20170120

Notes on Kate Chopin's The Storm (1898)



The Storm

Subculture -> (Missouri/Louisiana) Creole    white French cuisine
Setting of account with desire and passion.


I
Bobinôt
Bibi
Storm
Store

Opening scene
* somber clouds
* sullen
*storm burst
* sinister intention

III
Bobinôt
Bibi
Calixta
Are a happy family after the storm

V
Clarisse enjoys the letter and the freedom.


 
II
House
Calixta
Storm
Alcée Labaliere
Small talk (uncomfortable silence)
Infatuation
Big rain drop
Gust of wind
Water beating
Rain coming down in sheets
Crashing torrents
Roar of the elements
Growl of the distant thunder
Rain beats softly

IV
Alcée is married with children

3 levels: storm
               sexual act
               the plot



Notes on Edgar Allan Poe's The Imp of Perverse (1845)



The Imp of the Perverse
Edgar Allan Poe

2 characteristics in the story: 1) concentration 2) condensation

Selection of significant details (all is significant)
Poe’s theory: 1. unity of plot
                       2. brevity                 } cause/effect
                       3. effect

2 stories in 1, or a story in between the lines. This is in Poe but it’s developed by R. Piglia

Introduction: Exposition
Development
Conclusion (Denouement)
----------------II----------------
Essay -> scientific language          1845

Text Box: Essay “objective”
We
----------II----------
Confession
I
2 parts:

-> In the name of a scientific community, impersonal way (questioning science)


-> Murder


Contradictions: combativeness x self-preservation
                          perversiveness x furtherance of good

Poe is generally interested in the areas that science cannot explain:
unreason, madness, torn I
Showing science’s limitations, he’s working with a topic which becomes very important in the 20th century: the dissolution of the subject. Exploring 2 different things:
11)      Figure of the narrator that is not unified (double)
22)      Underlying subject, exploring the role of the writer. The story suggests that the narrator is writing, sitting in prison, last line says: “but why shall I say more?” addressing the modern writer and the anonymous reader. 3 questions in the story: 1) identity problem
          2) where is the imp?
            3) judgement of his acts.

Notes on James Joyce's Eveline (1904)



Eveline
James Joyce

Cultural references in the text -> Exile in Switzerland and constant reference to Ireland.

1st published in 1914 but critics say it was ready by 1905 or 1907.

Joyce said about Dubliners: “A chapter of the moral history of my country”

Dublin -> decay, ugliness, evil, perversion -> “the center of paralysis” -> nationalism, religion -> discomfort in relation to his origins and profession as an artist –

Bloomsday – 16th June

*Things like history, family, past, roots stop Eveline from changing her life.

Short story – one significant moment in the life of a character, a moment of crisis that contains its whole life. (definition)

Interplay between Past-Present is constant in the story.
3rd person narrator.
Closeness to the object
Adjectives: dusty, yellowing, decay
Eveline: sees, hears (no action) in the scene
description

*In opposition to the scene (present) we have a narrative summary (past).

“everything changes”. No commas in the text. Free indirect speech.
Home relates to food and shelter but not love.
Violence and money questions. Emotional deprivation from her father.
In spite of all difficulties, she doesn’t find it wholly undesirable.
Narrative summary for Frank (the opposite of her father)

The dusty Dublin x Buenos Aires (Good Airs)
-> Back to the window and the Present, some time has elapsed (time is moving), tension is subtle and subdued
Eveline is still and quiet but there’s an internal turmoil.

First move – she jumps
In the quay the boat symbolises escape, new life.
Bell -> in her heart and on the boat
Sea -> Idea of crossing, where the vessel is the mean, but she’s not able to make it.

Notes on J.R. O'Shea's class (short story/essay)



J.R. O’Shea                                      
Short story – 5th 10 2000

Background:   poetry prose
                        verse ≠ prose -> poetic prose
narrative – prose           narratology
Old traditional story
Parables
Satyricon
Fables/romances

Anglo-saxon 1. Consonants pronounced 2. Continental vowels
Chaucer – Canterbury Tales 1385-1400
(wrote in English not in latin)

Montaigne’s essays (1571-86)                   {to essay/to try}
Sketches – 16th century                          {chronicle – historical document} anglo-saxon 871/1154
Addison/Steele 1709 spectator tattler

Novel – Clarissa Harlow – early 18th century (uprise of bourgeoisie)
segment of life
[Slice of life – Anton Tchekhov – Joyce picks it up] 
Virginia Woolf mark on the wall revealing of character
Mood = atmosphere        tone = author’s voice
Showing -> narrator describes how it happened
Telling -> narrator reports what happened      (Wayne Booth’s The Rhetoric of Fiction)
                                                                                           climax
                                                                      comparison                fall act
* Gustav Freytag Pyramid            exposition                                                  unravelling
* Aristotle -> Homer/Epic/in media res/chronologically       beginning – middle – end