1. Araby Why an impossible quest?

2. Outline 1. Your Q&A 2. Social Background 3. You & “Araby” 4. The Boy’s Language: Image & Symbol 5. Group Discussion/Rehearsal 6. Performance and Analysis

3. Q & A (1) 1. 1. Why is Mangan's sister not given a name in the s tory? (a nobody; easy for us to identify with) 2. 2. What do you think made the protagonist angry in the end of the story? (Not getting what he wants, dream broken, realizing how vainglorious he was.  story of initiation/disillusionment) 3. 3. Why did the author use the word ”wires” instead of ”strings" in this following sentence: "But my body was like a harp and her words and gestures were like fingers running upon the wires"?

4. Q&A Wire vs. String: Wire vs. String: Harp strings may be made of nylon, gut ( 羊腸線 ), wire or silk. (Wikipedia) “ ” (source) “The wire strung harp is often called the Irish or Scottish harp. It is an early musical instrument” (source)source

5. Q & A (2) 1. 1. Do you think whether the author purposely set the boy's family background as one different from most people's? * (see Note below) 2. 2. How does the woman at the stall influence the narrator by merely asking him whether to buy anything out of a sense of duty? And why did the author write down the detailed conversation? 3. 3. How does religion influence the characters? A: apple, chalice, the sister’s not being able to go to Araby, etc.

6. Social Factors: Religion, Alcoholism and Family/Class Background Orphan Comic “Araby” “Araby”

7. Irish Society: Catholicism, Politics and Alcoholism Comic “Araby” “Araby”

8. 8 James Joyce (1882–1941) James Joyce & The Dubliners 1.4:24 N. Richman st. 2.31:00 Dublin as “the center of paralysis” –4 aspects: Childhood, Adolescence, Maturity and Public Life 3.34:00 - “Araby” – not all about paralysis and meanness

9. James Joyce : Personal Background James Joyce (1882-1941) : Personal Background Born into a middle-class, Catholic family Religious: Attended a Jesuit school and went on to study philosophy and languages at University College, Dublin. A lmost declared priesthood but then renounced it for the pursuit of his art. Exiled: Moved to Paris after graduation, and then, except for a short return to Dublin, stayed being an expatriate. (source)source

10. Social Background & the Story Three Major Issues in Dublin in and after the Turn of the 20th Century: Poverty and the rise of Irish Nationalism (cultural, political and military  song of “Jeremiah O'Donovan Rossa” in the market) For Joyce, alcoholism (e.g. Joyce’s father, the boy’s uncle) Irish Catholicism in decline (  the dead priest and the boy’s religious sentiment; “I'm afraid you may put off your bazaar for this night of Our Lord.”) Noises vs. Romantic Feelings

11. Signs of Poverty and Materialist Needs in the Story Spiritual Poverty Spiritual Poverty The boy without parents; praying alone. The boy without parents; praying alone. The priest dead The priest dead Material Poverty Material Poverty The boy’s need of money The boy’s need of money The visit of Mrs. Mercer, a pawnbroker's widow – The uncle owes her some money? The visit of Mrs. Mercer, a pawnbroker's widow – The uncle owes her some money? A combination: A combination: “… --O, there's a... fib!” “… --O, there's a... fib!” I allowed the two pennies to fall against the sixpence in my pocket. I allowed the two pennies to fall against the sixpence in my pocket. Noises vs. Romantic Feelings Feelings of being driven and derided by vanity

12. FYI: Joyce Plan on The Dubliners "My intention was to write a chapter of the moral history of my country and I chose Dublin for the scene because the city seemed to me the centre of paralysis. I have tried to present it to the indifferent public under four of its aspects: childhood, adolescence, maturity, and public life. The stories are arranged in this order. I have written it for the most part in a style of scrupulous meanness and with the conviction that he is a very bold man who dares to alter in the presentment, still more to deform, whatever he has seen and heard. I cannot do any more than this. I cannot alter what I have written. " Letters, 2:134.

13. FYI: Joyce on The Dubliners  the Universal " "For myself, I always write about Dublin, because if I can get to the heart of Dublin I can get to the heart of all the cities of the world. In the particular is contained the universal."

14. Questions for YOU! Is the boy self-centered? Is the story fair to the girl? Can you relate to him in any way? Pay attention to images of light, darkness and religion. Is the darkness described in the middle part of the story (e.g. in the priest’s room), the same with that at the end? Or does the boy feel the same about it? The story of a quest – Read it in its social context or as a universal story? ” Describe—and compare--the functions and implications of the dominant images in the stories we have read: “Boys and Girls,” “A&P” and “Araby.”

15. Have you had any experience similar to that of “Araby”? Puppy love and quest Puppy love and quest Mixture of passion and religious sentiment (e.g. ecstasy) Mixture of passion and religious sentiment (e.g. ecstasy) First Shopping Experience First Shopping Experience First Negative Encounter with Adults First Negative Encounter with Adults If so, what makes your experience less frustrating than the boy’s?

16. "Araby" -- Performance 1. [1] childhood game and Mangan‘s sister (par 1-6) setting –N. Richmond St 2. [3] talking with Mangan's sister (par 7-11) 3. [5] waiting alone for the action (par 12) –Dublin 4. [7] the boy waiting for his uncle (par 13-22) -Home 5. [9] going to the Bazaar (par 23-24) –train station; street of Dublin 6. [11] at the Bazaar (25-end)

17. “Araby” -- Analysis 1. 1. [2] Setting (1): Images that tell us about the social environment 2. 2. [4] Roles of Religion vs. that of Materialism: Depiction of Mangan’s sister and the boy’s feelings for her 3. 3. [6] The boy’s changes: The boy before and after he talks with Mangan’s sister (Araby) 4. 4. [8] Setting (2): Family (The boy’s uncle and aunt) 5. 5. [10] Setting (3): Dublin 6. 6. [12] Setting (4): the bazaar, (Araby)

18. Let’s Take a Break!!! Group Discussion 10:10 – 10:30 Come back at 10:40

19. Religion & Society in Figurative Language Image, Metaphor and Symbol

20. Language in Setting (1) – images of enclosure, darkness and decay + dead religion North Richmond Street – “ blind, ” expressionless and imperturbable. North Richmond Street – “ blind, ” expressionless and imperturbable. The priest ’ s room – musty air, littered useless papers, The Abbot, by Walter Scott, The Devout Communicant, and The Memoirs of Vidocq. The priest ’ s room – musty air, littered useless papers, The Abbot, by Walter Scott, The Devout Communicant, and The Memoirs of Vidocq. I liked the last best because its leaves were yellow. the backyard – rusty bike-pump, wild garden with an apple tree the backyard – rusty bike-pump, wild garden with an apple tree

21. Language in Setting (2)—light in darkness, femininity Mangan’s sister Mangan’s sister Railroad and the street scenes Railroad and the street scenes The bazaar The bazaar

22. The Boy ’ s Love -- Mangan ’ s Sister Images of light vs. browness (pars. 3, 10 vs. 4, 15). Why? Images of light vs. browness (pars. 3, 10 vs. 4, 15). Why? She was waiting for us, her figure defined by the light from the half-opened door. [...] Her dress swung as she moved her body, and the soft rope of her hair tossed from side to side. She was waiting for us, her figure defined by the light from the half-opened door. [...] Her dress swung as she moved her body, and the soft rope of her hair tossed from side to side. “ I kept her brown figure always in my eye ” ; “ I kept her brown figure always in my eye ” ; “ the brown-clad figure cast by my imagination ” “ the brown-clad figure cast by my imagination ”

23. Characterization: Narration, Dialogue & Thought Bubbles

24. Characters: The Boy 1. 1. par 5-6:  3 rd -person narration + thought bubble. (confusing his religious sentiment with the romantic) (film: chap 5-6) 2. 2. par 10, 16  Dialogue between the boy and Mangan ’ s sister; par 16, when he waits for his uncle. (film: chap 7) 3. 3. Par 25 –ending: Dialogue+ Narration + Thought Bubbles Note: Thought Bubble Too late …. Don’t forget your mission.

25. The Boy & his puppy love Stands by the railing when seeing or talking to her. Stands by the railing when seeing or talking to her. Possible Readings of Mangan ’ s sister: Possible Readings of Mangan ’ s sister: 1. She is unaware of his adoration; 2. She is limited by her environment which is a mixture of religious devoutness and materialism.

26. The boy ’ s emotions – religious images Par 5 [In the market, he] imagined that [he] bore [his] chalice safely through a throng of foes. Speaks of her names “ in strange prayers and praises ” he does not understand, his eyes full of tears. Par 6 At the priest ’ s room: “ All his senses seemed to desire to veil themselves and, feeling that he was about to slip from them, he pressed the palms of my hands together until they trembled, murmuring: O love! O love! many times. ”  religious devotion and ecstasy? O Love! O love! You are my sunshine!

27. Final Question: Creative Adaptation Can this be a story set in Taiwan – or where you are from? How will the setting be changed? (Setting: commerce, religion and politics)

28. "A Rose for Emily" – Emily on Trial -- Did she kill Homer Barren? 1. [2] Judge –jury trial (see next slide) 2. [4] Prosecutor ref. ref. 3. [6] Defendant, Emily (at age 80) 4. [8] Defendant's Lawyer ref. ref. 5. [10] Witness (1): the first-generation town people (e.g. Colonel Sartoris) 6. [12] Witness (2): Town people of the 2nd generation (who went into her house twice) 6. [12] Witness (2): Town people of the 2nd generation (who went into her house twice)

29. Trial Procedure Simplified 1. 1. Opening statements. The prosecution and then the defense make opening statements to the judge or jury. These statements provide an outline of the case that each side expects to prove. … 2. 2. Prosecution case-in-chief. The prosecution presents its main case through direct examination of prosecution witnesses. 3. 3. Cross-examination. The defense may cross-examine the prosecution witnesses. 4. 4. Defense case-in-chief. The defense presents its main case through direct examination of defense witnesses. 5. 5. Cross-examination. The prosecutor cross-examines the defense witnesses. Jury’s questions & deliberation Ref. 1, 212