cmon english

VOCABULARY existentialism a theory that emphasizes the feeling, thinking, and living human individual, often characterized by nihilistic views and disorientation in the face of a meaningless world Modernism revolutionary ideas in art, architecture, philosophy, and literature that developed during the early 20th century nihilistic a belief that life is pointless and meaningless; a rejection of faith and principles based on the idea that life is futile syntax the grammatical rules for forming sentences Vocab Arcade Modernist Literature Authors and artists began to focus on everyday events at the turn of the 20th century; they looked to represent realistic events and experiences, from the mundane and pointless to the deplorable and atrocious. Why? Because the eruption of several wars (including World War I) led to nihilistic viewpoints, much of society felt lost in a world full of problems. Modernism was born. This movement was a response to Romanticism. The Modernists' writing was straightforward; it lacked "flowery" or fanciful language and focused on reality rather than romantic notions. Modernist authors were masters of wordplay; Modernists felt that language was complex and nuanced because of the various connotations we associate with words. They employed very specific words in their works so as to try to understand the complex reality we live in. They also chose such specific words as a way to connote several images at once. These Modernist authors cleverly and subtly connected the human experiences to reality through such specific words. In terms of breaking away from the literary tradition of Romanticism, Modernist authors of fiction opted to have their narrators part of the action within the texts; Romanticist authors utilized omniscient narrators in their fictional works and these narrators typically presented objective point of views. Modernist authors also broke away from literary tradition in terms of form; authors no longer presented information in sequence or cause-and-effect order, but presented life experiences and connections to reality in a stream of consciousness mode. This stream of consciousness literary mode allowed authors to write continuously to let their thoughts flow out. Modernist authors were also interested in psychoanalysis—how events and life experiences affected our conscious and subconscious minds. Modernist authors did, however, keep some of the literary elements of tradition. By using juxtaposition, motifs, and parallelism, modernist authors continued the literary tradition of cohesiveness and interconnectedness in their works. Modernist authors also employed the use of revelation, epiphany, and moment of being, as a way to represent symbolic meanings. Coinciding with the existentialist philosophy, many modernist works did not have a true 'ending'—endings were left ambiguous, unclear, and unresolved. Existentialism and Camus Born in Algeria, Albert Camus was a political activist, playwright, and journalist during the early 20th century. Although Camus might not agree with it, he was an advocate for the philosophy of existentialism. Camus felt that the world was meaningless and pointless; his novel, The Stranger, centers around his nihilistic viewpoint of life. The Stranger, demonstrated how man was "the nauseated victim of the absurd orthodoxy of habit." In other words, people simply accepted reality without questioning its overall meaning without pondering the futility of life. Camus's lead character in The Stranger is Monsieur Meurseult who embodies this existentialist philosophy. Meurseult lacks faith, lacks in his relationships, and ultimately lacks in finding meaning to his reality. As you read, try to identify examples of this philosophy. Language and Style In The Stranger, Camus uses many literary and stylistic techniques to develop the character of Monsieur Meursault. The Stranger begins with the death of Monsieur Meursault's mother. Read Part One of The Stranger now. Pay special attention to the literary devices Camus uses to characterize Meursault, especially the use of syntax, repetition and sensory images. Literary Devices and Characterization As stated before, Camus makes use of several literary devices in developing the character of Monsieur Meursault from whose point of view the action takes place. Understanding Monsieur Meursault enables us to better understand the message and theme of The Stranger. Let us take a closer look. All of the events surrounding Maman's funeral, and even the description of her death, show Monsieur Meursault's lack of connection to other people. He does not know what day she died or seem to admit any personal feelings about her death. The entire narration about his mother's funeral focuses on trivial facts and details, with little substance. Consider how the syntax reflects the narrator's character. Many of the sentences are simple sentences, and they reflect the way a child might tell a story. In addition to the syntax of simple sentences, the narrator relates the events and facts without giving much in the way of personal insight. I caught the two o'clock bus. It was very hot. I ate at the restaurant, at Céleste's, as usual. Everybody felt sorry for me, and Céleste said, "You only have one mother." When I left, they walked me to the door. I was a little distracted because I still had to go up to Emanuel's place to borrow a black tie and an arm band. He lost his uncle a few months back. (The Stranger, Part One, pp. 3-4) Another feature of this novel is the use of repetition. There are a few instances in the novel when the narrator repeats a phrase that he used earlier. These repeated phrases actually help to develop the character of the narrator because they show something about his thought patterns and behaviors. Consider the way that Monsieur Meursault speaks about his mother's death or thinks about what to tell people about his mother's death: I even said, "It's not my fault." He didn't say anything. Then I thought I shouldn't have said that. After all, I didn't have anything to apologize for. He's the one who should have offered his condolences." (The Stranger, Part One, p. 3) ...she seemed very surprised to see I was wearing a black tie and she asked me if I was in mourning. I told her Maman had died. She wanted to know how long ago, so I said, "Yesterday." She gave a little start but I didn't say anything. I felt like telling her it wasn't my fault, but I stopped myself because I remembered that I'd already said that to my boss. (The Stranger, Part One, p. 20) Another example of repetition is the description of washing his hands. I also washed my hand, and then I went out onto the balcony. (The Stranger, Part One, p. 21) Before leaving the office to go to lunch, I washed my hands. I really like doing this at lunchtime. I don't enjoy it so much in the evening, because the roller towel you use is soaked through: one towel has to last all day. I mentioned it once to my boss. He told me he was sorry but it was really a minor detail. (The Stranger, Part One, p. 25) Notice how important this seemingly trivial action is to Mersault. How does this contrast with his reaction to his mother's death? Another example of repetition in The Stranger is the reference to whether or not Mersault finds something "interesting." The phrasing is not always exactly the same, but he describes things by saying that they "interest me" or they "do not interest me." In fact, this is the main way that Mersault judges the world and people, by whether or not they are interesting. Sensory Images vs. Emotions At one point during the funeral, Monsieur Meursault seems to have strong feelings, but he is not able to recognize or describe them as such. Instead, he presents the intensity of the moment by using sensory images. I felt a little lost between the blue and white of the sky and the monotony of the colors around me—the sticky black of the tar, the dull black of all the clothes, and the shiny black of the hearse. All of it—the sun, the smell of leather and horse dung from the hearse, the smell of varnish and incense, and my fatigue after a night without sleep—was making it hard for me to see or think straight. (The Stranger, Part One, p. 17) Sensory Images sight blue and white of the sky dull black (of the clothes) shiny black (of the hearse) touch sticky tar smell leather horse dung varnish and incense Before the funeral, though, Mersault describes keeping vigil. This is a custom that is rarely practiced today, but was common during the time period of this story. After the funeral and burial, Mersault returns home. Once home again, Meursault's interest in seemingly trivial things can be contrasted with his lack of connection to people. A little later, just for something to do, I picked up an old newspaper and read it. I cut out an advertisement for Kruschen Salts and stuck it in an old notebook where I put things from the papers that interest me. (The Stranger, Part One, p. 21) In fact, Mersault himself comments that his mother's death was insignificant and had little effect on him at all. It occurred to me that anyway one more Sunday was over, that Maman was buried now, that I was going back to work, and that, really, nothing had changed. (The Stranger, Part One, p. 24) Response Journal Based on what you have read, think about the ways in which Mersault reflects Modernism and existentialism. Write down your thoughts in your Response Journal. Click here for instructions on how to complete the Response Journal. What would you like to do next? READ NEXT SECTION © 2016 Glynlyon, Inc. TERMS OF USE

Alba-Golden ISD Lacy MClean LEARN MESSAGE HELP SIGN OUT ASSIGNMENTS COURSES Assignment - 13. The Stranger: Literary Devices Attempt 1 of 10 QUESTION 1 OF 10 SECTION 2 OF 4 1 2 3 4 THE PLOT VOCABULARY foil character a character whose personality traits or behaviors contrast with the main character in a way that defines the main character minor character a character who is important to the development of the plot, but is not necessarily central to the themes or meaning of the story Vocab Arcade The Plot The first real event of the story occurs at the end of Part One. It is here that Meursault kills the Arab. As has been the case up to this point, Meursault does not view life or his decisions through any type of moral compass. All decisions are equal to him. It was then that I realized that you could either shoot or not shoot. (The Stranger, Part One, p. 56) To stay or go, it amounted to the same thing. (The Stranger, Part One, p. 57) The Characters in The Stranger A foil character is one whose behaviors or personality traits help to define the main character. A foil character is often significant to the plot or story. However, there are two characters in this novel who are not central to the plot but act as foil characters because of the way their behaviors directly contrast or compare with that of the protagonist, Meursault. Click here for a chart that will help you log details for each of the listed foil characters; identify how each character illuminates something about Meursault. SHOW TRANSCRIPT Emerging Themes in The Stranger Through the voice of Monsieur Meursault, Camus relays his existentialist commentary; Meursault views life as futile and pointless. He is emotionally frigid and finds his mother's death a near welcoming release from the hollow and forlorn lives he feels everyone leads. Camus begins to weave the themes of aloneness, futility, and rejection in Part One. Think about the characters and how they represent existentialist thought. If you have time, include additional details about how the characters represent existentialist thought to your Foil Character chart above. Response Journal What differentiates Salamano from Raymond? Why does Meursault even get involved with Raymond? Do you think Meursault's interaction with Raymond will lead to something more? Write down your reply in your Response Journal. Click here for instructions on how to complete the Response Journal. © 2009 Glynlyon, Inc. -Meursault listens to Raymond's story and makes no judgment. -Meursault agrees to write a letter luring the girlfriend back to Raymond. -Meursault refuses to call the police during the attack. - Meursault testifies on behalf of Raymond at the police station. SHOW TRANSCRIPT Reading Assignment For next time, read Part Two of The Stranger.

The Enlightenment Turns Irrational Imagine if you will, that the United States, east of the Mississippi, is the center of the world for literature, philosophy, the arts, architecture, science, trade, and rational thought. Take it a step further: imagine the states that make up this area were independent nations, with different languages, economies, cultures, religions, military, alliances, and government. Imagine if these nations' borders were fluid—with every war and noble marriage the map lines would change. Imagine that nationalism, or patriotism, was high. Add to the mix: a pointless, bloody war that resulted in millions of casualties, with one country held so responsible that it was saddled with millions of dollars in reparations and the responsibility and consequences of blame. This was the Europe that French essayist and poet, Paul Valery wrote about in 1920: The military crisis may be over. The economic crisis is still with us in all its force. But the intellectual crisis, being more subtle and, by it nature, assuming the most deceptive appearances (since it takes place in the very realm of dissimulation) ... this crisis will hardly allow us to grasp its true extent, its phase. Click here to read First Letter of Valery's "The Crisis of the Mind." The Age of Anxiety World War I had just ended. The small geographical area that spawned the likes of Da Vinci, Mozart, Beethoven, and Voltaire, was in turmoil to say the least. Fear and anxiety were rampant; the anxiety was collective and permeated every aspect of European society: An extraordinary shudder ran through the marrow of Europe. She felt in every nucleus of her mind that she was no longer the same, that she was no longer herself, that she was about to lose consciousness, a consciousness acquired through centuries of bearable calamities, by thousands of men of the first rank, from innumerable geographical, ethnic, and historical coincidences ... such are the known effects of anxiety, the disordered behavior of mind fleeing from reality to nightmare and from nightmare back to reality, terrified, like a rat caught in a trap... Modernist Literature Up until World War I, Europeans saw themselves as progressive and rational. Europe was the birthplace of rational thought; it was the center of the world. European superiority, wrote Valery in his 1920 "The Crisis of the Mind" essay, was the result of various qualities of imagination, logic, skepticism, mysticism, and curiosity. This was Modernism. Instead of having an omniscient narrator with an objective viewpoint, modernist fictional literature contained narrators who were part of the action within texts—this presented readers with a personal, subjective viewpoint directly from the author. Modernist authors also broke away from literary tradition in terms of form; authors no longer presented information in sequence or cause-and-effect order. Information in Modernist literature was presented through life experiences and through the connections to reality. The stream of consciousness method became a new literary form in which authors wrote continuously to let their thoughts flow out. Modernist authors were also interested in psychoanalysis—how events and life experiences affected our conscious and subconscious minds, as well as symbolic mythological allusions. Modernist authors did, however, keep some of the literary elements of tradition. By using juxtaposition, motifs, and parallelism, modernist authors continued the literary tradition of cohesiveness and interconnectedness in their works. These authors could not deny that everything in the world is related to everything else; they simply wanted to keep this core idea alive but present it from different perspectives. Modernist authors were keenly adept at wordplay; they believed language was complex and nuanced (because of the various connotations words can have). In order to understand the complex reality we live in, modernist authors employed very specific words and word choices in their works. For example, take a second look at Valery's essay title; what does the word "disorder" mean? It plainly means 'a state of confusion' but it also connotes a sort of psychological disturbance—anxiety, mental, or personality. Taking it a step further, a 'disorder' could connote a 'disruption of healthy or normal function,' which is, in essence, a disease. Response Journal How do the different connotations of the word 'disorder' help to shed light on Valery's essay? Which connotation do you think Valery meant to imply? Write down your thoughts in one paragraph. Click here for instructions on how to complete the response journal. Coinciding with the Absurdist and existentialist philosophies, many modernist works did not have a true 'ending'—endings were left ambiguous, unclear, and unresolved. This certainly mirrored the war-torn time period as well. Modernist authors also employed the use of revelation, epiphany, and moment of being, as a way to represent symbolic meanings. Joyce and Woolf, two authors you will read later on, used these literary devices; James Joyce utilized epiphany in his collection of short stories known as Dubliners and Virginia Woolf focused on a moment of being in her works. Disorder of the Mind By 1914, with no real fixed philosophies or ideals to guide the bourgeoisie, there was, Valery described, "a disorder of the mind." There was uncertainty, doubt, and apprehension: And what made that disorder in the mid of Europe? The free coexistence, in all her cultivated minds, of the most dissimilar ideas, the most contradictory principles of life and learning. That is characteristic of a modern epoch. This uncertainty, or disorder of the mind, was further complicated by generations of European militarism, imperialism, nationalism, and racism; missionaries brought Christianity to the far reaches of European empires. In their goal of obtaining lands to increase their holdings, European armies grew. Uneasy truces may have kept a modicum of peace in Europe on the surface; but, beneath the guise of peace, these nations' colonials fought each other and fought against indigenous peoples in foreign lands for territories. Nations allied with nations. All it took was an assassination to ignite the flame of war. And in the same disorder of mind, at the summons of the same anguish, all cultivated Europe underwent the rapid revival of her innumerable ways of thought: dogmas, philosophies, heterogeneous ideals; the three hundred ways of explaining the World, the thousand and one versions of Christianity, the two dozen kinds of positivism; the whole spectrum of intellectual light spread out its incompatible colors, illuminating with a strange and contradictory glow the death agony of the European soul. © 2009 Glynlyon, Inc. Internal conflict: struggle with intellectual ideals External conflict: struggle of nations against other nations SHOW TRANSCRIPT Hamlet as the Virtual European Valery broods about the state of Europe in the aftermath of World War I in the same way Hamlet broods about the state of Denmark. Throughout Shakespeare's play, Hamlet contemplates death with fascination. Whether it is his father's ghost or Yorick's skull, death is closely tied to the themes of spirituality, truth, and uncertainty. Uncertainty and anxiety are about the future. Hamlet mourns a father he reveres and what his father represents—a strong, healthy, fair Denmark. For Valery, the ghosts are specters to a society gone awry— the disorder of modern thought opposed to the order of religion and government. But he is an intellectual Hamlet, meditating on the life and death of truths; for ghosts, he has all the subjects of our controversies; for remorse, all the titles of our fame. He is bowed under the weight of all the discoveries and of knowledge, incapable of resuming the endless activity; he broods on the tedium of rehearsing the past and the folly of always trying to innovate. He staggers between two abysses—for two dangers never cease threatening the world: order and disorder. What was it about Modernism and disordered thought that created such anxiety? Siegfried Sassoon, an English poet, served in World War I. While serving in the Great War, Sassoon contained his thoughts about the war in extremely realistic and almost gruesome poems. In reading these realistic wartime poems, readers can truly be implanted in the muck-filled trenches alongside him. Click here to read Siegfried Sassoon's "Counter-Attack" poem. (Warning: This poem contains some graphic war-related content.) How were Sassoon and Valery's works different? How did Sassoon and Valery get their messages across to readers? View the video in order to analyze how these Modernists authors presented information under the theme of uncertainty.

Modernist Literature: Tone and Style The view Europeans had of themselves as rational, progressive, practitioners of human rights was abandoned. Soldiers who had gone off to fight to defend their way of life came back embattled and often severely wounded. In 1919, the same year as Valery began writing "The Crisis of the Mind," war veteran Siegfried Sassoon wrote "They." Notice Sassoon's use of sarcasm in his poem: The Bishop tells us: "When the boys come back They will not be the same; for they'll have fought In a just cause: they lead the last attack On Anti-Christ; their comrades' blood has bought New right to breed an honourable race, They have challenged Death and dared him face to face." "We're none of us the same!" the boys reply. "For George lost both his legs; and Bill's stone blind; Poor Jim's shot through the lungs and like to die; And Bert's gone syphilitic: you'll not find A chap who's served that hasn't found some change." And the Bishop said: "The ways of God are strange!" World War I was among the most brutal and pointless wars, and left more unresolved than it resolved. It was an exercise in futility that left an enormous swath of catastrophe in its wake. Look at how the Bishop describes the change men will feel upon coming home from the war; the Bishop claims that men will feel honored for serving such a just cause and that men will feel elated and proud. Yet, the war veterans have negatively changed—they now suffer from diseases and have earned grave wounds. Sassoon used the literary device of sarcasm so as to shock readers. Why shock readers if readers are already shocked by the traumas of war? Sassoon wanted to persuade readers just how futile and ineffectual World War I really was; his sarcastic tone here not only appalls us, it also serves to illustrate absurdity in reality. Sassoon's poems, both "They" and "Counter-Attack," appeal to the emotions; he used the rhetorical device of pathos in order to persuade readers of the futility of the Great War. Sassoon also utilized ethos, an appeal to universal beliefs, in his last line of "They"—by having the Bishop say, "The ways of God are strange!" he has, in a sense, challenged the common thought that God is always benevolent. In a world filled with violence and horrific atrocities, how can anyone explain these malicious actions? Some questioned that since God did not intervene, that He either must not exist or must not care about humans at all. This idea follows the Absurdist and Existentialist viewpoints of Modernism. Subtleties in Modernist Works Let us take a look at some of the specific words in Valery's essay and in Sassoon's poem "Counter-Attack": Valery's "The Crisis of the Mind" Sassoon's "Counter-Attack" "desperate" "thirsty" "agony" "blind" "feverishly" "rotten" "paralyzing" "drowned" "insane" "strangled" "fatal" "butchered" "smothering" How are these words related? In essence, all of the words describe death and suffering. All of the words contain multiple meanings as well. As most Modernist authors were skilled at choosing specific words to connote several images at once, these modernist authors cleverly and subtly connected the human experiences to reality through such specific words. Response Journal What others multiple-meaning words can you find in Valery's essay and Sassoon's "Counter-Attack" poem? How do these words relate? Why might these Modernist authors have used such words? Write down your thoughts in a one-page response. Click here for instructions on how to complete the response journal. Leading Up to World War II The anxiety before the fall that Valery wrote so passionately and eloquently proved prescient: Elam, Ninevah, Babylon were but beautiful vague names, and the total ruin of those worlds had as little significance for us as their very existence. But France, England, Russia ... these too would be beautiful names. Lusitania too, is a beautiful name. And we see now that the abyss of history is deep enough to hold us all. We are aware that a civilization has the same fragility as a life. The circumstances that could send the works of Keats and Baudelaire to join the works of Menander are no longer inconceivable; they are in the newspapers. Why does Valery compare history to an abyss? Lusitania was the name of the cruise ship sunk by the Germans, which led to U.S. entry into the war. It would take another war to wipe out the evil that pervaded Europe. After World War I, a new world order was set in place. Governments convulsed. Arising from the ashes and spasms of the Great War were fascists and dictators like Mussolini in Italy, Stalin in Russia, and Hitler in Germany. A new religiosity and intolerance, always just below the surface, erupted toward Jews, gypsies, and intellectuals. Europe was in shambles.

Dubliners Written at the turn of the last century, Dubliners is a novel made up of eighteen loosely related short stories. Joyce's stories were semiautobiographical; his family really did live on North Richmond Street, and there was an Araby-type fair when Joyce would have been twelve years old, the same age as the nameless boy in the story. James Joyce divided Dubliners into four sections: childhood, adolescence, adulthood, and public service. Characters often comment on other characters in other stories. Click here to read Joyce's "Araby" from Dubliners. Joyce's Dublin Is it possible to read Dubliners without understanding the culture, people, and setting of this Irish capital? The Dublin of James Joyce's childhood was a typical city: it teemed with rich and poor, Catholic, Protestant, Jewish, Quaker, immigrant and native, union activists and farmers alike. Ruled by England for eight centuries, Dublin was the center of "English" Ireland. English newspapers, arts, and sports were the mainstay there. In the nineteenth century, power had shifted from English Protestantism to Irish Catholicism. A small Irish Catholic elite gained prominence in professions and government, and pursued prosperity during the early 20th century. A nationalist fervor for independence began to take hold. However, most Irish were poor, and struggled for a toehold into middle class respectability. Plot and Setting "Araby" is a journey that ends in what Joyce describes as an epiphany—a realization about self that brings a change in outlook and manner. A nameless boy reaches adolescence when he falls for a slightly older girl; as a result, the boy is abruptly awakened to the realities of love and his circumstances. The setting is North Dublin, circa 1905, in a neighborhood of people who figuratively plow through life in rock-strewn fields with broken spades, hoping to wedge their way into the middle class, if they sweat enough. However, the setting is a character—homes are given human characteristics—that seem to live, breathe and judge. Notice the connotation and denotation of the well-chosen words all the way through the story: ... houses of the street, conscious of decent lives within them, gazed at one another with brown imperturbable faces. ("Araby" from Dubliners, p. 1) Joyce's Dublin is dank, dark and wet—giving a feeling that its citizens live in a limbo between awareness and stupor. SHOW TRANSCRIPT When the story opens, the family had just moved to into the house on New Richmond Street. The previous occupant, a priest, had died there. He had left behind a rusty bicycle pump in the garden, papers, furniture, and three books that fascinated the boy. Like everything in his stories, Joyce chose these books with care. Book Title Description The Abbott Written in 1820. Author presents the life of Mary Queen of Scots as a romantic and religious figure. The Devout Communicant Three works have this title (two works were written by Protestant authors). All works featured pious language. The Memoirs of Vidocq Published in 1829. Popular nineteenth century novel about a Parisian Police Commissioner who was also a thief. "The Nameless Boy" The protagonist, a nameless boy on the verge of adolescence, is instantly recognizable to readers, and hence, the center of the story. The story focuses on the boy's infatuation with his friend's older sister. Part of growing up is the beginning of rejection of childhood play, thinking of school lessons as childish, and experiencing that first unexpected and helpless infatuation: I had never spoken to her, except for a few casual words, and yet her name was like a summons to all my foolish blood. ("Araby" from Dubliners, p. 1) Every waking moment of those tortured days are of heated thoughts and feelings: Her name sprang to my lips at moments in strange prayers and praises which I myself did not understand. My eyes were often full of tears (I could not tell why) and at times a flood from my heart seemed to pour itself out into my bosom. I thought little of the future. I did not know whether I would ever speak to her or not or, if I spoke to her, how I could tell her of my confused adoration. But my body was like a harp and her words and gestures were like fingers running upon the wires. ("Araby" from Dubliners, p. 2) Who has not acted foolish and made boasts and promises in the rashness of youth? She asked me was I going to Araby. I forgot whether I answered yes or no. ...It would be a splendid bazaar; ... She could not go, she said... "If I go," I said, "I will bring you something." ("Araby" from Dubliners, p. 2) In his urgency, he spends a shilling (about 12 cents) instead of finding a sixpence entrance. And then, who has not crashed to earth when reality of the quest replaces dream? In front of me was a large building which displayed the magical name. ... I found myself in a big hall girded at half its height by a gallery. Nearly all the stalls were closed and the greater part of the hall was in darkness. I recognized a silence like that which pervades a church after a service. ("Araby" from Dubliners, p. 4) The crash ends in what James called the epiphany—the wake-up call, the moment of realization when your mindset changes. Joyce uses the ephipany as a device to elucidate the paralysis that gripped the citizens of Dublin. Gazing up into the darkness I saw myself as a creature driven and derided by vanity; and my eyes burned with anguish and anger.("Araby" from Dubliners, p. 5) Does this reaction to the dashing of romantic dreams seem typical? Does this reaction seem typical for a twelve-year-old boy?

Modernity Joyce described his style of writing as scrupulous meanness. Joyce had a modern style of writing. For example, Joyce's paragraph breaks were set very specifically—they follow a stream of thought rather than the usual classic form of one idea to a paragraph. "Araby" is told in the first-person point of view. We only know the thoughts and feelings of the narrator. Characters reveal themselves through their speech and actions. Other Character Description Text Mangan's Sister Slightly older, bossy, materialistic "Her brother always teased her before he obeyed." "...silver bracelets..." Dead former tenant Priest, materialist "He had been a very charitable priest; in his will he had left all his money to institutions and the furniture of his house to his sister." Uncle Drinks, generous, forgetful "I heard him talking to himself and heard the hallstand rocking when it had received the weight of his overcoat. I could interpret these signs." Aunt Well-meaning, conformist, pious "I asked for leave to go to the bazaar on Saturday night. My aunt was surprised, and hoped it was not some Freemason affair." Mrs. Mercer Pious, conformist "She was an old, garrulous woman, a pawnbroker's widow, who collected used stamps for some pious purpose." Spiritual and Material Meanings Although the focus of "Araby" is of the nameless boy and his epiphany, there are other deeper meanings woven throughout the short story. For example, Mangan's sister's is materialistic. When talking to the nameless boy, she spins a silver bracelet around her wrist indicating the bazaar as a wonderful place to buy things. The nameless boy thought the bazaar would be exotic and mysterious. Could this be the beginning of the classic male/female misunderstandings? The nameless boy's infatuation appears to have a spiritual connection; he is on a crusade: I imagined that I bore my chalice safely through a throng of foes.Her name sprang to my lips at moments in strange prayers and praises... ("Araby" from Dubliners, p. 2) Yet, physical love complicates the spiritual love: All my senses seemed to desire to veil themselves and, feeling that I was about to slip from them,I pressed the palms of my hands together until they trembled,murmuring "O love! O love!" many times.("Araby" from Dubliners, p. 2) Then finally, the monetary world and the religious world collide: ...two men were counting money on a salver. I listened to the fall of the coins.("Araby" from Dubliners, p. 4) The Catholic Church is a presence found throughout "Araby. "The boys' of the Christian Brothers' School must be set free before they can go on to their "career" of play. The priest's old papers, bicycle pump, and old books represent a religious man who searches for other experiences and other meanings away from the Church. Mangan's sister, bound for a Catholic retreat, longs to go to a bazaar for more trinkets. Indeed, even the darkness of the bazaar as it closes is compared to a church and the nameless boy bears a chalice on his fantasy Crusade. Freemasons are mentioned with caution by the nameless boy's aunt. Consider that George Washington, Benjamin Franklin, Thomas Jefferson, and most of the Founding Fathers were Freemasons. Why would Joyce mention Freemasons? What kind of changes might be in store for Ireland in 1907? © 2009 Glynlyon, Inc. Freemasons: Believe in a Supreme Being Must be a male and at least 18 years old Originated from English and Scottish tradition Why is it nonsensical for the main character's aunt to worry that he might attend a Freemason's meeting? With which Irish population might Freemasonry find an audience

Virginia Woolf: A Woman in the Forefront Virginia Woolf, an English writer and essayist, is a key female figure of the early 20th-century Modernist movement, and her writing exemplifies Modernist tradition in that her prose experiments with language and narrative in innovative ways. Woolf's stories are often told in a stream-of-consciousness narration style, in which the speaker shares thoughts and feelings as they pass through the mind. The effect of stream-of-consciousness writing is that the prose will "flow" smoothly from one topic to another, and then back to the original topic. Stream-of-consciousness writing is, essentially, thoughts on paper, and this style often allows the speaker to uncover startling new insights that had been "hiding" in the subconscious. Has anybody ever given you the advice to explore a problem or challenging situation by writing about it in a journal or blog? This type of writing is often presented in stream-of-consciousness, and it really is effective at helping you solve problems! Woolf was an intellectual and an outspoken critic of the issues surrounding the power imbalances between the sexes and, more specifically, the topic of women's writing. Woolf regularly explored these issues in her essays and prose. "Shakespeare's Sister" The next text you will read is actually an excerpt from a lengthy essay by Virginia Woolf titled A Room of One's Own. However, it is important to understand that the original essay was adapted from a series of lectures and speeches Woolf delivered at two women's colleges, Girton College and Newnham College, in 1928. As a result, you should read the essay excerpt, titled "Shakespeare's Sister," with the idea that it is a transcript of a speech. In this excerpt, Woolf attempts to define what a woman needs to do before she attempts to create intellectual art (write fiction), and, in doing so, highlights the greater issue of women's inequality in the workforce, in a marriage, and ultimately in all of society. Click here to read "Shakespeare's Sister." When you are finished reading the text, watch the video to practice deep analysis of the text. You may want to re-read the first paragraph before you watch the video.

The tone of the opening paragraph of "Shakespeare's Sister" is rather grave. Woolf acknowledges that she was "bowed down by the weight of the subject" and resolves to do this most serious topic justice. We discover why Woolf believes the issue of women and writing is such a heavy one: ...it seemed to me...that any woman born with a great gift in the sixteenth century would certainly have gone crazed, shot herself, or ended her days in some lonely cottage outside the village, half witch, half wizard, feared and mocked at. What, exactly, is Woolf doing here? Her motivations can be interpreted in a few different ways. She may simply wish to explain where the prejudices against talented, creative women originated. She may wish to highlight the relatively privileged position of women writers in the early twentieth century compared to women of the sixteenth century. Or, she may actually be drawing the audience's attention to the fact that not much has changed at all. While the early twentieth-century woman likely need not fear accusations of witchcraft, are they really any more free to share their creative work with the world? While the women of Woolf's day may still be laboring under an oppressive patriarchy, one important thing has changed since the sixteenth century: women's ability to earn their own money. And money, Woolf argues, can literally purchase freedom. Intellectual freedom depends upon material things. Poetry depends on material freedom. And women have always been poor...Women, then, have not had a dog's chance of writing poetry. That is why I have laid so much stress on money and a room of one's own.... Woolf is using some powerful logic (logos) to make her claim: people who are poor cannot attain intellectual freedom. Women have always been poor. Therefore, women have never been able to attain intellectual freedom. If women desire this freedom, they need money. However, Woolf does make a distinction between money and a room of one's own. If money symbolizes the ability to focus one's attention on intellectual pursuits (as opposed to focusing on menial work), what, then, does a room of one's own symbolize? Review the text of her speech to find the answer. The "Death" of Shakespeare's Sister Did Shakespeare have a sister? We simply don't know. Even if he did, and even if that sister was wildly talented, she would be forgotten by history, or forced to play an insignificant, domestic background role in the great saga of her brother's life. But Shakespeare's sister, real or imaginary, is very much alive: Now my belief is that this poet who never wrote a word and was buried at the crossroads still lives. She lives in you and me, and in many other women who are not here tonight...she lives, for great poets do not die.... This may seem to be a rather tenuous concept, until we think of life and death in more general terms. Have you ever experienced the loss of a beloved friend or family member, and yet, you feel their spirit with you, guiding you through life, helping you make decisions, encouraging you to reach your goals? Or perhaps you simply "channel" the spirit of somebody you admire greatly when you play a sport, or a musical instrument, or do anything related to one of your goals in life. There is a concept that we should honor and remember those great people who have come before us, because we still enjoy the freedoms that they fought to win for us. For Virginia Woolf, she writes in spite of prejudice and oppression because in doing so, she honors the spirit of a great poet: Shakespeare's sister. Assignment: Analytical Essay on "Shakespeare's Sister" Your task now is to develop an analytical essay that identifies Woolf's main argument in her speech. Then, analyze, in detail, the rhetorical strategies she uses to support her argument. How does Woolf connect with and establish credibility with her audience? Does she draw upon the emotions of her audience? What logical conclusions does she draw in support of her argument? Are they effective? Review rhetorical strategies by viewing the slideshow.

OCABULARY story within a story a literary technique of telling a short story within a longer work understatement a literary technique in which a writer states something with less emphasis than is intended Vocab Arcade The Story Continues In Part One of The Stranger, we are introduced to Monsieur Mersault and different characters that interact with him. Part One ends with Mersault killing a man. Read Part Two of The Stranger to find out what happens after this. In Part Two of The Stranger, Camus continues to build upon his existential themes of meaninglessness and subjective morality. He uses several literary techniques to do so. Let us take a look at how Camus develops his themes with the use of literary technique. The Story of the Czechoslovakian One literary technique involves telling a story within a story. In Part Two, Camus tells the story of a Czechoslovakian man, killed by his own mother and sister in the night. © 2009 Glynlyon, Inc. A story within a story . . . presents the theme in a different way highlights a specific character flaw emphasizes part of the larger story SHOW TRANSCRIPT After retelling the story, Mersault reveals that he believes the story is both unbelievable and highly likely. I must have read that story a thousand times. On the one hand it wasn't very likely. On the other, it was perfectly natural. Anyway, I thought the traveler pretty much deserved what he got and that you should never play games. (The Stranger, Part Two, p. 80) In considering the story, we can ask about the characters themselves. On the one hand, there are the mother and sister who rob and kill the man. On the other hand, there is the man who has come home to surprise his family and wants to show his family how successful he has become. The story of the Czechoslovakian could be a condemnation of pride—the man is killed because he shows off his wealth. This fits with Mersault's statement about him getting what he deserved. The story could also show that all of the man's success was ultimately meaningless, thus highlighting the overall theme of life as meaningless. Connecting Ideas Another literary technique Camus uses in Part Two is the explicit connection between different events in Mersault's life. While in prison, Mersault recalls what the nurse said to him when he was at his mother's funeral. Read what he wrote while in prison as compared to what he said when he spoke to the nurse in Part One. Part Two Part One "I distinctly heard the sound of my own voice. I recognized it as the same one that had been ringing in my ears for many long days, and I realized that all that time I had been talking to myself. Then I remembered what the nurse at Maman's funeral said. No, there was no way out, and no one can imagine what nights in prison are like." (The Stranger, Part Two, p. 81) "After that, everything seemed to happen so fast, so deliberately, so naturally that I don't remember any of it anymore. Except for one thing: as we entered the village, the nurse spoke to me...She said, 'If you go slowly, you risk getting sunstroke. But if you go too fast, you work up a sweat and then catch a chill inside the church.' She was right. There was no way out." (The Stranger, Part One, p. 17) Not only does Mersault think back to something that happened earlier, but when he first described that event he noted that it was significant. What theme do these two scenes develop? What does this suggest about how Mersault views life and the world? Indirectly Presenting Ideas A final literary technique used throughout Modernist literature that Camus employs in the development of theme is the understatement. The narrative about the first discussion between Mersault and his lawyer begins with the following understatement. The investigators had learned that I had "shown insensitivity" the day of Maman's funeral. (The Stranger, Part Two, p. 64) It is important to note that the term insensitivity here does not mean that he was unkind or insensitive to the feelings of others. Rather the term means that Mersault did not seem to be sensitive to what had happened. In other words, he had no reaction to her death because it had no meaning for him at all; he seems robotic. "You understand," my lawyer said, "it's a little embarrassing for me to have to ask you this. But it's very important. And it will be a strong argument for the prosecution if I can't come up with some answers." He wanted me to help him. He asked if I had felt any sadness that day. The question caught me by surprise and it seemed to me that I would have been very embarrassed if I'd had to ask it. Nevertheless I answered that I had pretty much lost the habit of analyzing myself and that it was hard for me to tell him what he wanted to know. I probably did love Maman, but that didn't mean anything. At one time or another all normal people have wished their loved ones were dead. (The Stranger, Part Two, pp. 64-65) As the second half of the novel continues, it becomes clear just how much of an understatement this is. The lawyer is upset about Mersault's response because it suggests that not only did Mersault have strong feelings about his mother's death, but also he actually had wished for it to happen at some time in his life. Response Journal In your response journal, analyze the character of Mersault. In what ways is he a different sort of protagonist than we have seen in literature prior to this period? Is he a protagonist the reader "roots for"? Why do you think Camus chose to create a story around such a morally ambiguous character? Click here for instructions on how to complete your journal. What would you like to do next? READ NEXT SECTION © 2016 Glynlyon, Inc. TERMS OF USE

VOCABULARY aphorism an observation about life or the world that is presented as if it were a general truth satirical having the quality of something that pokes fun or shows a major human flaw or misguided way of thinking Vocab Arcade Descriptive Language and Imagery Not only does Camus make use of several literary techniques in his novel, breaking away from traditional form and structure, but he also makes use of figurative language in new and untraditional ways. Part Two of The Stranger includes much more descriptive language than Part One. Mersault describes the physical appearance of the different places that he goes, such as the visiting room (p. 64) and his cell (pp. 63-64). Mersault comments that he is more aware of his physical surroundings than he had been before he was in jail: Sometimes I would get to thinking about my room, and in my imagination I would start at one corner and circle the room, mentally noting everything there was on the way...And the more I thought about it, the more I dug out of my memory the things I had overlooked or forgotten. (The Stranger, Part Two, pp. 78-79) Note the use of descriptive language here. Even though Camus is painting a broader picture for the reader, his writing lacks the full sensory images and flowery language adopted by the Romantics before. Mersault's description of his room is thorough, but also clear, concise and to the point. Camus also uses imagery in an unconventional way to present some of Mersault's thoughts or feelings. For example, Mersault looks at the jurors and imagines that they are a group of passengers sitting across from him on a streetcar. Instead of using natural elements in his use of imagery, Camus brings in elements of the modern urban world with Mersault's comparisons. This both paints a visual image for the reader and creates a metaphor because it compares the jurors to a group of strangers traveling together. The imagery helps the reader understand what Mersault is thinking about, and how he views the process of the trial. SHOW TRANSCRIPT Part Two also outlines an actual sequence of events, a shift from the stream of consciousness meanderings in Mersault's daily life. This sequence of events occurs from the time Mersault first goes to jail through his sentencing and then as he awaits execution. Consider why Camus chooses to break form at this point in the novel. What effect does he achieve? Philosophical Statements Finally, there are many themes throughout the novel that are developed through both the plot and Mersault's narrative descriptions. There are also some statements that could be considered as aphorisms and seem to articulate some of the novel's themes. And my lawyer, rolling up one of his sleeves, said with finality, "Here we have a perfect reflection of this entire trial: everything is true and nothing is true!" (The Stranger, Part Two, p. 91) But everybody knows life isn't worth living. Deep down I knew perfectly well that it doesn't much matter whether you die at thirty or at seventy, since in either case other men and women will go on living--and for thousands of years. In fact, nothing could be clearer. (The Stranger, Part Two, p. 114) And his [the chaplain's] voice didn't falter, either when he said, "Have you no hope at all? And do you really live with the thought that when you die, you die, and nothing remains?" "Yes," I said. (The Stranger, Part Two, p. 117) There are also statements that are more satirical than anything else. Consider what the prosecutor says during his summation: "I am convinced, gentleman," he added, raising his voice, "that you will not think it too bold of me if I suggest to you that the man who is seated in the dock is also guilty of the murder to be tried in this court tomorrow. He must be punished accordingly." (The Stranger, Part Two, p. 102) The Role of Religion The themes of existentialism come to a head at the end of the novel as the priest tries to convince Mersault of his need for God and God's forgiveness. Mersault gets very angry and embarks on a tirade. During his tirade, Mersault outlines many of the different themes and ideas expressed throughout the book, most of which are consistent with atheistic existentialism. Collaborative Discussion Throughout Part Two of The Stranger, Mersault describes many different observations and ideas that he has about life and what it really means. Listen to the final words of the novel and the discussion questions. Reread Mersault's final words here: "I felt I had been happy and that I was happy again. For everything to be consummated, for me to feel less alone, I had only to wish that there be a large crowd of spectators the day of my execution and that they greet me with cries of hate." Discuss the following questions with a partner: What does Mersault mean by this statement? Are these ideas consistent with other ideas in the story? Does this represent a change in Mersault's perspective or philosophy? How does this statement sum up Camus's existentialist themes? If you can not participate in a group discussion, your teacher may have you usethis time to write a brief response to the discussion questions. What would you like to do next? READ NEXT SECTION © 2016 Glynlyon, Inc. TERMS OF USE

VOCABULARY biographical-historical strategy reading a text in light of an author's personal history or a shared cultural history formalist strategy an approach in which literary scholars focus primarily on a text in isolation; analyzing how formal aspects contribute to meaning literary canon a group of core texts viewed as particularly important to read, teach, and analyze in a particular tradition psychological strategy reading at text through the lens of prominent psychological ideas and theories Vocab Arcade Response Journal If a fictional story were written based on you as the main character, which perspective would you want the author to implement in the story? Why might you want the author to implement this critical reading strategy for other readers? What insight does this perspective provide? Write a brief response in your reading journal. Click here to review the reading journal instructions. Controlling the Canon Over time, our culture has developed a literary canon, consisting of core texts viewed as particularly important to read, teach, and analyze. In the Western tradition, this canon traditionally has focused on works written by white, upperclass, Christian males—those who historically were afforded the greatest power and opportunity. Many scholars, however, have been challenging the uniformity of the canon, adding texts written by women and people of other ethnic groups. They argue that these voices are essential to creating a fuller representation of the diverse experiences of humanity. Why do you think scholars fight so virulently over the literary canon? Does reading strongly influence a person's worldview? Our reading strategy influences what we can learn from our reading. Focus on Form Some scholars, most notably the New Critics of the mid-twentieth century, employ a formalist strategy. The formalist strategy focuses only on the text. It analyzes the structure of the text. Elements of structure are: diction, repetition, metaphor, irony, symbolism, plot, and characterization. All of these elements contribute to our understanding of a text. Do you think Shakespeare would have wanted readers and critics to ignore extrinsic factors? Extrinsic factors are elements outside of the story, such as historical foundations or the literary context. Why or why not? Who and When? In stark contrast to formalist critics, who view factors outside the text as irrelevant, critics employing biographical and historical strategies look at literature in context. A biographical analysis would consider how information about the life of the writer might enhance our understanding of a text. Scholars employing a historical approach look at the contemporary milieu to inform their readings. Although these factors should not overshadow what an author has written, they can be helpful in broadening our understanding of literary characters and themes. Secrets of the Mind The psychological strategy of literary analysis adapts psychoanalytic theory, predominantly that of Sigmund Freud, as a critical apparatus for understanding the motivations and interactions of characters and also the responses of the reader. © 2009 Glynlyon, Inc. Key Ideas • unconscious • id, ego, and superego • Oedipus complex SHOW TRANSCRIPT Examine how Norman Holland explains how Ernest Jones applies the idea of the Oedipus complex in his interpretation of Hamlet: How does a psychological strategy, then, as opposed to a formalist approach, change the characterization of Hamlet? In a sense, can Hamlet be considered to be complicit in his stepfather's violence? Can the audience? If perception is reality, then it is easy to see why there are so many different ideas about what is true. You can describe Hamlet very differently depending on the perspective (psychological, formalist, etc.) you have

VOCABULARY mythological strategy a critical approach focusing on the depiction of universal experiences common to all of humanity across traditions reader-response strategy an approach to literary analysis that considers the active creation of meaning by individual readers sociological strategy an approach to literary analysis, such as Marxist and feminist, that considers implications of politics and power within a text Vocab Arcade Marxist criticism is a type of sociological strategy that focuses on the ideological underpinnings of a work. Marxist scholars work to uncover how works of literature subvert or support structures of political and social oppression based on divisions such as class or race, whether implicitly or overtly: Marxist studies typically aim at not only revealing and clarifying ideological issues but also correcting social injustices. . . They argue that criticism, like literature, is essentially political because it either challenges or supports economic oppression. Even if criticism attempts to ignore class conflicts, it is politicized, according to Marxists, because it supports the status quo. ("Critical Strategies for Reading," p.2013) Do you agree that ignoring social injustice indirectly supports it? The Role of Women Feminist critics also employ sociological strategies to examine and critique the ways in which women are depicted in literature, seeking to uncover oppression and add critical female voices they see as underrepresented in patriarchal societies. Creating Meaning The reader-response strategy shifts the focus of study from the text to the reader. Critics who employ this approach argue that fixed meaning does not reside within the text; instead, each unique individual creates that meaning in the process of reading. Have you ever reread a book and found that your experience of it had changed over time? Why might that happen? Seeking the Universal While psychological critics analyze the thoughts, motivations, and emotions of particular writers or characters, critics who employ a mythological strategy examine themes and symbols that tap into universal human experiences shared by whole societies. Do all great works of literature have such mythological underpinnings? Must "great" literature appeal to people across ethnic, class, gender, and cultural boundaries? Breaking It Down Deconstructionist critics examine how meaning is unstable and often conflicting upon closer inspection. They don't view language as static, but as something that the ability to be caught up in a myriad of interpretations. The deconstructionist complicates then, rather than elucidates, the meaning of a text. Keep in mind that no single approach is "right" or best. The application of each strategy simply illuminates another facet of a text. SHOW TRANSCRIPT As you continue to read, use these strategies to enhance your understanding and analysis.

VOCABULARY anguish the feeling man has upon realizing his responsibility in creating himself and humanity subjectivism the philosophical view that the meaning of human life is relative to the subject and depends on an individual's desires, choices, and goals subjectivity the inner sense of self; the quality of an individual who possesses conscious experiences, including perspectives, feelings, beliefs, and desires Vocab Arcade Jean-Paul Sartre French philosopher, novelist, playwright, and essayist Jean-Paul Sartre plays a pivotal role in defining and defending existentialism. Existentialism is another philosophical perspective that was popular in the 20th century. Although existentialists differ on certain philosophical points, Sartre's essay entitled "Existentialism" provides a brief and clear introduction to some of the central tenets of the movement. Click here to read Sartre's essay, "Existentialism." Subjectivism Sartre explains the foundational concept of subjectivism as he defends existentialism from attack: The word "subjectivism" has two meanings, and our opponents play on the two. Subjectivism means, on the one hand, that an individual chooses and makes himself; and, on the other, that it is impossible for man to transcend human subjectivity. The second of these is the essential meaning of existentialism. ("Existentialism," p. 1168) In other words, it is a fact that man "makes himself," and it is his inability to escape that role which defines existentialism. Furthermore, in making what we see as the best decisions for ourselves, we unavoidably create an image of the ideal that then applies to all people. We become what we are through "will," a series of essentially spontaneous choices made throughout life. These choices not only produce one's personal responsibility for them, but one's responsibility extends to all of humanity. To illustrate the point, Sartre introduces the example of union membership and then marriage: To make a more individual matter, if I want to marry, to have children, even if this marriage depends on my own circumstances or passion or wish, I am involving all humanity in monogamy and not merely myself ...I am creating a certain image of man of my own choosing. In choosing myself, I choose man. ("Existentialism," pp. 1168-1169) What does Sartre mean in this last sentence? Because existence precedes essence, meaning we are not born with a predetermined character and set of values, we define our ideals through our actions; we determine what we see as the "best thing," for ourselves and everyone else as we act. Our actions create this image for ourselves, and by extension, humanity. Sartre's Definition of Anguish Anguish is the feeling man has upon realizing his responsibility in creating himself and humanity. © 2009 Glynlyon, Inc. -Flee anxiety -Dodge responsibility -Argue that, " 'Everyone doesn't act that way.' " -Results in "an uneasy conscience" SHOW TRANSCRIPT Sartre illustrates how anguish is sometimes less obvious with the example of Abraham: You know the story: an angel has ordered Abraham to sacrifice his son; if it really were an angel who has come and said, "You are Abraham, you shall sacrifice your son," everything would be all right. But everyone might first wonder, "Is it really an angel, and am I really Abraham? What proof do I have?" ("Existentialism," p.1169) Sartre argues that although Abraham may seem free of the burden of responsibility as he is apparently following the word of God, he ultimately takes responsibility for acting and is therefore anguished, as he must interpret or even decide upon the veracity of his own perception, much like the madwoman in the example to follow. Sartre acknowledges that this anguish might seem to lead to "quietism" or inaction, but he argues that anyone with responsibility, such as a military officer, copes with it: In making a decision he cannot help having a certain anguish. All leaders know this anguish. That doesn't keep them from acting; on the contrary, it is the very condition of their action. For it implies that they envisage a number of possibilities, and when they choose one, they realize that it has value only because it is chosen. ("Existentialism," p.1170) Response Journal What does Sartre mean when he claims that anguish is "the very condition of their action"? What does this imply about the possibility of a leader not suffering anguish? Click here to review the reading journal instructions.

a priori presumed or predetermined without question despair the idea that people should only be concerned with what they can control or what directly affects their potential to act forlornness the feeling man has in the belief that God does not exist and the repercussions of that belief Vocab Arcade Sartre distinguishes himself from earlier secular French thinkers who were undisturbed by the idea that God does not exist because they had postulated an a priori, or presumed, a value system that filled the vacuum of morality that would otherwise have been created with the dismissal of religion. For the existentialist, who does not believe in God or a priori knowledge, "man is freedom"; this "freedom," stemming from a lack of an external moral code, leads to forlornness, which is the feeling man has in the belief that God does not exist and the repercussions of that belief. To illustrate, Sartre presents us with the example of his student who was trying to decide whether to leave France to avenge his brother or to stay at home and comfort his mother. SHOW TRANSCRIPT ... he was faced with two very different kinds of action: one, concrete, immediate, but concerning only one individual; the other concerned an incomparably vaster group, a national collectivity, but for that very reason was dubious, and ... he was wavering between two kinds of ethics. On the one hand, an ethics of sympathy, of personal devotion; on the other, broader ethics, but one whose efficacy was more dubious.... Who could help him choose? Christian doctrine? No ... Who can decide a priori? Nobody. (p. 1172) This rejection of an external and objective moral guide causes forlornness as it returns the young man to the anguish of acting and creating himself and humanity on his own. According to Sartre's philosophy, we cannot abdicate responsibility by deferring to instincts or omens; ultimately, we are still the ones to interpret them and we are the ones that choose to see and believe them. Sartre's Terminology In order to understand Sartre's position, a reader has to comprehend the particular meanings he assigns to the terminology he uses. Many of the key words and phrases have idiosyncratic meanings specific to the language of Existentialism. Response Journal Several of Sartre's most important concepts, of course, also rely on meanings specific to existentialist philosophy. Consult at least two reliable sources, such as Merriam-Webster's Dictionary of English Usage or Garner's Modern American Usage, to find the commonly understood meanings of "subjectivism," "anguish," and "forlornness." Make an entry in your response journal for each, comparing and contrasting these definitions with Sartre's appropriation of these same words. Click here to review the reading journal instructions.

VOCABULARY absurd an illogical or unreasonable idea existentialism a philosophy that believes that individuals function as sole agents in an isolated, meaningless, and absurd world novella a very short novel Vocab Arcade Introduction Before you read today, you will want to learn a little more about the author and the philosophy from which he wrote. SHOW TRANSCRIPT The short novella, "The Metamorphosis," is probably Kafka's most famous work. Click here to read "The Metamorphosis." Gregor's Appearance and Job You probably found this story strange. It is quite odd! Kafka's absurd story depicts the troubling aspects of life in the modern world. In order to understand the story better, let us first review some of the basic information we learn at the beginning of the story. One morning, while Gregor, a traveling salesman, is home with his parents and sister, he wakes up and has turned into a large insect. He cannot move in the same way, and he does not understand what has happened to him. Did you notice that Gregor never looks in a mirror? His first thoughts are not that he should look to see what has happened physically; instead, he says: "What's happened to me?". . ."Oh, God", he thought, "what a strenuous career it is that I've chosen! Travelling day in and day out. Doing business like this takes much more effort than doing your own business at home, and on top of that there's the curse of travelling, worries about making train connections, bad and irregular food, contact with different people all the time so that you can never get to know anyone or become friendly with them. It can all go to Hell!" In other words, Gregor immediately connects his feeling "off-ish" to his work, which keeps him isolated from his family and from other humans. Think about what the author may be saying: Reactions to Gregor The remainder of the story is primarily focused on the reactions to Gregor's new appearance, particularly those of his mother, father, and sister Grete. Let us take a look. SHOW TRANSCRIPT In general, everyone responds to Gregor in fear and disgust, which leads to his complete isolation and even guilt. In fact, by the end of the story, he is ready to die in order to keep his family from feeling badly

symbol literary device where something physical represents something nonphysical for the purpose of emphasizing a theme or idea Vocab Arcade Mr. Samsa's Transformation The word metamorphosis means "a change." On the most obvious level, the author is referring to Gregor's change from a man to a large insect. But what if the author is referring to more than one metamorphosis in the story? Did you notice other changes as well? For example, think about Mr. Samsa. At the beginning of the story, he stays at home because his business had failed five years before. His son has taken on the family debt and works long hours as a traveling salesman in order to provide for the family. Mr. Samsa, in return, has become weary and old. Mr. Samsa's Transformation Before After "The same tired man as used to be laying there entombed in his bed when Gregor came back from his business trips, who would receive him sitting in the armchair in his nightgown when he came back in the evenings; who was hardly even able to stand up but, as a sign of his pleasure, would just raise his arms and who, on the couple of times a year when they went for a walk together on a Sunday or public holiday wrapped up tightly in his overcoat between Gregor and his mother, would always labour his way forward a little more slowly than them, who were already walking slowly for his sake ..." ("The Metamorphosis," part II) "He was standing up straight enough now; dressed in a smart blue uniform with gold buttons, the sort worn by the employees at the banking institute; above the high, stiff collar of the coat his strong double-chin emerged; under the bushy eyebrows, his piercing, dark eyes looked out fresh and alert; his normally unkempt white hair was combed down painfully close to his scalp. He took his cap, with its gold monogram from, probably, some bank, and threw it in an arc right across the room onto the sofa, put his hands in his trouser pockets, pushing back the bottom of his long uniform coat, and, with look of determination, walked towards Gregor." ("The Metamorphosis," part II) What has happened to Mr. Samsa? How has he changed? Why? Grete's Transformation Grete, too, undergoes a transformation throughout the story. Initially, she is very concerned about Gregor's well-being. She is the one who tries to find out what food he will most like. She keeps his room clean, and she wants to clear out the furniture so that he has more space to climb around. But do you notice that even with all of her consideration toward Gregor, she still does not want to look at him? Perhaps the seeds of her final betrayal lie in her inability to love Gregor just as he is. By the end of the story, it is Grete who is most eager to get rid of "it": "It's got to go", shouted his sister, "that's the only way, Father. You've got to get rid of the idea that that's Gregor. We've only harmed ourselves by believing it for so long. How can that be Gregor? If it were Gregor he would have seen long ago that it's not possible for human beings to live with an animal like that and he would have gone of his own free will. We wouldn't have a brother any more, then, but we could carry on with our lives and remember him with respect." What do you think Grete means when she says, that, "if it were Gregor...he would have gone of his own free will"? How does Gregor actually do this, in the end? At the very end of the story, Grete's own metamorphosis is nearly complete: Mr. and Mrs. Samsa were struck, almost simultaneously, with the thought of how their daughter was blossoming into a well built and beautiful young lady. They became quieter. Just from each other's glance and almost without knowing it they agreed that it would soon be time to find a good man for her. And, as if in confirmation of their new dreams and good intentions, as soon as they reached their destination Grete was the first to get up and stretch out her young body. How has Grete's transformation been both an inner transformation and an outer one? What is the author suggesting about Grete's future? Symbols In many ways, Kafka's story is quite simple, is it not? The setting is the inside of the Samsas' apartment. There are only a couple of characters. The language is straightforward. The primary conflict seems to be that one of the humans has turned into a large bug. So, what all does it mean? Kafka includes several symbols that help the reader to see the picture he is painting: a bizarre and often cruel world where there is not a logical cause-end-effect relationship between behavior and outcome and where human love is replaced by economics. Collaborative Discussion Your teacher may ask you to break into groups and discuss one or more of the following topics: Could something good have come out of the metamorphosis? Did it? Explain. Is Gregor more human after his transformation than before? Is Gregor a martyr? If you can not participate in a group discussion, use this time to write a brief journal response to the discussion questions.