On-Line Survey for FYS Students

December 11, 2009

Greetings-

As you have just completed your First Year Seminar, I am writing with a request for your assistance to help us evaluate the First Year Seminar experience. Your experience in your First Year Seminar and the feedback you provide will help us learn about the First Year Seminars we offered this semester and will give us valuable information to help us make improvements for next year.

I am asking you to go to the link http://www.surveymonkey.com/s/GN5MTQB and answer a few questions about your experience in your First Year Seminar. Your responses will be kept completely confidential. The results from the survey will be used to make improvements in the FYS we will be offering next fall.

To thank students for participating in this survey, we will randomly select two students to receive gift certificates from the University of Hartford Bookstore. The survey will be available until December 22, 2009.

Thank you, in advance, for your help.

Joseph Voelker

Dean, College of Arts and Science

Questions for “Indiana Jones and the Last Crusade”

Some thoughts that occurred to me as I watched the film….

Choose some questions for your blog response.

1. Why do you think we have this for a title? Why not, “Indiana Jones and the Quest for the Grail”? What does the title imply about the film as a whole?

2. The film opens with Indiana Jones as a child (played by the late River Phoenix). Think about why Spielberg chooses to begin with this “background” to the film and its main character. What characterization do we get of the “young Indy”?

3. How does this “young Indy” play into how we perceive Indiana Jones as an adult? The first scene we see with him is a structural “hold-over” from this childhood scene – he has (re)found the cross, for which he has been searching “all his life” as he states. What is it about this cross? Why a cross? How does this relate to the “adult Indiana”?

4. We do not see Indiana’s father until much later in the film, though there are hints of him earlier – a quick scene of his study in Indy’s childhood home in Utah and more importantly the “Grail book.” What does this Grail book contain? Why is it so important (yes there are obvious explanations, but are there any hidden meanings here)?

5. What is the role of Indiana’s father in the film? Why this connection to the father? (In other Grail quests, the feminine was so important – do we have something similar in the film? Why or why not? Or maybe -- why the shift away from the feminine / maternal?)

6. Describe / explain the latter part of the film – what does Indiana have to do to achieve the Grail? How do you interpret these actions? (We also have, of course, the injury and rescue of the father from death – how do you interpret this?)

7. Explain these quotes from the film: “The search for the Grail is the search for the divine in all of us.” “Why do you seek the cup of Christ, for his glory or for yours?”

8. Why do you think attaining the Grail must involve choosing the correct Grail from all the false ones? What might this imply about the search / the notion of the quest?

9. Why do you think the Grail cannot (1) move beyond the Great Seal and (2) is lost. What is it about the notion of a Grail that is ALWAYS unattainable (as we saw in all three of our Grail quests – Perceval’s, Persse’s and now Indiana’s)?

10. Anything else you’d like to discuss.

Question from Caroline and Allen for "Small World" (Day Four / Parts Four - Five)

Pick a character and create a question (and write the answer) about the resolution
that this character had.

Small World (Day Three / Part Three)

As you did with Part Two, I'd like you to come up with two questions and answers on your own -- relate your questions to the themes raised in this section of the novel.

Small World (Day Two / Part Two)

I'd like you to come up with two of your own questions and answer them. Try to keep them in line with the general themes of the text (mainly, the idea of questing) and how they relate to your analysis.

Monday in class I'll use your questions to spark the discussion of the novel.

Extra Credit Time (Copied from Sara's Blog)

Here is a chance for you to get some extra credit for FYS 100. It will make up for two missed blogs, or if you've done them all, this will count as extra credit toward your blog grade.
This is what you should do: Come to the Hartt Dances performance at Millard Theater (in the Hartt School building) on Friday, December 4 or Saturday, December 5 at 7:30 PM, or on Sunday December 6th at 3 PM. Since you are all students at the university, you get 1 free ticket with your student ID. To get a ticket, you can go to the Lincoln Box Office at Lincoln Theater during their business hours, or just get to the theater an hour (or less) before the show to get a ticket.
Once you have seen the show, write a paragraph or two about the medieval themes or values that you saw in the different dances. You can pick one dance to write about, or a few of them. Some medieval themes that you might see are chivalry (especially prevalent in partnering between a man and a woman), court life, and magic. However, I'd love to see what YOU can come up with!
Email your responses to me at fastow@hartford.edu by December 12. I'll email you back to let you know that I got your extra credit.

Small World (Prologue and Part One / pp. 1 – 79)

Please answer at least three questions.

1. David Lodge has tried to create a “contemporary medieval romance,” and to that end has included a prologue to the novel. As we saw with Chrétien de Troyes, Lodge here tries to direct the reader and introduce the main themes of the text. How do you analyze this prologue? What ideas does Lodge bring forth here that you think will help with an overall understanding of the text? (What is the “road” he sets us on here?)

2. Persse McGarrigle is naturally the central character of this academic romance. How does Lodge first present him to us? Give an analysis of his character. Refer to specific quotes and / or scenes in order to support your answer.

3. Chapter one of part one is set almost entirely at a conference at the University of Rummidge (which is a fictional place based on the University of Birmingham). Describe the conference settings. How might Lodge be trying to parallel and / or parody what we saw in the first third of Chrétien’s “Story of the Grail”? What does Lodge try to accomplish / demonstrate in doing this?

4. Angelica is the natural love interest of the story. How does Lodge describe her character? What do you make of her? Why is Persse so taken with her? What may Lodge be attempting to do by including this character? Refer to specific scenes / quotes in order to support your answer.

5. We have quite a lively set of background characters, most notably Morris Zapp and Philip Swallow. Analyze these characters. What do they represent in the novel? We get a lot of their background history especially in chapter two. Why do you think Lodge includes so much of their story in this novel?

6. Morris Zapp gives a lecture at the conference which we have in full in the novel (pp. 24 – 27). What does he say about literary interpretation (the underlying message beyond the sexual references)? Do you agree with him? Does it go along with some of the goals for this class?

Questions from Kate and Sean for "The Story of the Grail / Perceval" (Day Three / pp. 460 - 499)

Questions: Answer at least two and/or anything that interested you.

1. We find Perceval on a journey in a deserted area where he encounters three knights and ten maidens. What might this group represent? Where might we see a parallel to this group in the text? What do they represent to Perceval?

2. We see Perceval begin to weep as he goes to repent to the Hermit. Why does he begin weeping? What can be said abou this self-image at this point? Who might this look into oneself (possibly in a mirror…or fountain) parallel?

3. The hermit prescribes for Perceval’s salvation charity. Where have we seen Perceval fail to act charitably? What have we discussed in class to be the ultimate act of charity? How can we connect this to Perceval’s new knighthood, his resurrection?

4. For the rest of the story we see the adventures of Gawain and the story cuts off mid-sentence. How does Gawain’s journey connect to Perceval? What is his role in the story?

5. How do you feel about the unfinished ending? Do you have any ideas or thoughts on how the story may have fleshed out?

The Story of the Grail / Perceval (Day Two / pp. 419 - 460)

For Friday we have three enigmatic episodes – scholars are still discussing / debating the significance of these three scenes. We'll save Perceval's final scene in the romance (with the hermit) for Monday.

How do you interpret two of these episodes? Use specific examples from the text to support your ideas.

1. Blancheflor – Her name means “White Flower” (what do you think is the significance of this?) What do you think her role is in the text? How does Chrétien describe her? Why? What do her actions say about her (her weeping – for instance, this is not the first time we’ve seen a woman weeping over a sleeping knight)? Bring up other topics concerning Blancheflor you find interesting if necessary.

2. The Grail Castle and Procession – How does Chrétien present this scene to the reader? Why? What do you think is problematic about this scene? Why the emphasis upon mystery? (If you are familiar with the Jewish Seder meal – how might this procession mirror the meal, especially concerning questions asked during the meal and the significance of the meal? How have Christians appropriated this meal into their own rituals and mythology?) What is the (potential) outcome of this meal? How do you explain this?

3. The blood on the snow – The blood on the snow reminds Perceval of Blancheflor. How do you read it as an image of Blancheflor? What might its purpose be as an image of her? Might you see other meanings though in this very strong image? Blood…hmmmm….where have we seen this before? In what context? Might there be a connection here? (I think so!) In other words, how might this one image fuction on two (or more) levels of meaning -- some of which is still hidden from Perceval.

Questions for The Story of the Grail / Perceval (Day One, pp. 381 – 419)

I want you to read the first third of this text, but we will not have time to explore its full complexity in class. I’ll ask questions up until the episode just before that with Blancheflor and we’ll pick up from there on Friday.

Please answer at least three questions.

1. We have quite a long prologue to this romance. As with Erec and Enide, the prologue always directs the reader toward the specific “path” down which she or he is about to embark. What path does Chrétien send us down here? What themes does he raise here that you think may be necessary in understanding this romance? Reference specific points of the prologue in your response.

2. Describe the first scene concerning Perceval’s encounter with the knights in the Waste Forest. How does Chrétien portray Perceval? And the knights? What image of knighthood does the text portray? And what is Perceval’s perception of knighthood? How do these portrayals conflict with one another? Why do you think Chrétien does this?

3. Analyze the episode between Perceval and his mother. What is her reaction? What information does she try to impart to her son? Why do you think he reacts the way he does? Discuss his departure – how should he have behaved?

4. What does Perceval do in order to become a knight? How do you see this as problematic? Reference specific scenes or quotes from the text in your response. (We have the scene with the “Tent Maiden,” the scene in Arthur’s court, and the killing / murder of the Red Knight).

5. Discuss the scene with Gornemant of Gohort. How does the advice enter into a dialogue with previous advice? Why this need for repetition?

Questions for Buñuel's "That Obscure Object of Desire"

1. Why do you think the film is titled That Obscure Object of Desire? What is this “obscure object”? How does the film present it as such? Use specific imagery or scenes from the film in your answer.

2. Why do you think terrorism is an ever-pervasive “background” to the events of the film?

3. Why do you think Buñuel uses two actresses to play the part of Conchita? Refer to specific scenes in which one or the other appears to support your answer.

4. What do you make of the animal imagery in the text (the mouse, the fly)?

5. Why do you think Matthieu is the narrator of the film? Why is most of the film a flashback? (Think about who is sitting next to Matthieu in the train compartment.)

6. How does the world of Celestina infiltrate and influence this film? Refer to specific images or scenes from the film to support your answer.

7. Do you have any interpretation of the final moments of the film? (The sewing, the music, the explosion….)

8. Why do you think we see the burlap sac at various parts throughout the film, first carried by a passerby, and then Matthieu, and then again at the end of the film?

Ordering Lodge's SMALL WORLD

Don't forget, if you haven't already, to purchase David Lodge's 'Small World.' It's the last book we'll read this semester. You can purchase it from these websites on Amazon -- scroll down to look at the prices, some copies can be bought for just one cent.

http://www.amazon.com/gp/offer-listing/0140244867/ref=dp_olp_used?ie=UTF8&qid=1257165202&sr=8-1&condition=used

http://www.amazon.com/gp/offer-listing/0025740601/ref=ed_oe_h_olp

http://www.amazon.com/gp/offer-listing/0446393274/ref=ed_oe_p_olp

Questions from Trina and Shadia for Celestina (Day Five / Acts 18 - 21)

Please answer at least THREE questions.

Question 1: Melibea and Calisto must meet in the dead of night, in the darkness. What does this reveal about the nature of their desire for one another, especially when you consider their references to images of light (i.e. stars, the moon, bright beams radiating form Melibea, etc).

Question 2: Melibea calls what she and Calisto have“love” – do you think either of them really loved each other, or does Melibea’s suicide have more to do with her shame than anything else? Do any of the characters exhibit actual love? If not, why is love referred to so often?

Question 3: What is symbolic about Calisto’s death?Melibea’s? Consider where and how the two lovers died. How do these deaths represent Celestina, what she stood for, and the lovers’ roles in her ‘game’?

Question 4: Did Pleberio really love his daughter? Consider the emphasis and direction of his ending speech: what is he really mourning over? Do any of the characters truly mourn over the deaths of their ‘companions,’ or is their grief more self-centered?

Question 5: Who do you see as the victim(s) in this story? Are there any real victims? Is everyone to blame? Are some characters more to blame than others?

Question 6: Melibea is fighting a double standard throughout the story. What does she represent for both the matriarchal and patriarchal worlds? What does all of this have to say about society’s hypocritical expectations?

Celestina (Day Four / Acts 12 – 17)

These are the questions for next Monday -- questions for Friday are below.

Answer one of these two questions and then choose a quotation from these chapters that you think is important. Explain the reasons for which you have chosen this quote and analyze it. What does it have to say about the text, a character, a theme, etc.?

1. Calisto has quite a long soliloquy in Act XIV. What are the main themes of this speech? He has just achieved what he wanted (sex with Melibea). Does his speech reflect the happiness he expected to have? Why or why not? What might his speech have to tell us about desire and the disillusionment of the desire?

2. There is a dichotomy in the text between Pleberio’s power (a male hierarchy) and Celstina’s power (a female hierarchy). How do these two systems play off one another? What does Act XVI reveal about Pleberio’s power? Do an analysis of his speech here – what does he attempt to do? And the reality of the situation?

Celestina (Day Three / Acts 7 - 11)

1. We will talk more in class about Areusa and her illness in Act VII, but how do you interpret Celestina's actions with Areusa (maybe even apart from her illness)? What might these actions have to say about Celestina? What insight do we gain about her character here?

2. How do you explain Areusa and Elicia's comments about Melibea in Act IX? Is this mere jealousy or is something more going on here? (Or, you can comment about this entire scene within Celestina's house -- what does this scene reveal about this house and what occurs here?)

3. Analyze the scene between Melibea and Celestina in Act X. What do you think Melibea experiences here? Why? Try to focus on the language she uses and the imagery to which she makes reference. How, for example, do you interpret Melibea's comment that her "breast is full of serpents"?

4. The chain that Calisto gives Celestina in Act XI has important symbolic meaning. What does this chain represent for Celestina (and in turn Parmeno and Sempronio)? Think also in broader terms -- What might a "chain" represent here in the text? What does a chain imply? How might it be connected to the themes of desire and / or death?

Questions from Adam and Drew for Celestina (Day Two / Acts 3 – 6)

1. At the end of Act III we see Celestina preparing her thread with a potion for Melibea. How do we see her lack of confidence? What do you make of this?

2. In Act IV how do we see Celestina’s fame precede her, both with Lucrecia and then with Melibea? Is this good or bad? Why?

3. How does Melibea’s reaction to Calisto’s name either strengthen or weaken your initial reaction to their first meeting?

4. How do we feel about Celestina in Acts V and VI? Is she smart and wise or a useless trickster? Use details from the text.

5. Calisto is blinded by his “love / desire.” What does this say about love / desire / sex in gneral? Use details from the text.

Celestina (Day One / Acts 1 – 2)

The version of Celestina which you have contains 16 acts. The full text though has 21, five additional acts placed between Acts 14 and 15 of your version. The complete text is what we shall study (unfortunately it is out of print in English). You can read up through Act 13, but beginning with Act 14, you will have to read the additional acts which I will put on Blackboard under Course Documents. You can return to your book for Acts 15 and 16 (which now become Acts 20 and 21).

Please answer at least two questions:

1. Analyze the opening scene in Melibea’s garden. Why a garden? What might a garden signify? How do you interpret the words of Calisto and Melibea? Why does Melibea react in this manner? Can we read these words as genuine?

2. Discuss Calisto and Sempronio’s conversation in Act I. How do you interpret Calisto’s illness? His discussion about Melibea? The discussion about women? What occurs here? Use quotes and specific examples for the text to support your answer.

3. What are our initial impressions of Celestina? What type of character is this? What does she say which influences your analysis? What about her later exchanges with Parmeno? (And this back history with Parmeno’s mother – what do you think happens here?)

4. Analyze Parmeno’s long speeches concerning Celestina. What is her history, profession, etc.? What do you think she represents within the text? How does the entire community view this woman? Why? Use specific examples from the text to support your answer.

5. Analyze the speech of these characters (you can point to specific examples to formulate your answer). What type of speech is this? Why?

What to avoid when writing:

1. Contractions: isn’t, doesn’t, can’t = is not, does not, cannot

2. Mixing singular and plural (we can do this when speaking but not writing a formal paper).

“A person can begin to understand who they are.”

‘Person’ is singular, whereas ‘they are’ is plural. We need to change this to either: “People can begin to understand who they are” or “A person can begin to understand who she or he is.”

3. Statement such as “this shows that,” “this proves that,” “the text states this because….” The mere fact that you are writing about this aspect of the text already shows or proves ‘it.’ You do not need to state this –it makes your writing self-referential and is awkward.

4. Passive voice, such as “it is seen that,” etc. Seen by whom? Use ACTIVE voice (meaning the subject tell us who does the action and we do not have a form of “to be + past participle”).

5. The apostrophe (’) is ONLY for possession, never to make things plural. (This includes things like “the 1980s.” Many have a tendency to insert an apostrophe “the 1980’s,” but this would imply “belonging to the 1980s.”)
Some students do not use an apostrophe when needed: “Yvains glory” instead of “Yvain’s glory.”

6. Do NOT use past tense when writing about literature (“Yvain did, Tristan said, etc.”). Literature is always in the present tense because it happens NOW, as we read and discuss it.

7. Avoid the present progressive (“Yvain is doing, Tristan is saying, etc.”). Use the simple present tense (“Yvain does, Tristan says, etc.”).

8. Awkward sounding phrasal verbs such as:

To think it out (‘to reflect on it / process it’ is better)
To be stuck in (‘to be imprisoned / trapped’ is better)
To have got (‘to have’ is better)
To find out (‘to discover’ is better)

When possible, it is better to find a simple verb that expresses the same idea as a phrasal verb.

9. Quite a few people had very colloquial expressions that should only be used when speaking. You cannot write the way you speak.

10. Avoid sentences or phrases that end in a preposition. This is always bad form.
For example: “The situation Yvain finds himself in is complicated” should be “The situation in which Yvain finds himself is complicated.”

11. Whenever we have a gerund (an “–ing verb”), we MUST use the possessive form of the noun or pronoun that comes before it. This is something we rarely do (if ever) when speaking but must be done when writing.

Enide’s crying demonstrates her love for Erec.

12. Some students still have problems with “to lay” and “to lie.” These are not interchangeable verbs. “To lay” requires an object (“I lay the book on the table.”). “To lie” cannot take an object (“I lie down.”)

13. Stating your ideas in a clear and simple manner is always better than trying to ‘sound’ intelligent by writing complex (and many times overly-long) sentences in which your ideas are lost and / or awkwardly stated.

REMEMBER – You can always go to the Reading and Writing Center here on campus for help with writing.

Questions from Dorthea and Emily for The Decameron (Day Six / 9.2, 9.3, 9.5, 9.6, 10.10)

Please answer questions for at least two stories.

9.2
How do the nun's actions reflect upon the church/religion itself? Does sin become relative? Explain.

9.3
Who do you feel is guilty- Calandrino or his friends? Why? What does Tessa's position (his wife) in the story say about woman's roles in general?

9.5
Analyze the significance of magic in this tale. What are the appearances verses the reality of the affair/trick?

9.6
Analyze the wife and her actions. What does her overall perception of the events say about human nature? (Look into her point of view from the night to the morning)

10.10
Do Gualtieri and his wife deserve one another's love? Why or why not?
What could her clothing symbolize?
How is this story different from all the rest, and why do you think it was chosen last?

The Decameron (Day Five / 7.3, 7.4, 8.3, 8.7, 8.8)

The stories from these two days deal with trickery (not a new topic in the Decameron).
I'd like you to write your own questions for two of the tales and then answer them, keeping in mind the notion of trickery (for instance -- Why do you think it is such a common theme running throughout these 100 stories? What is it to trick, to be decieved, to 'succeed' at trickery, etc.?).

The Decameron (Day Four / 5.8, 5.9, 5.10, 6.7, 6.10)

Please analyze two tales by formulating first your own questions and then answering them. Remember, I want to see analysis and not plot summary.

Questions from Wesley and Thomas for The Decameron (Day Three / 3.3, 3.6, 3.9, 4.3, 4.9)

1. story 3.3: How does the maiden communicate with the man she desires? What can be said about the friar? Explain and use examples from the text.

2. story 3.6: How does Ricciardo play to Catella's emotions to trick her into meeting him at the baths? How do you feel about the way he keeps her from revealing what happened?

3. story 3.9: In beginning Beltramo didn't want anything to do with Giletta. How does his love for her in the end define how women were viewed? How does this compare to other strained relationships in the Decameron?

4. story 4.3: In this story we see the twisted outcome of love gone wrong. How does this relate to other stories we've read and how do you personally feel about it?

5. story 4.9: As the preface stated it was the king who happened to be telling this particular tale, what can be interpreted about him from what we have read here? How does he seem to feel about treachery such as this?

The Decameron (Day Two / 2.5, 2.6, 2.7, 2.9, 3.1)

The questions are for Wednesday, October 14th -- your response will be due by 9:00 a.m. that day.

Remember, there is no class Monday -- instead of class you are to send me the final version of your first paper, in electronic format, to my email address (ealy@hartford.edu) by midnight.

Answer at least two questions or come up with your own analysis of the stories.

1. Story 2.5: Analyze the educative process that occurs with Andreuccio (do NOT simply recount the events of the story). Do you see any repetition occurring here? How do you read this repetition? How does this contribute to his education? What does he learn here? What might the message be for a wider audience? Use specific examples from the text to support your analysis.

2. Story 2.6: What does this story have to say about humanity (especially considering that the central character becomes a kind of ‘wild-woman’)? How might this view of humanity influence the story of a whole? Use specific examples from the text to support your analysis.

3. Story 2.7: What do you think this story has to say about femininity? Gender? Desire? Lust? What might the message be for a wider audience? Use specific examples from the story to support your analysis.

4. Story 2.9: What does this story have to say about crossing ‘borders,’ especially that between female / male? (This is not the first time we have seen this in the Decameron). What might this have to say about gender and our ideas concerning gender identity in a larger sense? Use specific examples from the text to support your analysis.

5. Story 3.1: In story 2.7 we read about a ‘mute’ woman who does not speak because nobody speaks her language. Here we read a story about a ‘mute’ man in a convent. What are the differences / similarities here? How do you read this ‘muteness’? How might this play into a politics of gender, power, etc. that may or may not be related to speech? Use specific examples from the story to support your analysis.

Decameron Web

An excellent site from Brown University for the Decameron:

http://www.brown.edu/Departments/Italian_Studies/dweb/dweb.shtml

The Decameron (Day One / 1.1, 1.2, 1.3, 1.4, 2.3)

I would like you to choose one quotation that interests you from three different stories. Why does this draw your interest? How do you "read" this quotation (the "analysis" or "interpretation" question)? What does this quotation have to say about themes within the tale? About the tale as a whole?

Be creative. Your answers should be more than a couple of sentence. I would like to see serious thought in your posting.

Questions for “Tristan and Isolde”

As always, feel free to bring up anything else you wish to discuss.

1. The film begins with a battle scene – how is this different from the text we read? Why do you think the film begins this way? How does this orient the viewer to the remainder of the film?

2. The film is devoid of magic (no love potion). Does this change our interpretation of the events?

3. How does the film portray Tristan, Isolde, and / or King Mark? Think of specific scenes to help you in your response. With whom do our sympathies lie?

4. In the text, it is Tristan who withholds his identity from Isolde. In the film we have the opposite – what might the film be saying about Isolde? About love?

5. How are the barons portrayed in the film? Do we have any ambiguity here as we do in the text? Why or why not?

6. Why do you think the film ends the way it does – very differently from the medieval tale? How does this ending change the interpretation of the story?

7. Ultimately, where does the focus of this film lie? On the relationship between Tristan and Isolde or elsewhere? Why do you think this?

Questions from Ryan and Anthony for "The Knight with the Lion (Yvain)" (Day Three / pp. 353-380)

1.Yvain gains a new identity known as the knight and the
lion, Why does he need a new identity?

2. Do you see anything problematic about the fight betweenthe sisters and their choosing of a knight? How do they goabout choosing their knight? Why do they need to?

3. Yvain and Laudine meet again at the end, What kind ofreconciliation is this then?

4. Why do you think that Chrétien can only give us hisname at the end?

Questions for “The Knight with the Lion (Yvain)” (Day Two / pp. 324-353)

Please have your responses in by at least 9:00 a.m. on Friday. (A few students have been posting past 9:00, or even after we have class – this is not acceptable.)

1. Gawain gives a speech on pp. 326-327. What is the outcome of this speech (in other words, what does this speech accomplish, for better or worse)? How do you interpret the agreement Yvain then makes with Laudine? What kind of agreement is this? Would you want to accept such an agreement? Why or why not?

2. What is the “build-up” Chrétien employs leading to Yvain’s shame? What is Yvain’s problem? How do you interpret the text here (pp. 328 – 329). Use specific quotes from the text to support your answer.

3. Why does Yvain react the way he does to Laudine’s messenger? Why do you think we have this specific reaction? What might this imply? What happens in the wilderness? Do you notice any changes within Yvain during this part of the romance? What are they? How do you interpret these changes? (And what do you make of his “cure”?)

4. At the mid-point of the romance we have Yvain’s encounter with the snake and the lion. What do these animals represent within the romance (and within popular mythology)? What is the dilemma Yvain faces here (on a deeper level)?

5. How do you interpret the dilemma Lunete encounters with the accusation of the barons? (We have seen something similar with Tristan and Yseut). Who is right and who is wrong (or can we even use these words)? Use specific examples from the text to support your answer.

Questions for "The Knight with the Lion (Yvain)" (Day One / pp. 295 – 324)

1. This is the only of Chrétien’s romances that lacks a formal prologue. Think back to the prologue for Erec and Enide, which established the parallel journey upon which both author and protagonist(s) experienced. What might the lack of a prologue then say about this romance, its writer and main character (Yvain)?

2. What do you make of Calogrenant’s story? The reasons for its genesis? What particular elements in the story strike you as interesting or bizarre? How do you interpret these elements?

3. Do a character study of Yvain, Lunete and / or Laudine. What evidence in the text can you use in order to support your description(s).

Questions from Donny and Rob for "Erec and Enide" (Day Three / pp. 90 - 122)

1.In the last passages that we read, Enide passed Erec's test what are the implications of this? How do we see Erec and Enide's relationship change? Has nothing changed from before they left their kingdom? If so why do you believe Erec put Enide through this ordeal?

2. In this last passage of the text we witness an interesting event, we are told of the "death" of Erec and his later "rebirth", what does this mean? Why did Chretien choose to not only include this? Is there a deeper meaning? How does this event relate to the rest of the text?

3.The last adventure of this tale was The Joy, how do you interpret this event? What does it have to say in relation to the rest of the text? For that matter how does it tie in with the rest of the adventures Erec has? What themes do they relate to us in whole?

4.Throughout the whole text we encounter many lavish descriptions of regal events including the wedding of Erec and Enide, KIng Arthur's festival, the Joy, and the grandest of them all the coronation of Erec and Enide. Why are these inscriptions so detailed? When examined what else do we get from them? What was Chretien's purpose in these descriptions?

Questions for “Erec and Enide” (Day Two / pp. 60-90)

1. If the first part of the romance belongs to Erec, the second part most certainly belongs to Enide. How do we see her character emerging here? In what context do we finally get her name?

2. Enide also speaks for the first time in the text in this part of the romance. What are her first words? How do you interpret her speech? How does Erec interpret her speech? How do you explain his reaction? Why?

3. What do you think are Erec’s intentions in taking Enide on this journey? What kind of journey is this (from Erec’s perspective)? One of adventure? Self-discovery? Renewal? Something else? Point to specific scenes within the text to support your argument.

4. Look at Enide’s inner monologues in this portion of the text. What do her thoughts reveal about her? Why do you think the narrator allows us access to the secret thoughts of this woman?

Questions for “Erec and Enide” (Day One / pp. 37-60)

Answer at least two questions or come up with your own topics for discussion.

1. We always need to pay special attention to the beginning of a text, for here the narrator orients the reader on the journey that is to start. What information does Chrétien provide for the reader in the opening lines of this romance? Why the proverb/s (and how do we interpret this in conjunction with the story that follows)? What is Chrétien trying to do here in this prologue?

2. How would you describe the opening scene in King Arthur’s court? What evidence in the text brings you to your ideas? We have the idea of a contest and the outcome it will bring. What might the possible ramifications of this contest imply (about gender, the court, society, etc.)?

3. How would you characterize the two main characters (Erec and Enide)? Do you see any (potential) problems here? How does the text portray them (we can assume the beautiful maiden is Enide, though the text does not inform us of this fact – think about possibly why)? (Difficult yet thought-provoking question: Why does the text describe Enide in this way: “She was truly one who was made to be looked at, for one might gaze at her just as one gazes in a mirror.”? What is it to gaze into a mirror? What does one see? Are there any figures from mythology transfixed by a mirror image?)

4. What do you make of the second contest in the text (the sparrow-hawk)? What is at stake here? What are the implications of this concerning gender, power, masculinity, etc.?

5. What does the scene in which Queen Guenevere dresses Enide imply? What does this dress represent? What does this have to say about Enide’s character and about the way Erec views this woman?

Student Presentations / Student-Led Discussions Schedule

09/21 Erec and Enide / Donny and Rob
09/28 Yvain / Anthony and Ryan
10/16 Decameron / Thomas and Wesley
10/23 Decameron / Dorthea and Emily
10/28 Celestina / Adam and Drew
11/04 Celestina / Shadia and Trina
11/16 Perceval (Story of the Grail) / Sean and Karen
12/07 Small World / Caroline and Allen

Questions for “The Romance of Tristan” (Day Three / Parts 14-19)

Answer at least two questions or come up with other topics of interest about which to write.

1. What strikes you about Yseut’s vindication and ambiguous oath? What kind of oath does she take here? It is satisfactory? Again we see her speaking with a “forked tongue.” What do you make of this manipulation of language (and in turn, manipulation of the entire situation)? Use specific examples from the text to support your response. [Related question: What larger ramifications might this have for the text as a whole (and in turn, all literature – what is a ‘story’ anyway?)]

2. Is anyone troubled by Tristan’s vengeance? Tristan and Yseut are only able to maintain a relationship through trickery, and as we see here, quite brutal violence resulting in murder. How are we to read these killings? Is murder justified here? What might this have to say about the love from which Tristan and Yseut suffer?

3. How are we to read Tristan’s madness? Is it far-fetched? More trickery? How might these symptoms manifest themselves today for instance?

4. Why do you think Tristan and Yseut must die at the end of the text? How do you interpret these deaths? How does the text present their deaths? Why do you think this is the case? How might the ending comment upon the text as a whole?

Free 'New York Times' Every Day

Just a note -- if you like to read the newspaper, you can pick up a free copy of the New York Times every day (except weekends) in the Gengras Student Union next to the bagel / coffee shop. You just need your ID to put in the newspaper box for it to open and get your copy.

Questions for "The Romance of Tristan" (Day Two / Parts 7-13)

Please read the information posted below on your in-class presentations.

As you did for Wednesday, use these questions as a guide to your reading. You may answer at least two if you want or write about other things of interest. Please have your responses posted on your blog by 9:00 a.m. Friday morning.

1. Discuss Tristan and Yseult’s stay in the woods (apart from their ‘repentance’). How are they living / surviving? What must they do? Why? What do you think is the deeper significance of this? Reference specific points in the text to support your answer.

2. What do you make of the repentance of Tristan and Yseult? Is this a genuine repentance or just a further manipulation of truth and fiction on their part? How can they claim to have never had a “wrongful love”? What specifically in the text leads you to your conclusions?

3. Do a “close reading” (meaning try to analyze) of the scene in the bower as the lovers sleep and King Mark discovers them. What is the “set up” to this encounter provided in the text? How does the narrator present the lovers? What about the description the narrator provides (the sword, the ring, the sunlight, the position of the lovers as they sleep, their mouths….)? What might these elements, or at least some of them, imply? Why does King Mark react the way he does?

4. We are told the love potion has ‘worn off’ after three years. Describe the reactions Tristan and Yseult have regarding this fact. Why is this the case?

5. What do you make of the letter sent to King Mark? How do you read / interpret the message of this letter? Are you surprised by the King’s reaction? The reactions of others? Why or why not?

In-Class Presentations and Student-Led Discussions

As I mentioned earlier in class, each of you will lead one of the class discussions during the semester. This week begin to look over the course calendar -- all the student-led discussions are listed. Decide (1) with whom you want to work (you'll work in pairs) and (2) when you'd like to present. By next Monday I'd like to know your decisions. Be flexible though, not everyone may get exactly what she or he wants. (If you notice, no student-led discussion will be the first day of a new text -- we'll be in it a few days, so you're comfortable with the story before you present).

You will be in charge of the following:

1. Writing "reading questions" for the blog before class.
2. Beginning with an overall presentation of ideas you have (this can be on Powerpoint -- be creative! I want to see your inventiveness.)
3. Leading the discussion for that day and coming up with any activities (if you want) that you think might help the discussion along (small-group activities / class activities).

Of course I am always available for help, and can meet with you before you present to go over ideas, questions, discussion formats, and to offer advice, information, etc.

College Advice, From People Who Have Been There Awhile

http://www.nytimes.com/2009/09/06/opinion/06collegeadvice.html

Questions for “The Romance of Tristan” (Day One / Parts 1-6)

As I stated in class, these questions are meant to be a guide to your reading. You may answer at least two of them in your own response for the blog, or you may write about your own thoughts (or come up with your own questions even). The response should be AT LEAST 200 – 250 words and should be posted by 9:00 a.m. Wednesday.

1. How would you characterize one, two, or all of the main characters of this text (Tristan, Yseut, King Mark)? What specific scenes in the text lead you to these conclusions? Why do you think the text presents these characters in this way?

2. What does the text thus far have to say about the power of language and speech (truth, lies, fiction, fact)? What messages do we get from the text about these things? What specific scenes in the text lead you to these conclusions? (Related question: What might this have to say about the power of story-telling itself?)

3. What messages do we get about love, falling in love, and desire from the text? What in the text makes you come to these conclusions?

4. On whose side are you after reading parts 1-6? Tristan and Yseut’s? King Mark’s? The barons’? Why? What does the text do you make you come to these conclusions?

Welcome!

Welcome to the blog for our course. Here I'll be posting, before every class, the assignment that is due -- usually some questions that will help you with the readings. Your responsibility will be to keep a running blog reflecting your answers to the questions and your thoughts on the readings.

I'm looking forward to a good semester and I hope you are too!

Dr. Ealy