TtZ-9Cfg&feature=related [12] View From The Bridge part 11/16 http://www.youtube.com/watch?v=b7e97Txsvuo&feature=related [13] View From The Bridge part 12/16 http://www.youtube.com/watch? v=81wbujlCnD0&feature=related [14] View From The Bridge part 13/16 http://www.youtube.com/watch? v=VZduhcmNsBc&feature=related [15] View From The Bridge part 14/16 http://www.youtube.com/watch? v=g9ewSIG9_6o&feature=related [16] View From The Bridge part 15/16 http://www.youtube.com/watch? v=6APjxXWNHSY&feature=related [17] View From The Bridge part 16/16 http://www.youtube.com/watch? v=L4bWAhFhVBo&feature=related [18] FONTES DAS IMAGENS 1. http://4.bp.blogspot.com/-kPHK6s5ttx4/TdY2x_OoaYI/AAAAAAAAAh s/umvs24-yJzI/s1600/a%2Bview%2Bfrom%2Bthe%2Bbridge.jpg 2. http://www.youtube.com/watch?v=tjr9IEf2ZV4&feature=related 3. http://www.youtube.com/watch?v=g4aLMNrdl5s&feature=related 4. http://www.youtube.com/watch?v=t1jQCmICx0Y&feature=related 5. http://www.youtube.com/watch?v=UMNPF0IoWq4&feature=related 6. http://www.youtube.com/watch?v=nO324eN9Mbk&NR=1 7. http://www.youtube.com/watch?v=HQluPcet6Xw&feature=related 8. http://www.youtube.com/watch?v=vbZ8QRwUR5s&feature=related 9. http://www.youtube.com/watch?v=3u-nXWWb2lA&feature=related 10. http://www.youtube.com/watch?v=YbSeGP3CkRc&feature=related 11. http://www.youtube.com/watch?v=m42UOygsTuo&feature=related 12. http://www.youtube.com/watch?v=w1-TtZ-9Cfg&feature=related 13. http://www.youtube.com/watch?v=b7e97Txsvuo&feature=related 14. http://www.youtube.com/watch?v=81wbujlCnD0&feature=related 15. http://www.youtube.com/watch?v=VZduhcmNsBc&feature=related 16. http://www.youtube.com/watch?v=g9ewSIG9_6o&feature=related 17. http://www.youtube.com/watch?v=6APjxXWNHSY&feature=related 18. http://www.youtube.com/watch?v=L4bWAhFhVBo&feature=related Responsvel: Prof. Salete Nunes 60 TPICO 05: A VIEWFROM THE BRIDGE FILM VERSION Fonte [1] Click on the links to watch a film version of A View from the Bridge. Then answer the questions related to it in FORUM B. A View from the Bridge (Vu Du Pont ) - 1962 - Arthur Miller Play directed by Sidney Lumet part 1 http://www.youtube.com/watch? v=Jv52hDtDMYA&feature=related [2] A View from the Bridge (Vu Du Pont ) - 1962 - Arthur Miller Play directed by Sidney Lumet part 2 http://www.youtube.com/watch? v=YNzmyB7wv7Y&feature=related [3] A View from the Bridge (Vu Du Pont ) - 1962 - Arthur Miller Play directed by Sidney Lumet part 3 http://www.youtube.com/watch? v=ohAX20HUWwg&feature=related [4] A View from the Bridge (Vu Du Pont ) - 1962 - Arthur Miller Play directed by Sidney Lumet part 4 http://www.youtube.com/watch? v=X_FTn04EULo&feature=related [5] A View from the Bridge (Vu Du Pont ) - 1962 - Arthur Miller Play directed by Sidney Lumet part 5 http://www.youtube.com/watch? v=oIncYVy53Uk&feature=related [6] A View from the Bridge (Vu Du Pont ) - 1962 - Arthur Miller Play directed by Sidney Lumet part 6 http://www.youtube.com/watch?v=_Z77m2S- iP0&feature=related [7] A View from the Bridge (Vu Du Pont ) - 1962 - Arthur Miller Play directed by Sidney Lumet part 7 LITERATURA EM LNGUA INGLESA IV CLASS 04: TWENTIETH CENTURY AMERICAN DRAMA (PART 2): A VIEWFROM THE BRIDGE BY ARTHUR MILLER 61 http://www.youtube.com/watch? v=DEbb8PzFYtk&feature=rel ated [8] A View from the Bridge (Vu Du Pont ) - 1962 - Arthur Miller Play directed by Sidney Lumet part 8 http://www.youtube.com/watch? v=lSvhQAPE7KM&feature=related [9] A View from the Bridge (Vu Du Pont ) - 1962 - Arthur Miller Play directed by Sidney Lumet part 9 http://www.youtube.com/watch?v=S3OzyoIeEp4&feature=related [10] A View from the Bridge (Vu Du Pont ) - 1962 - Arthur Miller Play directed by Sidney Lumet part 10 http://www.youtube.com/watch? v=QX8EraOvkoo&feature=related [11] A View from the Bridge (Vu Du Pont ) - 1962 - Arthur Miller Play directed by Sidney Lumet part 11 http://www.youtube.com/watch?v=aL5LJhUz-z8&feature=related [12] A View from the Bridge (Vu Du Pont ) - 1962 - Arthur Miller Play directed by Sidney Lumet part 12 http://www.youtube.com/watch?v=EiHVAXkrIrs&feature=related [13] FORUM B After watching the stage production and the film production of "A View from the Bridge", discuss the following questions with your classmates and tutor in the forum. 1. In relation to the stage version, how does the setting match the description provided in the opening page? What is different? Is anything left out? Does it really make a difference? 2. In the stage version, how does the fact that Alfieri's role is played by a woman affect the overall interpretation of the character? Does it change the way Eddie relates to him (her)? 3. In relation to the absence of the narrator in the movie, what are some of the things that the viewer is left without knowing because of his deletion? 4. As to the end of the movie, how does it differ from the play? How does that alter the interpretation of the final scene? PORTFOLIO ACTIVITY Choose one of the video versions of A View from the Bridge (stage production or film production) and write a short essay in which you compare it to the text of the play. Take the questions in FORUM B as starting points and move on exploring other aspects that called your attention, showing how they keep/don't keep the focus on the text. 62 FONTES DAS IMAGENS 1. http://1.bp.blogspot.com/-AmfDpMMlmtU/TahGr0HfuGI/AAAAAAAA FRE/3aMHFcvNwCU/s1600/view-from-the-bridge%2Ba.jpg 2. http://www.youtube.com/watch?v=Jv52hDtDMYA&feature=related 3. http://www.youtube.com/watch?v=YNzmyB7wv7Y&feature=related 4. http://www.youtube.com/watch?v=ohAX20HUWwg&feature=related 5. http://www.youtube.com/watch?v=X_FTn04EULo&feature=related 6. http://www.youtube.com/watch?v=oIncYVy53Uk&feature=related 7. http://www.youtube.com/watch?v=_Z77m2S-iP0&feature=related 8. http://www.youtube.com/watch?v=DEbb8PzFYtk&feature=related 9. http://www.youtube.com/watch?v=lSvhQAPE7KM&feature=related 10. http://www.youtube.com/watch?v=S3OzyoIeEp4&feature=related 11. http://www.youtube.com/watch?v=QX8EraOvkoo&feature=related 12. http://www.youtube.com/watch?v=aL5LJhUz-z8&feature=related 13. http://www.youtube.com/watch?v=EiHVAXkrIrs&feature=related Responsvel: Prof. Salete Nunes Universidade Federal do Cear - Instituto UFC Virtual 63 TPICO 06: GLIMPSES OF ANOTHER VIEW Fonte [1] Fonte [2] In Tpic 6, we have included a few links for videos related to the 2010 Broadway revival of A VIEW FROM THE BRIDGE. They are really just glimpses, as the entire play is not available to be viewed online. Have fun watching them! Theater Talk: "A View from the Bridge" with actor Liev Schreiber and director Gregory Mosher. http://www.youtube.com/watch?v=0FN6Vr7GajA [3] Show Clip - A View from the Bridge - "You Don't Know Nothin" http://www.youtube.com/watch?v=4hY6IKXrc6s&feature=related [4] Show Clip - A View from the Bridge - "He's Like a Chorus Girl or Something" http://www.youtube.com/watch?v=o3yQSjjiug4&NR=1 [5] Show Clip - A View from the Bridge - "You Can't Be So Friendly, Kid" http://www.youtube.com/watch?v=5FH29Wno448&NR=1 [6] Show Clip - A View from the Bridge - "You Can't Act the Way You Act" http://www.youtube.com/watch?v=comkyLdZUU0&NR=1 [7] Show Clip - A View from the Bridge - "I'm Not a Baby" http://www.youtube.com/watch?v=0JdCRyUciTQ&NR=1 [8] BIBLIOGRAPHY BIGSBY, Christopher. THE CAMBRIDGE COMPANION TO ARTHUR MILLER. Sixth Printing. New York: Cambridge University Press, 2005. BLOOM, Harold (Ed.). MODERN AMERICAN DRAMA. Bloom's Period Studies. New York: Chelsea House, 2005. BLOOM, Harold (Ed.). ARTHUR MILLER. Bloom's Modern Critical Views. New York: Infobase Publishing, 2007. LITERATURA EM LNGUA INGLESA IV CLASS 04: TWENTIETH CENTURY AMERICAN DRAMA (PART 2): A VIEWFROM THE BRIDGE BY ARTHUR MILLER 64 BORDMAN, G. & HISCHAK, T. S. THE OXFORD COMPANION TO AMERICAN THEATRE. 3rd. ed. New York: Oxford University Press, 2004. BRYER, J. R. HARTIG, M. C. THE FACTS ON FILE COMPANION TO AMERICAN DRAMA. Second Edition. New York: Facts on File, 2010. CENTOLA, Steven R. Arthur Miller and the Art of the Possible. In: BLOOM, Harold (Ed.). ARTHUR MILLER. Bloom's Modern Critical Views. New York: Infobase Publishing, 2007. KRASNER, David (ed.). A Companion to Twentieth-Century American Drama. Oxford: Blackwell Publishing, 2005. MEYERS, Jeffrey. A Portrait of Arthur Miller. In: BLOOM, Harold (Ed.). ARTHUR MILLER. Bloom's Modern Critical Views. New York: Infobase Publishing, 2007. OAKES, E. H. AMERICAN WRITERS. New York: Facts on File, 2004. SADDIIK, Annette J. CONTEMPORARY AMERICAN DRAMA. Edinburgh: Edinburgh University Press, 2007. FONTES DAS IMAGENS 1. http://www.playbill.com/images/photo/v/i/viewfrombridgemarquee46 0b.jpg 2. http://encrypted-tbn2.gstatic.com/images? q=tbn:ANd9GcRVnc5V3bllZHmEJqguSLlnDF8E_JB0nlKCtAUGYXYwJruS cQVN 3. http://www.youtube.com/watch?v=0FN6Vr7GajA 4. http://www.youtube.com/watch?v=4hY6IKXrc6s&feature=related 5. http://www.youtube.com/watch?v=o3yQSjjiug4&NR=1 6. http://www.youtube.com/watch?v=5FH29Wno448&NR=1 7. http://www.youtube.com/watch?v=comkyLdZUU0&NR=1 8. http://www.youtube.com/watch?v=0JdCRyUciTQ&NR=1 Responsvel: Prof. Salete Nunes Universidade Federal do Cear - Instituto UFC Virtual 65