ENG II Textual Study Questions - gilt\7 ‘ 3 Cumulative...

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Unformatted text preview: gilt; . \ \7 ‘ 3 Cumulative ass-Textual Study Of"? (or, to reference Bob Dylan, timefor “bringin’ it 1 Wk home") NOTE:YoueanputuhigXorwrlte‘Wo’lhnnkf'for-ntmosthoftheZSquaflmwtthontpemlty;6ptsper;90mtout on don't ncedto beans: mauve thin baton! ala! rabouldrmnaandtheuplayr What dramatic methods (soliloquies symbols, conversation with non-existent characters) are used to show the interior life of a character— use at least one character from at least two plays. 2) Why do you think (or what was accomplished by) the playwright’s chose to have 2 AM 3) In what ways does the setting (Willy’s house/Brooklyn: the room/tablé Fields/Stanley’ s apartment; bedroom/Petkoff house, etc) come to have» ‘ WWW m :‘m WW‘ 4) How significant a role do transportat n Vices (cars, trains, r as you have studied? What do the function to accom 133m A e? eranSWifmU/wm Mmcesm l NW gcvawéwplgpifw Q Using all four Wplays, which plays do you"BL . ' N which plays do you think we belts in“ 7) Using all four plays, which playwrights seek to only ask questions (and leavethe “Sit/€53: up towthe audience) and which playwrights seek to clearly teach. or argue a specrfic pOSlUOH/pl'OVl spec! 1c answers OR which playwrights seek to do something in between these two extremes? To say it differently, do any of the plays give simple answers OR do they all stop at posmg difficult questions? What are those answeis Or questions exactly? 8) Using all four plays, which seem to value “time” more than “place” or Vice 2V ‘ which playwrights seem more interested in constructing the physical or pSYGhO . which seem more interested in developing realms of time or in manipulation of 9) Using all four plays, which seem to value plot more than character orvice Ve' , which playwrights seem more interested in the establishment of characters _ _ examination of people/humanity) and which seem to spend more effort C16 : conflict (and thus an examination of ideas, social issues and/or a socielgon . ‘ ' m ”KS n ; ¥ t W s ’- .{: ~IDUsilIIEat east ngs.g¥1\1t eas‘gpcyéieafcharacte playwrights seem most Interested 1n —7 5117- 'psychologisam 138519“? the , V wt;ynywx~w 77—77 w 13) Which playwrights seem intent on the establishment of a defined villain figure and which playwrights seem intent on leaving the antagonist or the forces that destroy the protagonist #- assist: W We "as; w W WWI/18M [giant '5 thttmaiipfil-j 53% Megabit», WSi‘Db’eh M‘c (lam 0w WWW teens“? W ‘ SF gift Km I ”01.8” g» i l ” 14) For Hannah Bern illy, Blane éq'lil :1de kseptlmus,”i,ho astna. erglus, fliaracters ang‘deefme tide 32%;; gritshc convictéfithcwternal r inte yum“ it t c was + m Ufa (may mm Witt [all char 350W»? P‘l‘i (mm; 001+ ethflmqvuzo #- M tows Maggi-)2 ‘ I 15) Do “£10.3th that ramatic Wpoiikzer is increased Wag‘geeémgeas IS Fig/H. the inciusion of n i , characters or should playwrights stick only to 3—4 total/cad ntralc WUters and ”I , minor Chara ters (Arms and Man, perhaps Streetcar)? (Gd ' ' , . “ New time/at rstiiée vfiNtm hpyggfm ”film New NM feiw 'ack’rsl [Roz mum brat/W WWW—Q iMW, (thigh/t Wow 16) Using at least two plays, what techni me (use text specid 17) Which plays seem to argue that HONBST - . , impossible? Why have they done this? i 13) Which playwrights seem to seek mfimm_ ‘ f in other words Which {aim-rights remain figs; ‘ and which often use non-«audits Weds? i3 x z ...
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