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Lecture

18lecture1780colorpurplefilm09SU.pdf

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Department
Economics
Course
ECON 4400
Professor
All Professors
Semester
N/A

Description
Lecture18 1 SchoolofArtsandLetters AtkinsonFacultyofLiberalandProfessionalStudies Summer2009 AK/HUMA17806.0AStoriesinDiverseMedia Announcements: Assignment#2isduetodayby12midnight.PleaseseeLecture16forthelatest Uploadinformation. Reminder:OurfinalexamissetforFriday,August212009,at7pm10pminroom 137SouthintheRossBuilding.Theexamisworth20%ofyourfinalgrade.Forthose whowillnotbeinTorontoforthatdate,youshouldbemakingarrangementswith DistanceEducationforanoffsiteexamat http://www.atkinson.yorku.ca/disted/offsiteExam/index.htm.Youareresponsible formakingthesealternatearrangements. Thisexamismandatoryand itisyourresponsibilitytoattendandtoarriveattherighttimeandplace. FinalExamFormat: Youareonlyresponsibleformaterialwehavecoveredsincethemidtermtest(starting withHenryJames'TheTurnoftheScrew).Theexamwillbecomprisedofthreesections: Firstsection:Shortanswersandidentifications Defineconcepts,characters,objects,places,ortitlesfromthereadings,viewings, andlectures Identify9of12foratotalof36marks(eachisworth4marks) Secondsection:Sightpassages Discuss3sightpassagesbyidentifyingthetitleandauthoroftheworkaswellasthe speakerand/orcharactersinthepassage(ifapplicable).Explainthesignificanceof thepassageintermsofthetextasawholeandanythemesthatmightbepresent Identify3ofthe5sightpassagesforatotalof30marks(eachisworth10marks) Thirdsection:Essayquestion Answer1of3questionsinessayformatforatotalof34marks Inthisessayyouwillbecomparing3storygroupswherebyastorygroupconsistsof 1sourcetextand1adaptation. Thisquestionwillaskyoutodiscussaparticularconceptorissuerelatedtothe readings,viewings,andlecturematerial Youwillneedtowriteincompletesentencesandparagraphformnopointform butyouwillnotberequiredtohaveaformalthesisstatement Lecture18 2 DiscussionRooms: YoualsohaveuntilFriday,August22atmidnighttoparticipateinthediscussion rooms.DiscussionthreadsstartedonorafterSaturday,August23,willnotcount aspartofyourparticipationgrade,somakesuretopostatleastthreeanswersto thequestionsofyourchoicebeforethefinalexam. TheColorPurple:FromNoveltoFilm LastweekIendedthelecturebydiscussingthegenreofepistolaryfictionand howitinformsWalker'snovel,TheColorPurple.I'mgoingtostartthisweek'slectureby finishingupthisdiscussionandbytalkingaboutanothergenre:romance.Iwillalso discusstheendingofthenovelandtheimportanceofnamingbeforemovingontothe film. Aswelearnedlastweek,Walker'schoicetowriteherstoryintheformofletters, calledanepistolarynovel,isanimportantdecisionbecauseithasaneffectonhowthe readerexperiencestheeventsandcharactersinthenarrative.Anotherimportant aspectofepistolaryfictionisthatitimpliesacertainamountofrealism.Usuallysuch novelsattempttobeas"truetolife"aspossible.WhenTheColorPurplefirstcameout in1982,criticsweredividedonitsmeritsandithadalottodowithideasabout "realism."Mostcriticsadmiredthebook.ThiswasWalker'sthirdnovelandunlikeher othertwo,thisonegainedimmediateandwidespreadpublicacceptance.Thetextwon boththePulitzerPrizeandtheAmericanBookAwardfor198283.Butatthesametime, severalcriticsalsodisparagedthetext.Theyclaimedthatitwasn'trealisticenough;that theendingwastoomuchofafairytale;thatNettie'slettersintrudedtoomuchintothe Lecture18 3 centerofthenovel,creatinganunbalancedwork;andthattheletterstoGodwerealso unrealistictheytookawaytheusualconcretizingeffectoflettersthatcreatesthe illusionofreallife,thebackandforthcorrespondencebetweentwoseemingly"real" people.Ineachofthesecriticisms,onecanseethatthereareexpectationsthatgo handinhandwithcertaingenres.Inthiscase,thetraditionofforminganoveloutof letterwritingimpliesa"realistic"tale. Butstillothercriticshavearguedthatthesecriteria,basedontheconventionsof epistolaryfiction,areproblematicandshouldnotbemappedontothenovel.Infact, somehavesuggestedthatthenovelisclosertoanotherrelatedgenrethatalsotookthe novelbystorm,butwasinitiallyfoundinplays.Thisgenreisromance:atypeof narrativethatcanbedefinedasafictionalstoryinverseorprosethatrelates improbableadventuresofidealizedcharactersissomeremoteorenchantedsetting. SeeLectureSummary,Slide2. Someofthisshouldsoundalittlefamiliaraswe'vediscussedafewofthe romanticconventionsShawsubvertedinPygmalion.Aswenoted,Shaw'sresistanceto the"happyending"thatwoulduniteElizaDoolittlewithHenryHigginsunderminesthe drivetowardclosureinthetypicalmarriageplotofcomedyromances.Walker,too, somehavesuggested,isusingtheromancegenretosubvertthesocialcodesthatit dictates.I'dliketolookattwowaysshedoesthisandthinkaboutwhatsubvertingsuch conventionsbringstoourunderstandingofthenovel. OneofShaw'sprimarymodelsforsuchdramaticconventionsisShakespeare. Shakespeare'sromancesaretypicallysetinthecountry,inaruralspacemeantto
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