“That [You] May Infuse a Spark of Being into the Lifeless Thing” You’ve Wrought. Or something like that…

In class today we worked through a peer review of your essays. Here are some things to check as you type your work tonight:

• Proper margins, type, etc.
• MLA Works Cited page
• Is your introduction interesting? Does it capture the attention of the largest audience possible? Make them lean forward?
• Do your paragraphs answer all relevant questions about your thesis? (A great way to check this is to give your thesis to a friend and get them to ask questions about it. Make sure all the answers are covered in your paragraphs.)
• Do you provide relevant support? If your quotations are longer than a sentence, it is usually best to cut them down to the bare essentials; don’t be afraid to tear into the author’s work. Make it your own.
• Are your sources cited correctly? MLA guidelines for books are here, and movies halfway down the page here. If you can’t find the information on the movie, check the IMDB.

As always, post questions below.

Today we went over our thesis statements. They looked great! I can’t wait to see how the essays turn out. Remember, you’ll be writing your essay in class on Monday from a detailed outline. Don’t forget the following:

• Your thesis statement should not simply be a statement of the similarities of and differences between the two works. It should point out the relevance of the comparison. As I looked over each of your thesis statements I pointed out things you could focus on. If you have any questions, post them below or send me an email.
• The topic sentence of each paragraph should support your thesis, and the paragraph sentences should support the topic sentence with cited quotations.
• Include all necessary quotations in your outline (especially if you’re using a film), as you won’t have time to look up quotations.

But it may ours.

We’ll be reading/journaling through chapter six for Monday. Find a quiet corner of the house (not too far away from safety, though) and curl up. If you haven’t popped into the story yet, devote a little more time than usual to get into it. Once you’re there, it’ll be smooth sailing.

You’ll need your journals for the discussion on Monday, so make sure you have it then.

Welcome back! (So it’s only been three days, but with the new semester and all…)

We began Frankenstein in a bit of a roundabout way today—with a discussion of what it means to be Gothic. While the first image that came to many of you was a pale kid in black with eyeliner¹, we eventually came up with this:

  Flying buttresses. It’s a good start.

Basically, things (be they art, architecture, literature, or music) that fall under the “Gothic” heading are eerie, ominous, looming, grotesque, and sometimes monstrous.² Coming out of the realism and social commentary that dominated the Age of Enlightenment (think Gulliver’s Travels and “A Modest Proposal”), authors writing Gothic literature in the 19th century turned away from such practical views of the world and focused on settings and the emotional experience of events.

This is exemplified perfectly by Schubert’s Erlkönig (1815)³, a piece based on Goethe’s poem (1782) of the same name, which in turn was based on a creature from Danish folktales.⁴ The Leid tells the story of a boy and his father traveling through deep dark woods, with the son becoming more and more frightened by a supernatural presence. Of course, the father doesn’t seem worried, and by the end of the journey, he finds he’s carrying a dead child. Emotional, terrifying, grotesque, sublime: Gothic.

Architecture, art, and music at the time emphasized these emotions and attempted to elicit feelings of awe and the sublime in their audiences. (Remember our awe discussions with the Existentialists and Rosencrantz and Guildenstern are Dead?)

As you read Frankenstein, keep this in mind. Shelley was certainly commenting on the effects of the Industrial Revolution (a solid insight by a few of you). But more than anything, she elicits a feeling of the sublime and grotesque in her audience.

Things to Journal:

• Scary, beautiful, sublime, etc. scenes
• Connections with the Prometheus myth
• Connections with Milton’s Paradise Lost (we’ll be looking at that in class tomorrow)
• Questions (and answers as you come up with them). Here’s a few to get you started:
  • How does the author view her work?
  • Why do you think she wrote it, after reading her foreword?
  • Why did she hide her authorship the first time around?

Before Class Tomorrow:

Read everything within and around the book (cover, title page, notes at the back, and foreword) that isn’t the story itself. Journal as you have with previous works. (See “Things to Journal” above if you need a kick-start.)

1. BTW, did you know there is a Goth Day at Disneyland? Something about all that black and the CA sunshine gives me images of streaking makeup… [↩]
2. There’s a great gallery of 19th century Gothic architecture at Boston College’s website. [↩]
3. You can thank your band teacher for this connection [↩]
4. I found this information, along with an English translation, on the wiki page. [↩]

We will begin discussing Lord of the Flies by Wm. Golding when we return from Fall Break. You may pick up a copy at Gardener’s on the cheap (though they may not have many copies in stock) or at any other fine bookseller in the area.

We will be journaling as we go, so start as soon as you open the book. We’ll be focusing on themes of power and democracy, as well as social interaction. Keep in mind our discussion of money in Rosencrantz and Guildenstern are Dead:

PLAYER: Everything has to be taken on trust; truth is only that which is taken to be true. It’s the currency of living. There may be nothing behind it, but it doesn’t make any difference so long as it is honored. One acts on assumptions (51-52).

Here’s our schedule for the remainder of the semester. Of course, this is subject to change with advance warning:

All missing or reworked assignments must be turned in by Monday, the 26th of this month—there will be no exceptions.