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?
Wednesday, October 28, 2009
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?
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?
Monday, October 26, 2009
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.
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.
Saturday, October 24, 2009
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?
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.
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.
Wednesday, October 21, 2009
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?
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?
Monday, October 19, 2009
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.?).
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.?).
Sunday, October 18, 2009
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.
Thursday, October 15, 2009
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?
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?
Saturday, October 10, 2009
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.
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.
Tuesday, October 6, 2009
Decameron Web
An excellent site from Brown University for the Decameron:
http://www.brown.edu/Departments/Italian_Studies/dweb/dweb.shtml
http://www.brown.edu/Departments/Italian_Studies/dweb/dweb.shtml
Monday, October 5, 2009
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.
Be creative. Your answers should be more than a couple of sentence. I would like to see serious thought in your posting.
Saturday, October 3, 2009
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?
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?
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