1aa3theireyesREV2011newpagerefs

1aa3theireyesREV2011newpagerefs - For review, as we move...

Info iconThis preview shows pages 1–8. Sign up to view the full content.

View Full Document Right Arrow Icon
For review, as we move into our next unit of study: Denouement: French for “unknotting” French for “unknotting” the action or intrigue ends in success or failure for the the action or intrigue ends in success or failure for the protagonist, the conflicts are settled, the mystery solved, or the protagonist, the conflicts are settled, the mystery solved, or the misunderstanding cleared away” (Abrams 268) misunderstanding cleared away” (Abrams 268) A denouement may be closed or open: A denouement may be closed or open: Closed ending: resolution of the questions raised by the narrative Open ending: deliberate non-resolution of narrative questions; ambiguous
Background image of page 1

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full DocumentRight Arrow Icon
Background image of page 2
Zora Neale Hurston, 1891-1960
Background image of page 3

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full DocumentRight Arrow Icon
Outline of lectures on Hurston: Lecture 1: African American literary and oral traditions; style and point of view; nature imagery Lecture 2: Nanny’s legacy; psychoanalytic criticism, revisited; quest narrative; Janie’s husbands Lecture 3: the front porch; intimate violence; Janie’s silence in the courtroom scene
Background image of page 4
Hurston as ethnographer grew up in rural Alabama and Florida completed university studies in Anthropology and English at Howard (in Washington, DC) and Barnard (in New York City, during the era of the Harlem Renaissance) between 1927 and 1940, travelled in the southern U.S. and the Caribbean, collecting folktales, songs, sermons, etc. considered folklore to be “the arts of the people”
Background image of page 5

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full DocumentRight Arrow Icon
You may leave and go to Hallimuhfack But my slow drag will bring you back Well, you may go but this will bring you back. I been in the country Mula-moved to town I’m a total shaker from my head on down Well, you may go but this will bring you back. Ah some folks call me a total shaker It’s a doggone lie, I’m a backbone breaker Well, you may go but this will bring you back. Oh you like my peaches, but you don’t like me Don’t ya like my peaches, don’t ya shake my tree Well, you may go but this will bring you back A-Hoodoo, A-Hoodoo, A-Hoodoo waggin’ My heels are poppin’ and my toenails crackin’ Well, you may go but this will bring you back “Hallimuhfack” (traditional song, performed by Hurston in 1935, Library of Congress recording)
Background image of page 6
The blues a synthesis of work songs, secular songs, sacred harmonies proverbial wisdom, political commentary desire, loss, longing, hardship, survival
Background image of page 7

Info iconThis preview has intentionally blurred sections. Sign up to view the full version.

View Full DocumentRight Arrow Icon
Image of page 8
This is the end of the preview. Sign up to access the rest of the document.

Page1 / 28

1aa3theireyesREV2011newpagerefs - For review, as we move...

This preview shows document pages 1 - 8. Sign up to view the full document.

View Full Document Right Arrow Icon
Ask a homework question - tutors are online