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Lecture 15

ENGC23 Lecture 15: 8.1 Immersed in Fantasy: Carrot & His City

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Sonja Nikkila

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8.1 Immersed in Fantasy: Carrot & His City
Questioning the Quest (cont.) as Essay Construction
● findatopic(‘quest’)
● infogatheringandreading(OED,OxfordRef,Mendelsohn,etc.)
● consideryourtextorfuzzysetwhichoneisthemostusefulforyourtopic?
○ ex.ifyou’retalkingaboutquest,youcanexaminethemost‘questlike’novel;ORyoucan
● thinkabout,discuss,andwriteanargument/definition
○ encouragedtoactuallywriteitoutgetconcretewordsonthepage;youcandirectlytalkabout
● reviewandsolidifyyourlanguageandkeyterms
○ ultimately,youmightwanttocreateyourowndefinitionoffantasy(althoughgettingtheofficial
● reviseandrefine
○ trynottowingit60%iswriting,therestisrevising/refining
○ ifyou’reunsure,writeouttheessayandfindthe‘heart’ofitandconstructyourthesis
■ itisabsolutelyokaytochangeyourthesisafteryoulookovertheessay
Immersed in Discworld (cont.)
● when/howdoeswonderandamazemententerthetext?
○ couldbedirectlywritteninthetext,butcanalsorefertothereader'ssurprise
● whatistherelationshipbetweenthereaderandthetext
○ what’sthereader’sstance?lookatPratchett’sfootnotesonhisnarrativestyle
● whatwaydodifferentmodesoffantasyinteractorintersect?whendoesthemodechange?
● howistheworldbuilt?
○ language,structureorstancethatisusedtopresenttheworld
● why?towhatend?*
○ what’sthepoint?whyisitinteresting?
Identity’s a Funny Thing
● racial,ethnic,gender,speciestensionsintheWatch
● youneedtomoderateyouridentityandyourownbiases
○ Carrotasa‘dwarf’withracismtowardstheundead
● howtheyallworktogetherforthecity
○ howdoesacitywork?whatistheuseandfunctionofthemanypeopleinthecity?
● identityisaboutdeclaringyouridentityitself
Who is Carrot?: The Missing Heir
Fan Art of Carrot
● picture1:Carrot&Angua
○ handpositioningshowsCarrot’sdominanceoverAngua(orofanimals),andsaysmuchof
○ showsCarrot’sphysicalappearancemuscledandverytall;heisacharacterthatstandsout
■ showofconfidenceinhisposeandlighthandonAngua
■ swordwhathe’scapableof;orwhatheshoulddo
○ showshimasintelligentalthoughheoftenmisreadshumor/sarcasm
○ Anguaislookingstraightattheviewer;what’stherelationshipbetweendogandman?canitbe
○ rhetoricsofportrayal:
■ maybenotthemanispresented,butasymbolicidealthearmor,theman,andthe
■ neithercharacterhaspupils
■ mostlymonochrome,Romanesqueclothing:representationofaRomanstatue(we’re
■ Carrotisanartifactofthecityandit’shistory
● picture2:Cpt.Carrot
○ similartoDisneyartworkprincecharmingtypecharacter
■ cartoonishnaturehighlightsthecomicnatureofthenovel;thebookitselfisoftenfilled
■ gingerhairforhisname;purecoloursaremoreatplay(cartoontheme)
○ Carrotissalutingtheviewerheconsidershimselfasserverofthepeople
○ armrestingonswordarms=sword/weapons;MenatArms
○ fandomandfanartiscrucialtoTolkien’sargumentonthepowerofwords:thesepiecesofart
● picture3:Carrot
○ representingaconventionofattractiveness(butnotnecessarilyhandsome)
○ Romanarmor
■ Pratchett’sDiscworld
■ thefactthatCarrotcanwearMedieval,Roman,orGreekarmorcanallworkwithinthe
○ heroicstancefitswithhischaracter;hewasbornahero
■ seemsmorearrogantinbothphysicalappearanceandstance
■ thistimehe’snotrestinghishandonhissword(it’sonhisback)
○ backgroundofstars:callsbacktotheGreekheroHerculesastheconstellation
■ legendary,mythologicalpossibilityforCarrot
■ cosmicbackgrounddenotesdestinyquestionofagencyandpower:willheliveuptohis
● thecoversofGuards!Guards!
○ showsCarrotastheheroiccharacter
○ Carrot’sswordishislife;herefusestorelinquishit
Swords in Fantasy
● hypersymbolic:overloadedwithsymbolicpowerandweight
● inGuards!Guards!
○ TGFF:
● theswordinthestone:
○ questionofpower:insteadofremovingaswordfromastone,haveamanshoveaswordintoa
● swordsareinnocuous:

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8.1 Immersed in Fantasy: Carrot & His City Questioning the Quest (cont.) as Essay Construction ● find a topic (‘quest’)  ● info gathering and reading (OED, Oxford Ref, Mendelsohn, etc.)  ● consider your text or fuzzy set ­ which one is the most useful for your topic?  ○ ex. if you’re talking about quest, you can examine the most ‘quest­like’ novel; OR you can  explore what quest not ­ like h​wlice in Wonderlans a quest but not quite  ● think about, discuss, and write an argument/definition  ○ encouraged to actualwrite it  ­ get concrete words on the page; you can directly talk about  with someone (prof or otherwise)  ● review and solidify your language and key terms  ○ ultimately, you might want to create your own definition of fantasy (although getting the official  definition from a dictionary isn’t bad either)  ○ never assume that if it’s obvious to you, it’ll be obvious to your(note: it shouldn’t be  easy)  ● revise and refine  ○ try not to wing it ­ 60% is writing, trevising/refining  ○ if you’re unsure, write out the essay and find the ‘heart’ of it and construct your thesis  ■ it is absolutely okay to change your thesis after you look over the essay  Immersed in Discworld (cont.) ● when/how does wonder and amazement enter the text?  ○ could be directly written in the text, but can also refer to the reader's surprise  ● what is the relationship between the reader and the text  ○ what’s the reader’s stance? ­ look at Pratchett’s footnotes on his narrative style  ● what way do different modes of fantasy interact or intersect? when does the mode change?  ● how is the world built?  ○ language, structure or stance that is used to present the world  ● why? to what end?*  ○ what’s the point? why is it interesting?  Identity’s a Funny Thing ● racial, ethnic, gender, species tensions in the Watch  ● you need to moderate your identity and your own biases   ○ Carrot as a ‘dwarf’ with racism towards the undead  ● how they all work together for the city  ○ how does a city work? what is the use and function of the many people in the city?  ● identity is about declaring your identity itself  Who is Carrot?: The Missing Heir Fan Art of Carrot ● picture 1Carrot & Angua  ○ hand positioning ­ shows Carrot’s dominance over Angua (or of animals), and says much of  Angua’s personality   ○ shows Carrot’s physical appearance ­ muscled and very tall; he is a character that stands out  ■ show of confidence in his pose and light hand on Angua  ■ sword ­ what he’s capable of; or what he should do  ○ shows him as intelligent ­ although he often misreads humor/sarcasm  ○ Angua is looking straight at the viewer; what’s the relationship between dog and man? can it be  correlated with the relationship between human beings?  ○ rhetorics of portrayal:   ■ maybe not the man is presented, but a symbolic ideal ­ the armor, the man, and the  sword are all of the same colour palette   ■ neither character has pupils  ■ mostly monochrome, Roman­esque clothing: representation of a Roman statue (we’re  getting a representation of a representation)  ■ Carrot is an artifact of the city and it’s history  ● picture 2Cpt. Carrot  ○ similar to Disney artwork ­ prince charming type character  ■ cartoonish nature highlights the comic nature of the novel; the book itself is often filled  with two­dimensional humor  ■ ginger hair for his name; pure colours are more at play (cartoon theme)  ○ Carrot is saluting the viewer ­ he considers himself as server of the people  ○ arm resting on sword ­ arms = sword/weaponsMen at Arms  ○ fandom and fan art is crucial to Tolkien’s argument on the power of words: these pieces of art  show us different facets of these characters text sometimes cannot show us  ● picture 3Carrot  ○ representing a convention of attractiveness (but not necessarily handsome)  ○ Roman armor  ■ Pratchett’Discworld s dislocated in time ­ it is hovering between the 16th and 19th  century  ■ the fact that Carrot can wear Medieval, Roman, or Greek armor can all work within the  text  ○ heroic stance ­ fits with his character; he was born a hero  ■ seems more arrogant in both physical appearance and stance   ■ this time he’s not resting his hand on his sword (it’s on his back)  ○ background of stars: calls back to the Greek hero Hercules as the constellation  ■ legendary, mythological possibility for Carrot  ■ cosmic background denotes destiny ­ question of agency and power: will he live up to his  destiny?  ● the covers oGuards! Guards!& Men at Arms   ○ shows Carrot as the heroic character   ○ Carrot’s sword is his life; he refuses to relinquish it  Swords in Fantasy ● hyper symbolic: overloaded with symbolic power and weight  ● inGuards! Guards! Carrot describes how a ‘King’s Sword’ should look  ○ TGFF: ​has a huge passage on different types of swords  ● the sword in the stone:  ○ question of power: instead of removing a sword from a stone, have a man shove a sword into a  sword and then he can be king (physical power)  ● swords are innocuous:  ○ “Real kings had shiny swords, obviously” ­ a real king in a fantasy setting has the pretty sword,  but what would practicasword look like?  Missing Heirs ● TGFF: ​shine with innocence; very little brain; will not pick up any hints  ○ Carrot often misses jokes and hints on things  ● has multiple facets: simple, but not entirely   ○ not whether he recognizes the hints, but whether he pursues these hints  ○ question of agency and power  ● TGFF: ​marked from birth by royal status; extreme/embarrassing honesty  ○ Carrot incapable of lying ­ but he actually can lie (gives out misinformation to Dr. Cruces)  ■ “I don’t like telling lies, but it might be worth it” ­ what is worth lying about (agency and  power)  ● Carrot distorts things around him ­ “everything became background”  ○ shaping and reshaping reality ­ in particular Ankh­Morpork   ○ “wearing the landscape like a skin” ­ non­city metaphors; rural and savage  ■ Mendelsohn & James: association of a vibrant landscape and moral governance; a king  linked in both body and soul to his land (ex. Arago​OTR)   L ■ this is pagan, old associations of the land; representatives of the king (or the king  himself) were sacrificed to the land   ○ Angua sees Carrot’s connection his land  ○ ex. Aragorn meeting the hobbits:  ■ at Bree (the threshold between the Shire and Middle­earth) ­ it is a portal  ■ in the movie: characters show real surprise at the size of a pint (new and wonderous  world)  ● Carrot & Aragorn:  ○ function with Angua is part romance and part having the naive newcomer (Angua) with a mentor  (Carrot) ­ portal quest fantasy mode  ■ this is when the fantasy mode changes  ■ this emphasizes his connection to the city  ○ Carrot & language:  ■ (pg. 157) Carrot’s ability to translate and be multilingual in a city fraught with racial  tensions  ■ (pg.270) Carrot can speak to the orangutan librarian at the Unseen University  Agency & Power ● translation, physical power  ● Angua sees him and thinks he can lead armies ­ “believes that so strongly”  ○ power of fans to believe in something
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