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English 45C - Coggle Diagram

- - - - Especially in a medium focused on dialogue (stage play), the stripping of elements down to their most basic/sparse forms (setting, (lack of) action, narrative time) directs attention away from traditionally important cues in a narrative, and instead towards more abstracted concepts. Didi and Gogo's dialogue reflect their character representations (mind and body) more so than character 'traits'
  - - - While each phrase broken up by white space functions as an individual syntactic unit, there is no actual functioning sentence in either line. The focus is on the exact scenes overlaid on top of each other rather than action occurring in those scenes
    - - Eurydice
        
        Recontextualizing myth -- lots of references to the crocus (a type of flower) in crafting an originally silenced character's new voice in this poem
      - Oread
        
        In describing a body of water and trees, HD captures sexual energy, arguably orgasmic energy of this 'splashing' and 'whirling' of the sea deriving from pines, which work as a phallic symbol
    - - Red Wheelbarrow
        
        abundance in sparsity-- what can be concluded in the images presented? The form of each stanza takes on a wheelbarrow shape, and each major syntactic phrase relies upon the 2nd stanza, literally the red wheelbarrow
      - Spring and All
        
        The idea of spring being a bountiful, productive season seems to contrast with the language being used in this poem; captures an almost Freudian effect with Eros and Thanatos interlinked
  - - - Hurston pits Standard American English narration against (maybe a slightly overdone) AAVE dialogue. While the portrayal of AAVE may be interpreted as stereotypical or reductive, the process of switching between the two dialects to understand the narrative functions as criticism: different audiences will have varying levels of familiarity with one or the other dialect, and therefore that difficulty that arises is important to address.
  - - - Thoughts and statements are implicitly of the character's mind, rather than from a separate narrator. This both allows for more personal narration, yet also fluidity in switching from character to character as the narrator. In Dalloway we see this transition occur often, where thoughts of characters that sometimes aren't even named are shared in the narration.
  - - - Each work contributes and changes the ever-growing body of 'art' (art being used as an all encompassing term). Works continue to be informed by the past and inform the future.
    - - "Use no word that does not contribute to the presentation"-- language should be used for the intent of conveying the art, and not as ornamentation
    - - There is no need to conform to, submit to a white tradition of art; instead, drawing from Black heritage and art can both make one an 'artist' and expand on the already-built tradition of art found in the culture
- - - - The man that can't be categorized into any grouping is striking; to be "of the crowd" means that he is representative of the entire crowd, and yet the inability to categorize him is mysterious and terrifying--feelings in turn applied to the city in which the man is from.
    - - The fear of control over money, and the divide of modernization across geography create issues for Jason (on top of his gambler mentality). The speculative price of cotton, a produce from the South, is controlled by modernized cities in the North (Wall Street)
  - - - Bartleby was assigned to a desk by a window with a view of a wall, something especially enabled by intense urbanization on Wall Street. Inhumane conditions lead to inhuman actions (or inaction, eventually).
- - - - Yeats
        
        Easter, 1916
        
        National Identity is retroactively attributed to those who have died in the cause, and this is reason for those still alive to identify with their nation
        
        The Lake Isle of Innisfree
        
        The desire for life pastoral being "in the deep heart's core" when one otherwise lives in the city
      - James Joyce, The Dead
        
        Revoked Identity -- Gabriel has challenges identifying as Irish, particularly when in conversation with Miss Ivors. This is also challenging when Gretta recalls her history with Michael Furey particularly as something influenced by national geography/weather
  - - - Hughes explores a broad history of Black identity that would be otherwise erased by the long period of slavery-- these histories go beyond recorded, accounted history, but instead are geographic and tied to the (global) land
    - - Hughes asserts that despite treatment of Black Americans, they too are part of America/are the people of America
- - - - The traditions of the tribe in Umuofia are constantly under question between Okonkwo's staunch subscription to the culture and it's idea of masculinity, and his family's nature--Ikemefuna's outsider status, Nwoye's willingness towards Christianity, as examples
    - - Different accounts from each of the followed characters means different perspectives on the same events. From this, there are variances in how each character perceives things i.e. Mrs. Compson's view on her family and Jason vs practically any other Compson (and also Dilsey), or Jason's control of money vs the other Compsons
    - - The Second Coming
        
        The disasters of now are evoking things warned about in the past-- Yeats appears to allude to looming war, and especially strengthens this 'prophecy' by likening it to the second coming of Jesus
      - Sailing to Byzantium
        
        While generations pass on what they made to the next generation, this process is perpetual and inevitable, and that is something to be fearful about. The history lasts infinitely longer than the life that made that history
    - - Not that culture is necessarily challenged with this poem, but aspects of the poem express difficulty through the expression of culture--the man singing the blues sleeps "like a rock or a man that's dead". Echoing tradition or acting in tradition in an environment where that tradition may not be welcome is akin to killing that tradition in the first place
  - - - The history of Bly and the memory (or even false memory) of the former workers there traps the governess into a state of supernatural hallucinations, and how the past impacts the present
    - - Prufrock is weighed down by tradition, by social ritual. The all encompassing 'yellow fog' of age comes for all, and this leads the narrator find what he remembers as his life to be insufficient