Lit Americana An3 Sem1 Burdescu 2009

8/11/2019 Lit Americana An3 Sem1 Burdescu 2009

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Tema Nr. 1

THE BEGINNINGS

The Natives, the colonists

First Attempts at creating a national literature Puritanism an its in!luence on literature

"#iectivele temei:

Studenii vor aprofunda cunotiine legate de cei mai importani scriitoriamericani.

Operele literare sunt introduse n ordine cronologic. Cursul ncepe printr-oprezentarea a perioadei coloniale i continu pn n secolul XX.

Cele mai importante idei i concepte din operele autorilor americani vor fiaordate dintr-o perspectiv !ermeneutic.

Timpul alocat temei$ % ore

Bi#liogra!ie recomanat&$ O"Callag!an# $r%n & 'n (llustrated )istor% of *!e +S'# ,ongman# sse#

ngland# /001 222Sc!ool Specialt% 3ulis!ing# *!e Complete $oo4 of +.S. )istor%# 'merican

ducation 3ulis!ing# 511/ $rogan# )ug!# *!e 3enguin )istor% of t!e +S': 6e7 edition# 3enguin# 511/ $reidlid# '.# 'merican Culture: *ets on Civilization# 8outledge# /009 6a%lor# ,arr%# 'merican Culture: %t! and 8ealit% of a Culture of ;iversit%#

$ergin < =arve%# /00>

?!en t!e nglis! arrived in t!e 6e7 ?orld# t!e% encountered a continent 7!ere more

t!an seven !undred (ndian tries lived@ t!e% !ad a large variet% of languages# religions#

social costumes and governments. ac! trie !ad its o7n fol4lore and m%t!olog%# 7!ic!

7ere passed on orall% to eac! ne7 generation.

(t is important to stress t!e oral c!aracter of t!eir culture# and t!e fact t!at for t!em t!e

7orld !eld great value# ot! magical and earing great responsiilit%. *!at is 7!% silence

is so epressive in t!eir tradition@ silence measures t!e individual"s sensiilit% to languageand !is attitude to7ards t!e 7orld.

6. Scott omada% concluded !is stud% on t!e native voice of t!e +nited States t!at Aat

t!e !eart of t!e 'merican (ndian oral tradition is a deep and unconditional elief in t!e

efficienc% of language. ?ords are intrinsicall% po7erful. *!e% are magical. $% means of

7ords one can ring aout p!%sical c!ange in t!e universe.


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(n t!e (ndian 7orld a 7ord is spo4en not against# ut 7it!in silence. Silence is a part of

t!e discourse# preparing t!e audience for somet!ing t!at is to came# or communicating a

state of mind t!at cannot e put into 7ords. *!e dualit% 7ord and silence is t!en

fundamental in t!e understanding of t!e oral culture of t!e 6ative (ndians. *!e 6avaBo"s

pra%er# for eample# is ot! pra%er and poetr%. or t!em t!is pra%er !olds t!e importance

as Scriptures for t!e C!ristians# and t!e% focus ot! on t!e religious t!oug!t and t!e

aest!etic perception of t!e eaut% of t!e 7orld.

?!en t!e nglis! colonists arrived in /91D# a eautiful culture 7as flouris!ing on t!e

continent# t!at of t!e native tries. +nder t!e leaders!ip of Captain Eo!n Smit!# t!e

colon% of Eamesto7n t!rove@ t!oug! for a 7!ile t!e nglis! and t!e (ndians lived

toget!er peacefull% and provided eac! ot!er 7it! needed !elp and goods# soon t!ese

!armonious relations!ips ended in conflict. +nli4e t!e settlers of Eamesto7n# t!e pilgrimst!at arrived later in /951 7ere ound toget!er % t!eir fait!: 3uritanism. 3uritanism

7anted to purif% t!e C!urc! of ngland and 7as organized around t!ree eliefs: t!e% felt

t!at t!e $ile 7as t!e sole source of =od"s la7@ t!e% also felt t!at people 7ere asicall%

sinful@ finall%# t!e% felt t!at =od decides in advance 7!o 7ill e AsavedF and 7!o 7ill

not.

(n /95/ pilgrims and (ndians celerate t!e first *!an4sgiving ;a%# and t!ree %ears later

Eo!n Smit! records t!e !istor% of Eamesto7n colon% inThe General Histor' o!

(irginia. ?ritten et7een /9G1 and /9H1# ?illiam $radford"s "! Pl'mouth Plantation

provides t!e reader 7it! t7o elements t!at 7ere to ecome so t%pical of t!e 6e7 ?orld

7riting: one 7as !is conviction t!at 'merica !ad een c!osen as t!e place for a ver%

special eperiment in man"s spiritual !istor%# and t!e ot!er 7as !is increasing fear t!at

evil in man can ruin t!at eperiment. *!e c!ronicle mies t!e !eroic 7it! t!e

melanc!olic# renders t!e feelings of t!e a%flo7er pilgrims 7!o estalis!ed t!emselves

at 3l%mout!.

*!is earl% period in t!e !istor% of 'merican literature is dominated % t!e religious

7ritings@ sermons pla%ed a t!reefold role: t!e% offered ne7 arguments in ongoing

t!eological deates# t!e% 7ere a part of t!e political process of t!e colonies IAlection

;a% SermonsFJ# and t!e% pla%ed a crucial role in attempts to frig!ten t!e congregation

ac4 into religious life IABeremiadsFJ. 'part from t!ese r!etorical discourses# a sense of


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7!at life in t!e /Dt!centur% mig!t !ave een is giving % diaries and again# c!ronicles# no

matter !o7 iased t!e% ma% e.

(n /9K1 appeared t!e first oo4 printed in t!e colonies: *!e assac!usetts $a% 3salm

$oo4# onl% four %ears after t!e founding of )arvard +niversit%: t!e 3uritans ma% not

!ave een great literature lovers# ut t!e% certainl% appreciated 4no7ledge and education

and# t!erefore# it is important to underline t!e fact t!at et7een /90G and /D9K a numer

of prestigious colleges 7ere founded: Lale# $ro7n# Columia# 3rinceton# 3enns%lvania#

and ;artmout!.

*!e /Dt!centur% cannot e mentioned in connection 7it! t!e novel due to t!e same

opposition of t!e 3uritans to la% 7ritings ecause of ideological reason: t!e 4ind of

literature mig!t !ave diverted people"s attention from !ard 7or4 and t!e $ile. *!ere are

at least t7o poets 7!o deserve more credit t!an epected for suc! an earl% period of'merican literature: 'nne $radstreet I/9/5- /9D5J and d7ard *a%lor I/9KHM- /D50J.

*!e eginning of t!e />t!centur% is mar4ed % t!e pulication of Cotton at!er"s

)agnalia *hristi America# a religious !istor% of 6e7 ngland. *!e first !alf of t!e

centur% egins and ends 7it! personalities t!at 7ere ot! disturing and elusive: Cotton

at!er- 3uritan igot and !unter of 7itc!es# and $enBamin ran4lin- nlig!tenment 7ise

man and friend of man4ind. *!e /Dt!centur% ended 7it! t!e 7itc!craft trials in Salem

I/905J and at!er lived in a suc! a trouled epoc!# eing torn et7een t7o anton%micdirections: t!e old 7orld of !is forefat!ers# 7it! t!eir infleile vie7 of t!e ?orld as

7ritten in t!e $ile and institutionalized in C!urc!# and t!e ne7 7orld !e 7itnesses# 7it!

t!e penetration from aroad of t!e ne7 rationalistic p!ilosop!ies associated 7it! t!e

nlig!tenment# not to mention t!e ro%al decree 7!ic! estalis!ed t!at t!e 6e7 ngland

territor% elonged to t!e 4ing# and t!erefore t!e 3uritans 7ere denied t!e rig!t to elect

t!eir o7n governors and e independent.

TEST +E E(A-AE

/. )o7 did Captain Eo!n Smit! en!ance t!e development of t!e colon% of Eamesto7nM

8spuns:


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Captain John Smith enabled a peaceful lifestyle between the colonists and the natives.

This led to the overcoming of imminent trouble during their first winter in New England

and good trade relationships.

5. ?!at is t!e origin of *!an4sgivingM

8spuns:

/ntre#&ri

/. ?!at sort of literar% tets occurred in t!e />t!centur%M8spuns:

Due to Puritanism which was largely etended amongst the inhabitants of New England

most of the tets retained a religious flavour. Cotton !ather"sMagnalia Christi America

is a typical instance of such literature.

5. ?!ic! are t!e most important poets from t!e earl% period of 'merican literatureM8spuns:

E0-)AT- TE)EI

's eing a fairl% ne7 nation# t!e !istor% of t!e +nited States starts 7it! t!e first

colonists. 'mong t!em# prominent figures suc! as Captain Eo!n Smit! enale t!e

development of t!e fort of Eamesto7n# t!us assuring a safe position for t!e $ritis!

settlers. *!e native 'merindians proved to e friendl% and good trade relations!ips 7ere

estalis!ed et7een colonizers and colonised.

,ater on in t!e !istor% of t!e +S# 7riters 7ant to create a sense of elonging and a

completel% original 'merican literature. *!e literar% tradition on t!e ne7 content

commences 7it! 'nn $radstreet and d7ard *a%lor"s old endeavors.

(n t!e />t!centur% t!e mainl% religious fiction t!rives. *!e epitome of t!e genre is

Cotton at!er"s!agnalia Christi #merica.

Tema Nr. %

E+GA AAN P"E THE FA "F THE H"-SE "F -SHE

Egar Allan Poe2s horror !iction The ou#le s'm#olism o! the t3ins Setting a!!ects character4 the relationship #et3een the house an the t3ins


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)or#iit'5 Poe2s inclination to3ars eath an violence

"#iectivele temei:

Studenii treuie s aprofundeze noiuni legate de proza scurt a lui dgar 'llan

3oe@ se pune accentul pe nuvele de groaz. ;ulul este analizat prin prisma simolismului gemenilor studenii ii nsuesc

cunosiine legate de ;oppelgNnger. ste necesar ca studenii s contientizeze legtura dintre mediul etern i

psi!ologia personaBelor.


Bi#liogra!ie recomanat&$ 3oe# dgar 'llan# *!e all of t!e )ouse of +s!er# *roll Communications ,lc#

/0>5 e%ers# Eeffre%# dgar 'llan 3oe: )is ,ife and ,egac%# Cooper Suare 3ress#

5111 $loomfield# S!elle% Costa# ver%t!ing =uide to dgar 'llan 3oe $oo4: *!e life#

times# and 7or4 of a tormented genius# 'dams edia# 511D Sova# ;a7n $.# Critical Companion to dgar 'llan 3oe: ' ,iterar% 8eference to

)is ,ife and ?or4# acts on ile# 511D

dgar 'llan 3oe 7as orn in $oston in />10# t!e son of itinerant actors. $ot! !is

parents died 7it!in t7o %ears of !is irt!. ' 8ic!mond erc!ant# Eo!n 'llan roug!t !im

up# t!roug! !e 7as never legall% adopted. *!e relations!ip et7een 3oe and !is foster-

parents 7as tensed# and more strain 7as added to it 7!en 3oe 7as forced to 7it!dra7

from t!e +niversit% of Pirginia as a direct conseuence of Eo!n 'llan"s refusal to finance

!is studies.

)is career as a 7riter egan 7it! s!ort stories# including Aanuscript found in a $ottleF

I/>GGJ# The Narrative o! Arthur Goron P'm I/>GD-/>G>J# and Tales o! the

Grotes6ue an Ara#es6ueI/>K1J. *!e term AaraesueF is 7!at est descries 3oe"s

fiction@ it 7as a term t!en current Afrom =ermanic romantic literature@ it indicates a form

of Qromance" emod%ing a pervasive iron% of intent and structure# including self-refleive

self-parod%F- =.8. *!ompson.

3oe"s suggestiveness is a tec!niue. *!e t!rills t!at ma% terrif% t!e reader# t!e feeling of

m%sterious correspondences are c!aracteristic to t!e romantic fantastic. *!e s%molic

element gains a first-placed importance in The Fall o! the House o! -sher. *!e


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description of t!e !ouse is in fact a s%molic description of t!e m%sterious c!aracter t!at

in!aits it. ' descendent of an old famil%# 8oderic4 +s!er !as ecome intimatel% lin4ed

7it! t!e ancestral !ome until t!e% cannot e told apart. *!e !ouse is an eact s%mol# is a

career of a precious function# so t!at t!e image of t!e !ouse !as not!ing of t!e vagueness

t!at t!e 8omantics loved so muc!. *a4en into consideration 7it!in t!e general contet of

t!e stor%# t!e !allucinating eaut% of t!e uilding is also a 7itness for t!e !istor% of t!e

+s!ers# great lovers of art# 7it! a passionate talent for la%rint! m%steries# rat!er t!an for

t!e ort!odo and clear eaut% of t!e musical science. *!e Aminute fungiF t!at covers t!e

!ouse in a Afine tangled 7e-7or4F is not a random detail# it implies an etreme delicac%#

similar to t!e fungi-li4e minuteness and finesse# and at t!e same time it implies caducit%.

*!e Astill perfect adaptation of partsF is comined 7it! t!e Acrumling condition of t!e

individual stonesF# translating perfectl% +s!er"s mental status# on t!e rin4 of !is terriledisaggregation# on t!e t!res!old et7een t!e most cr%stal-clear lucidit% and insanit%F-

atei Calinescu.

*!e suggestion of Aold 7ood-7or4F 4ept isolated from t!e Areat! of t!e eternal airF

ads more to t!e moral portrait of its o7ner# s%molizing t!e total seclusion# t!e lac4 of

an% contact 7it! t!e eternal 7orld# and t!e artificialit% of t!e c!aracter"s eistence#

toget!er 7it! t!e secret process of internal decomposition t!at !e lives. 'nd finall%# t!e

Aarel% perceptile fissure# 7!ic!# etending from t!e roof of t!e uilding in front# madeits 7a% do7n t!e 7all in a zigzag direction# until it ecame lost in t!e sullen 7aters of t!e

tarF alludes to t!e split personalit% t!at c!aracterizes +s!er# from t!e level of t!e intellect

and t!e conscience to t!at of its more oscure fundaments# t!e unconscious asis.

8oderic4 +s!er is one of t!e first t%pes of c!aracters t!at !ave a morid

!%persensitivit% in modern literature. Suc! a literar% !ero 7ill enBo% a special popularit%

7it! t!e S%molist and AdecadentF prose in t!e second !alf of nineteent! centur%. (t is

essential to rememer t!is ecause 3oe 7as for t!ese uropean movements one of t!e

great models# t!e idol of a 7!ole generation# eginning 7it! $audelaire and up to 3aul

Paler%. *!e most persistent motif in !is prose is t!e post!umous !eroine# and +s!er"s

sister is not an eception.

TEST +E E(A-AE


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/. ?!at is t!e relations!ip et7een 8oderic4 and adelineM

8spuns:

The relationship between brother and sister is based on an intricate connectedness.

!adeline represents the senses$ the physical aspect of life$ whereas %oderic& is in charge

with the spiritual side. They are two complementary sides of a whole$ inseparable.

5. ;emonstrate !o7 t!e s%molism of t!e t7ins ma% e applied to The 'all of the (ouse

of )sher.

8spuns:

/ntre#&ri

/. ?!at does t!e crac4 in t!e !ouse signif%M8spuns:

*t comes to signify the irreconcilable split between brother and sister. The crac& shows

how they come apart$ having completely opposing views on life. +ith the destruction of

the crumbling building the last survivors of the )sher family also disappear.

5. ?!ic! are t!e main t!emes emplo%ed % dgar 'llan 3oe in The 'all of the (ouse of

)sherM

8spuns:

E0-)AT- TE)EI

*!e tale opens 7it! t!e unnamed narrator arriving at t!e !ouse of !is friend#

8oderic4 +s!er# !aving received a letter from !im in a distant part of t!e countr%

complaining of an illness and as4ing for !is comfort. 8oderic4 later informs t!e narrator

t!at !is sister !as died and insists t!at s!e e entomed for t7o 7ee4s in a vault in t!e

!ouse efore eing permanentl% uried. *!e% inter !er# ut over t!e net 7ee4 ot!

8oderic4 and t!e narrator find t!emselves ecoming increasingl% agitated for no apparent

reason. ' storm egins. 8oderic4 comes to t!e narratorRs edroom# 7!ic! is situated

directl% aove t!e vault# and t!ro7s open !is 7indo7 to t!e storm. *!e narrator attempts

to calm 8oderic4 % reading aloud The !ad Trist# a novel involving a 4nig!t named

t!elred 7!o rea4s into a !ermitRs d7elling in an attempt to escape an approac!ing


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storm# onl% to find a palace of gold guarded % a dragon.

's t!e narrator reads of t!e 4nig!tRs forcile entr% into t!e d7elling#

crac4ing and ripping sounds are !eard some7!ere in t!e !ouse. ?!en t!e dragon is

descried as s!rie4ing as it dies# a s!rie4 is !eard# again 7it!in t!e !ouse. 's !e relates

t!e s!ield falling from off t!e 7all# a revereration# metallic and !ollo7# can e !eard.

8oderic4 ecomes increasingl% !%sterical# and eventuall% eclaims t!at t!ese sounds are

eing made % !is sister# 7!o 7as in fact alive 7!en s!e 7as entomed and t!at 8oderic4

4ne7 t!at s!e 7as alive. *!e edroom door is t!en lo7n open to reveal adeline

standing t!ere. S!e falls violentl% in deat! upon !er rot!er# 7!o dies of !is o7n terror.

*!e narrator t!en flees t!e !ouse# and# as !e does so# notices a flas! of lig!t causing !im

to loo4 ac4 upon t!e )ouse of +s!er# in time to 7atc! it rea4 in t7o# t!e fragments

sin4ing into t!e tarn.

Tema Nr. 7

E+GA AAN P"E THE A(EN

ove an sorro3 Supernatural !orces5 the raven )ental isorers resulting in maness Trou#le consciousness

"#iectivele temei: Studenii treuie s neleag concepte legate de contiina nempcat a

naratorului i consecinele dezastruoase ale unei iuiri pierdute n continuare se analizeaz neunia i dedularea personaBului Corul apare ca o contiin tulurat


Bi#liogra!ie recomanat&$ 3oe# dgar 'llan# *!e 8aven 'nd *!e 3!ilosop!% Of Composition# Tessinger

3ulis!ing# 511D Tenned%# E. =erald# ' )istorical =uide to dgar 'llan 3oe# Oford +niversit%

3ress# +S'# 511/ 3oe# dgar 'llan# Complete Stories and 3oems of dgar 'llan 3oe# ;ouleda%#

/0>K


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3oe"s famous poem A*!e 8avenF ears 7itness to t!at. (f so far t!e dead eautiful

7oman in 3oe"s stories 7as uried alive# closed 7it!in a confined space# t!e ec!olalia of

t!e poem suggests t!e sound revererations in a vault# an incantation t!at ma% protect

against t!e ird of omen# t!e raven. Seen as an emissar% of t!e po7er of dar4ness# t!e

raven utters onl% a 7ord# ec!oing t!e poet"s !opelessness. Eust li4e in !is prose# 3oe

emplo%s t!e first person# and t!e poem ecomes a monologue# fragmented !ere and t!ere

% t!e strange A6evermoreF of t!e ird. *!e dualit% 7!ite-lac4 is ver% important. *!e

lac4 raven is an oppressive s%mol. acing t!e true dar4ness# 3oe confronted At!e dread

of loneliness# t!e terrors of t!e nig!t# t!e anguis! of eing isolated 7it! one"s demon- or

raven- t!e prospect at 7!ic! ot!er men lenc!F- )arr% ,evin.

*!e time of t!e %ear and t!e time of t!e da% are of great importance# preparing t!e

entrance of t!e raven as messenger o dar4ness# and of ill omen. *!e multitude of detailsreminds t!e reader of t!e comple description of +s!er"s !ouse@ t!erefore t!e room tells a

lot aout t!e o7ner"s soul# indirectl% c!aracterizing !im. *!e poem is under t!e sign of

indefiniteness# for no s%mol is clearl% stated 7it! a precise function# all is lurred image

t!at ma% e altered ever% moment.

's 3aul Paler% 7rote aout 3oe# At!e man 7!o attempts to imagine t!e inner realit% of

t!ings can do % adapting t!e ordinar% categories of !is mind. 'l7a%s# li4e a persistent

point# t!ere is some unresolved decimal 7!ic! rings us ac4 to a feeling ofincompleteness# a sense of t!e ine!austileF. *!e same is true aout t!e 8aven as a

s%mol.

A?!at a raino7 is for merson# or t!e frozen surface of ?alden 3ond for *!oreau# or

t!e song of t!e moc4ing ird for ?!itman# or ait!"s pin4 rion for )a7t!orne# or t!e

sueezing of 7!ale sperm for elville# or a s!aft of 7inter sunlig!t for mil% ;ic4inson#

so are $erenice"s perfect teet!# or a diamond in t!e poc4et# or a lac4 cat# or a cas4 of

'montillado# for 3oe. Or# t!e reader can add# a feat!er from t!e 8aven"s lac4 coat. 3oe"s

s%mols !ave no connection 7it! nature to contaminate t!e pure suBectivit% 7it! 7!ic!

t!e% are to e read.

TEST +E E(A-AE

/. ?!at is t!e redundant refrain in *!e 8aven and 7!% is it usedM


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8spuns:

The %aven repeatedly utters the word Nevermore. *ts meaning ma&es reference to the

uncertainties of the narrator with regard to the afterlife and whether he is going to be

reunited with his beloved ,enore.

5. ?!% is t!e contrast et7een t!e plumage of t!e raven and t!e statue of 3allaceimportant to t!e meaning of t!e poemM8spuns:

/ntre#&ri/. plain 7!% t!e raven"s visit ends up in c!aos and madnessM8spuns:

+hen the narrator does not receive encouraging answers the raven is called an evil bird$

a messenger from the world of dar&ness. The narrator considers the presence of the bird

as being a bad omen and a resentfully wants to rid himself of the raven. +hen he reali-es

that the bird is actually his consciousness he becomes aware of the fact that there is no

escape.

5. )o7 does t!e atmosp!ere c!ange along t!e poemM

8spuns:

E0-)AT- TE)EI

U*!e 8avenU follo7s an unnamed narrator 7!o sits reading Uforgotten loreU as a met!od

to forget t!e loss of !is love# ,enore. ' Urapping at V!isW c!amer doorU reveals not!ing#

ut ecites !is soul to UurningU. ' similar rapping# slig!tl% louder# is !eard at !is

7indo7. ?!en !e goes to investigate# a raven steps into !is c!amer. 3a%ing no attention

to t!e man# t!e raven perc!es on a ust of 3allas.

'mused % t!e ravenRs comicall% serious disposition# t!e man demands t!at t!e

ird tell !im its name. *!e ravenRs onl% ans7er is U6evermoreU. *!e narrator is surprised

t!at t!e raven can tal4# t!oug! it sa%s not!ing furt!er. *!e narrator remar4s to !imself

t!at !is UfriendU t!e raven 7ill soon fl% out of !is life# Bust as Uot!er friends !ave flo7n

eforeU along 7it! !is previous !opes. 's if ans7ering# t!e raven responds again 7it!

U6evermoreU. *!e narrator reasons t!at t!e ird learned t!e 7ord U6evermoreU from

some Uun!app% masterU and t!at it is t!e onl% 7ord it 4no7s.


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)e t!in4s t!e air gro7s denser and feels t!e presence of angels. Confused % t!e

association of t!e angels 7it! t!e ird# t!e narrator ecomes angr%# calling t!e raven a

Ut!ing of evilU and a Uprop!etU. 's !e %ells at t!e raven it onl% responds# U6evermoreU.

inall%# !e as4s t!e raven if !e 7ill e reunited 7it! ,enore in !eaven. ?!en t!e raven

responds 7it! its t%pical U6evermoreU# !e s!rie4s and commands t!e raven to return to

t!e U3lutonian s!oreU# t!oug! it never moves. 3resumal% at t!e time of t!e poemRs

recitation % t!e narrator# t!e raven Ustill is sittingU on t!e ust of 3allas. *!e narratorRs

final admission is t!at !is soul is trapped eneat! t!e ravenRs s!ado7 and s!all e lifted

U6evermoreU.

Tema Nr. 8

NATHANIE HA9TH"NE5 THE S*AET ETTE

An accurate escription o! Puritanism an its constraints A pre:uice societ' an its ta#oos Hester Pr'nne the aulteress Guilt' consciousness an recognition o! sins

"#iectivele temei:

Studenii treuie s se familiarizeze cu aspecte legate de puritanism )ester 3r%nne este vzut ca o femeie imoral# iar preotul ;immesdale triete cu

o contiin ncrcat 3rimul roman psi!ologic din istoria literaturii americane


Bi#liogra!ie recomanat&$ )a7t!orne# 6at!aniel# *!e Scralett ,etter# 3enguin Classics@ 8evised edition#

5115 ?ineapple# $renda# )7at!orne: ' ,ife# 8andom )ouse *rade 3aperac4s# 511K

8e%nolds# ,arr% E.# ' )istorical =uide to 6at!aniel )a7t!orne# Oford+niversit% 3ress# +S'# 511/

ello7# Eames 8.# 6at!aniel )a7t!orne in )is *ime# / *!e Eo!ns )op4ins+niversit% 3ress# 00>

$ird ?rig!t# Sara!# Critical Companion to 6at!aniel )a7t!orne: ' ,iterar%8eference to )is ,ife and ?or4# acts on ile# 5119


12/46

)a7t!orne 7as orn on Kt!Eul%# />1K# in Salem# assac!usetts in a famil%

descending from important seventeent!-centur% 6e7 ngland 3uritans. Onl% four %ears

later !is fat!er# a captain in t!e nav%# died on one of !is vo%ages. 8aised % !is mot!er

7it! t!e material support of !is maternal relatives# )a7t!orne attended $o7doin College

et7een />5/ and />5H# and enBo%ed t!e compan% of some classmates li4e )enr%

?ads7ort! ,ongfello7 and ran4lin 3ierce# later to ecome 3resident of t!e +nited

States from />HG to />HD.

(n />K9 !e pulis!es anot!er volume# )oses !rom an "l )anse# ut t!e tale

did not ring !im t!e desired material independence. *!e tales illustrate )a7t!orne"s

elief t!at pictorial art is a form of magic more po7erful t!an poetr%@ !e 7as dazzled %

t!e !ig!lig!ted faces and t!e lac4 ac4grounds of 8emrandt"s portraiture. )is spiritual

structure led !im to 7!at later Perlaine 7ould sa% in !is Art Poeti6ue: A 3as la couleur#rien ue la nuanceF. *!is can e noticed full% in The Scarlet etter7!ere t!ere are

asicall% onl% t!ree colours: t!e all-encompassing gre%# lac4 and t!e vivid s!ade of red#

etter 4no7n as scarlet. *!ere is no lig!t# no definite 7!ite in t!e novel# onl% t!e dull

gre%.

3ulis!ed in />H1# t!e novel met a 7arm reception eing t!e tragic stor% of a

7oman"s s!ame and t!e cruel treatment s!e suffers at t!e !ands of t!e 3uritan societ% in

7!ic! s!e lives. )ester 3r%nne as a c!aracter proves t!at moralit% is not 7!atconventions claim to e# and t!e s%mol s!e is forced to 7ear loses its firm contours.

C!aucers 3rioress 7ore a similar letter A'F# ut t!en it signified scared love# under t!e

!eading A'mor vincit omniaF. 'miguit% undermines t!e adge# and t!e end of t!e novel

rings fort! a surprising image: AO6 ' (,;# S'$,# '6; *) ,**8 '#

=+,SF. *!is reminds t!e reader of a !eraldic escutc!eon# redeeming )ester and

placing !er 7it!in t!e c!ivalrous in!eritance of t!e ladies 7it!out lemis!# a virtual

adonna carr%ing in !er arms t!e innocent infant.

*!e relations!ip et7een open s!ame and inner guilt ecomes more and more

po7erful 7it! t!e passage of time# and t!e antit!etic c!aracters&)ester 7it! !er

admirale strengt!# and 8everend ;immesdale 7it! !is oral co7ardice & are roug!t into

an even s!arper contrast 7it! t!e evil forces. *!is austian figure illuminates even more

t!e ot!er t7o.


13/46

;immesdales guilt 7ill e eposed in t!e end# 7!en !e ares !is c!est to s!o7

t!e counterpart of )esters letter engraved on !is fles!. (f t!e novel opens 7it! an

enormous A'F proBected on t!e reddis! s4%# t!is gesture purges t!e reverend of t!e sin#

and !is deat! atones for t!e trespass of t!e sevent! Commandment.

$ut t!e dar4est figure is C!illing7ort!@ ;immesdales 7ords confirm t!at

A*!at old man"s revenge !as een lac4er t!an m% sin. )a !as violated# in cold lood# t!e

sanctit% of a !uman !eart. *!ou and (# )ester# never did so.F 's )arr% ,evin commented#

A7!ile t!eir trespass !as een sensual passion# C!illing7ort!s is intellectual prideF.

ven !is name etra%s !is frigid nature# !e is malevolence incarnated# possil% even t!e

dar4 side of ;immesdales conscience# !is private demon t!at torments !im.

(n t!is novel# t!e colour red acuires ot!er connotations t!an usuall%# standing

not onl% for love# ut also for life. On t!e ot!er !and# lac4 is deat!# and )ester iscompared in t!e eginning to a lac4 flo7er IA(t is our fate. ,et t!e lac4 flo7er lossom

as it ma%YFJ# 7!ile in t!e end# on t!e reverend"s tom onl% lac4 7eeds gro7 at leisure.

*!e fruit of t!eir sinful relations!ip is t!e lac4-e%ed 3earl# 7!ose name rings in t!e

7!iteness and rillianc% of t!e pearl & in t!e C!ristian tradition it s%molises t!e asolute

purit% and sacredness# eing used to adorn Pirgin ar%s icons. (t is t!e onl% s!aft of

lig!t in t!e novel# t!e rest of t!e 7riting is ver% muc! li4e t!e paintingsf 8emrandt.

*!e tec!niue )a7t!orne used underlines t!e idea t!at t!e past is not aprolem# and The Scarlet etter is a transition to t!e present time# At!oug! t!at

convention of t!e !istorical novel 7!ic! evo4es t!e stor% from faded relics and fictitious

documentsF. *!e piece of emroidered clot! t!at still retains some of t!e splendour of t!e

stitc!-7or4 is ver% muc! similar to t!e clot! of time# on 7!ic! t!ese possile events !ave

traced a complicated pattern.

TEST +E E(A-AE

/. ?!at is t!e s%molism of t!e letter 'M8spuns:

(ester has to wear a scarlet # as a punishment for having committed adultery. The

Puritan society harshly blames her for her behaviour and she is isolated. The letter had

to be worn so that everybody &new what she had done wrong and udged her accordingly.


14/46

5. ?!% is 3earl considered to e a s%mol in t!e novelM8spuns:

/ntre#&ri/. ?!% !as t!is novel een considered a ps%c!ological oneM

8spuns:

The Scarlet ,etter antedates !odernism as it employs an early form of stream of

consciousness. Everything is presented under the form of the character"s thoughts$

feelings$ and reactions.

5. (n *!e Scarlet ,etter# 7!% does )ester remain in $ostonM8spuns:

E0-)AT- TE)EI)ester 3r%nne arrives in t!e small communit% of $oston and 7aits for !er elderl%

!usand to Boin !er. ?!en !e fails to come# s!e elieves !e is lost at sea. )ester finds

love net to 8everend 'rt!ur ;immesdale and t!e% even !ave a daug!ter# 3earl. *!eir

relations!ip cannot e made pulic and )ester ravel% guards t!e secret# despite t!e cruel

treatment s!e receives from t!e 3uritan communit%.

)ester must 7ear a scarlet letter ' sa7n to !er dress. (t stands for adulteress and

c!anges )ester"s life. S!e !as to live in complete isolation# ecoming a paria!.

(n t!e meantime !er !usand# 8oger C!illing7ort!# arrives and plans to ta4e !is

vengeance. )e moves in 7it! 8everend ;immesdale 7!ose !ealt! is 7orsening. 6ood%

4no7s t!e cause of t!e parson"s illness ut C!illing7ort! senses t!at t!ere is a connection

et7een t!e cleric and !is 7ife.

't t!e end of t!e oo4 'rt!ur ;immesdale confesses in front of t!e entire

communit% t!at !e is t!e greatest sinner. )e can no longer face a guilt% consciousness.

'fter telling t!e trut! !e is reconciled 7it! !is daug!ter 3earl and drops dead.

Tema Nr. ;

HE)AN )E(IE5 )"B< +I*=

Ishmael the narrator The s'm#olism o! the colour 3hite


15/46

Aha#2s monomaniacal pursuit o! the 3hale "ther characters 3ho contrast Aha#

"#iectivele temei: Studenii treuie s i nsueasc noiuni legate de punct de vedere i narator Simolismul culorilor Osesia cpitanului '!a $alena al vzut ca i for supranatural


Bi#liogra!ie recomanat&$ elville# )erman# o% ;ic4# )a7t!orne# 3enguin Classics@ 8evised edition#

5115 ;elanco# 'ndre7# elville: )is ?orld and ?or4# Pintage# 5119

'rvin# 6e7ton# )erman elville# =rove 3ress# 5115 ,evine# 8oert S.# *!e Camridge Companion to )erman elville# Camridge+niversit% 3ress# /00>

)a%es# Tevin E.# *!e Critical 8esponse to )erman elville"s o% ;ic4#=reen7ood 3ress# /00K

elville 7as descended from a distinguis!ed 6e7 ngland famil% of a merc!ant#

an offspring of t!e elville and =ansevoort ancestors@ t!e deat! of !is 7ealt!% fat!er

plunged !im from a trul% patrician 7orld into t!e precarious 7orld of t!e sailors# cler4s#

farm laourers# and slaves# most of t!em 7!o 7ill e later c!aracters in !is fiction. *!e

an4ruptc% of !is fat!er placed !im at t!e intersection of t7o opposing 7orlds# and t!e

tension eperienced in suc! a position 7as reflected in !is o7n perspective on !is societ%

of t!e time. elville 7as forced to aandon sc!ool for good# and t!en tr% to find a stead%

source of income & 7or4ing as a cler4 in a an4# as a laourer on !is uncle"s farm# as a

district sc!ool teac!er in rural assac!usetts.

(n />H1 anot!er novel rooted in !is autoiograp!% is pulis!ed# 9hite5>ac?et$ or

The 9orl in a )an5o!59ar. *!e s%mol t!at controls t!e oo4 is t!at 7!ite Bac4et#

7orn % t!e narrator# representing innocence. (t also signified t!e out of t!e ordinar%# a7a% to single out its earer from t!e mass of t!e cre7.

*!e intractale and uninscried lan4 is to !ave its full representation in t!e

?!ite ?!ale# in )o#'5+ic?I/>H/J. (n order to find t!e trut! e!ind t!at s!in% surface#


16/46

e!ind t!e rig!tness of 7!ite# t!e reader !as to proceed in t!e manner of 8oland $art!es

7!en reading t!is novel.

*!e ?!ite ?!ale is ot! 7!iteness and lac4ness# li4e t!e sea itself & ot! life

and deat! are given % t!e immense 7ater% surface of t!e ocean. *!e meaning of

7!iteness is est put into 7ords % elville in t!e novel: Ain essence 7!iteness is not so

muc! a colour as t!e visile asence of colour# and at t!e same time t!e concrete of all

colours@ it is for t!ese reasons t!at t!ere is suc! a dum alc4ness# full of meaning# in a

7ide landscape of sno7s a colourless# all-colour of at!eism from 7!ic! 7e s!rin4MF

*!is is 7!at !appens to all tet readings# t!e meaning retreats 7it!in# ma4ing

more difficult t!e 7or4 of decoding t!em. 's )arold $eaver concludes# A!ere it is an

infinite regress of meaning among circling signs of all semiological s%stems. )ere 7e

reac! t!e ver% edge of t!e tetual a%ss# t!e et%mological vorte# to 7!ic! t!e vo%age oft!ePe/uodIt!e name of an etinct trie of assac!isetts (ndiansJ inevital% drivesF.

'!a"s osession 7it! t!e ?!ite ?!ale !as roug!t !im closer to it t!an !e could

admit# until it reac!es t!e dangerous point of eing almost li4e it# onl% in t!e 7orld of

!uman eings. *!e portrait of '!a includes t!e famous ivor% leg# Bust li4e t!e fangs of

t!e 7!ale# and t!e duel et7een t!em is one of 7ills. $ut 7!ile t!e captain"s

determination is undermined % t!e t!oug! of revenge# t!e 7!ale is e%ond an% !uman

emotion# it is Bust li4e nature itself. *!erefore# '!a is doomed from t!e ver% eginningand t!e sin4ing of t!ePe/uodin t!e middle of a 7!ite 7!irlpool seals not a victor% of

o% ;ic4# ut an ending Bust as it s!ould !ave een.

*!e oo4 is apparentl% (s!mael"s# and t!e narrative is !is uest for At!e

ungraspale p!antom of lifeF@ ut at t!e same time it can e read as t!e reader"s uest for

t!e meaning. (t is t!en an initiation: accompanied % (s!mael# t!e reader can safel%

unfold t!e strata of t!e tet and go eneat! t!e apparent tragic vision and insanit%. '!a

is osessed 7it! t!e ?!aleZ?ord# ut !is total focus on it erases all life around !im# and

!is madness can e compared to t!at of ;on [uiote to an etent. )is !unt egan in a

recognizale 7orld and slo7l% dissipated into t!e m%sterious and terrif%ing.

*!roug! (s!mael"s e%es# t!e reader perceives certain aspects t!at function as clues

in t!e tet@ A!aving distanced !imself from Qcraz% '!a" and !is rage at Creation# (s!mael

leads us ac4 to a 7ild ut inescapale s%mpat!% IQ?onder %e t!en at t!e fier% !untZ" J# as


17/46

if our !orror at t!e sno7-fields of universal emptiness found its vent in '!a"s delusion

of an "audacious# immitigale# and supernatural revenge" A.

TEST +E E(A-AE

/. ?!at is t!e reason t!at ma4es (s!mael call '!a craz%M8spuns:

#lthough #hab"s search is one of great importance for the crew because is the indicator

of their so called destination *shamel reali-es that this voyage is one of powerful

importance in #hab"s life consuming him away and offering no escape from the perpetual

search of meaning and fulfilment.

5. ?!at are t!e main s%mols eisting in t!e novelM

8spuns:

/ntre#&ri/. ?!% does '!a 7ant to 4ill t!e 7!ale 7it! t!e price of !is lifeM8spuns:

*t is the whale that too& his leg and he wants revenge for the whale ta&ing his leg but he

twisted part is that obsession ends up ta&ing his life.

5. ?!at is t!e importance of t!e ilical references in t!e novelM

8spuns:

E0-)AT- TE)EI

o% ;ic4 is a profound anal%sis of !uman nature. (s!mael# t!e narrator tells t!e

stor% of Captain '!a 7!o is osessed 7it! capturing t!e 7!ite 7!ale# to 7!ic! !e !ad

lost !is leg. *!e action unfolds on oard t!e 3euod and t!ere are ver% man% c!aracters#

sailors# mates# cains o%s and mad prop!ets 7!o pla% more or less important roles.

*!e s%molism of colours is of paramount importance to t!e correct interpretation

of t!e tet. *!e colour 7!ite !as an upside do7n significance@ it alludes to t!e un4no7n#to a superior eing# even ;ivinit%.

*!e novel !as an enc%clopaedic c!aracter as it reunites 7it!in its orders

information coming from a large range of fields. *!is tec!niue adds and innovative

flavour to t!e novel.


18/46

Tema Nr. @

FAN*IS S*"TT FIT0GEA+5 THE GEAT GATSBa Age, prohi#ition, gangsters, the ne3 3oman The American +ream ove versus !inancial interest Esta#lishe aristocrac' an the ne3l' rich

"#iectivele temei: Studenii se familirizeaz cu epoca Bazz-ului ste o epoc a emanciprii femeii# a gangsterilor#a petrecerilor zgomotoase i a

pro!iiiilor Societatea este mprit n aristocrai i noi mogii 3ovestea de dragoste ntre =ats% i ;ais% nu se poate desfura n condiii

normale


Bi#liogra!ie recomanat&$ itzgerald# . Scott# *!e =reat =ats%# Scriner# /000 3elzer# ,inda C.# *!e Student Companion to . Scott itzgerald# =reen7ood

3ress# 5111 Curnutt# Tir4# ' )istorical =uide to . Scott itzgerald# Oford +niversit% 3ress#

+S'# 511K )andle# ;avid# *!e an ?!o ?ould $e . Scott itzgerald# ( $oo4s# 5115

. Scott itzgerald 7as a romantic and even tragic figure: !e 7as a rilliant

7riter 7!o ac!ieved success 7it! !is first novel IThis Sie o! Paraise, /051J#

participated in t!e glamorous epatriate life in rance during t!e /051s# and t!en

eperienced a series of personal and professional lo7s during t!e /0G1s.

(n /05H# itzgerald pulis!ed The Great Gats#'# generall% regarded as !is

est novel. *!e stor% of Ea% =ats%# 7!o as a poor %oung man !as lost t!e ric! girl !eloved to a man of !er o7n class# !as suseuentl% ecome ric! !imself# and !as come to

live in a near% mansion 7!ere !e gives etravagant parties 7it! t!e sole aim of

impressing !er# is a strangel% poignant one. 'nd altoug! t!e m%sterious and glamorous

fa\ade of !is life is to collapse# and !is dream is to e s!attered# !e is a romantic figure to


19/46

t!e end. 6ot so t!e congenitall% ric! *om $uc!anan# t!e man 7!om t!e girl ;ais% !as

married: !is unsoug!t 7ealt! !as made !im !ard# self-centred and purposeless.

itzgerald uses 6ic4 Carra7a% as t!e narrative consciousness for Ea%

=ats%"s stor%# and % doing t!is !e gives t!e reader t!e contrasting perspectives t!at call

ot! =ats%s and 6ic4"s motivations into uestion.

*. S. liot called Gats#'At!e first step t!at 'merican fiction !as ta4en

since )enr% EamesF. (n!eritor of an intensel% 'merican disposition t!at is simultaneousl%

a lessing and a urden# =ats% tries to impose !is dream on t!e realit% around !im# and

t!is is !is do7nfall.

*!e time t!eme encompasses t!e related t!emes of mutailit% and loss.

+ltimatel% t!e novel is aout 'merican !istor%# compounding t!e time t!eme and t!e

aspiration t!eme. 'fter =ats%s dream 7orld !as een smas!ed# 6ic4 identifies more closel%

7it! !im ecause !e s%mpat!izes 7it! t!e impulses t!at led !im to construct it.(isis t!e

onl% version of =ats%s inner 7orld in t!e moments efore !is deat! t!at t!e narrative

offers. (n a 7a% 6ic4 and =ats% are dual versions of t!e same eperience. *!e polarities

of t!e ecstatic vision and t!e nig!tmare vie7 of life are euall% distorting 7a%s of seeing

realit%. =ats% 7ill never acuire t!e necessar% corrective vision# and 6ic4 is left a

legac% !e !as to fulfill. =ats%s destin% is a dream 7it!in a dream. Eimm% =atz ecame Ea% =ats%#

u% in t!e process !e did not c!ange !imself eing trapped 7it!in t!at past summer. *!e

c!anges referred to t!e appearances: =ats% turned !imself into an elegantl% clad %oung

man# etremel% ric! and !andsome# %et never full% accepted in t!e !ig! societ% of 6e7

Lor4. *!e image of ;ais% and !er luurious lifest%le made !im 7ant to endo7 t!e 7orld

7it! eaut% and grace. )is mista4e is t!at !e elieved t!at dreams can offer t!e promise

At!at t!e roc4 of t!e 7orld 7as founded securel% on a fair"s 7ing" as itzgerald 7rote in

t!e novel.

=ats%s love stor% is more t!an a simple stor%: it suggests t!e purit% of

c!ild!ood 7!en fairies and t!eir 7onderful deeds seemed possile. (t also suggests a

m%t!ical past of !uman innocence.


20/46

=ats% is an isolated figure# too asored 7it! !imself to see t!at !e 7as

c!asing t!e impossile. *!at moment of revelation 7!en !e 4issed ;ais% in /0/D !as

uniuel% singled !im from t!e mass of %oung men and gave irt! to t!at fatal osession.

)is vision is totall% egocentric. ;ais% is t!e oBect of !is 7ors!ip# ut s!e is allo7ed no

7arm !umanit%# no autonomous life of !er o7n as a 7oman. =ats% is enclosed in a

7orld invented % !imself# and lind to an% ot!er alterations t!at mig!t !ave occurred in

;ais%"s life# or in t!e 7orld around !im for t!at matter. *!e 7oman 7it! t!e flo7er name

is continuall% measured up to !is vision of !er@ t!e impossiilit% of !is dream is once

more mar4ed drasticall% % t!e discrepanc% et7een t!e illusion of !er and realit%. ;eat!

is t!e onl% solution to t!is contradiction@ once =ats% glimpses t!e trut!# !e still denies it

ut !e cannot ignore it# and on t!e ot!er !and !e could not live 7it! t!is ne7 discover%.

)is idol !ad to remain perfect# mainl% ecause !e cannot accept t!at !e 7as 7rong.(f =ats% is ot! dreamer and corrupt# 6ic4 Carra7a% sees !imself as Aa guide# a

pat!finder# an original settlerF. 's t!e reader ma% !ave noticed# 6ic4 is a possile Ea%

=ats%# ut 7iser and etter prepared to face t!e societ% of t!eir times.

*!e novel moves in circles# spiralling to7ard t!e core# and in t!e end 6ic4

moves to t!e centre of t!e narrative.

itzgerald allo7s 6ic4 to claim aut!ors!ip of t!e novel. )e retells even t!ose events t!at

!ave ta4en place efore 6ic4"s arrival on t!e stage# and t!is ma4es 6ic4"s mind andet!ical crisis t!e focus of t!e 7!ole narrative. +ltimatel%# !is s%nt!esis of t!e 7asteland

and t!e dream ends t!e novel.

TEST +E E(A-AE

/. ?!at is t!e s%molism of colours in t!e novelM8spuns:

The most used colours are white and yellow$ which may also be found in the flower daisy.

So the name of the main female character embraces this symbolism. Daisy"s dresses are

always white and so they do not stand for her purity$ but for contrasting character with

this idea reiterated in the tet. +e also find the golden accessories$ which stand for the

great amount of money that surrounds them and gives them suc& a lac& of self awareness.


21/46

5. ;iscuss =ats%"s c!aracter.8spuns:

/ntre#&ri/. ?!at is t!e role t!at 6ic4 !as in t!e novelM

8spuns:Nic& does not only represent the narrator of the story but also the mirror of what is goingon in the novel. (e introduces the reader in a world of inner revealing of character. +e

have a biased opinion concerning the events ta&ing place in the novel.

5. ?!% does *om t!in4s civilization is going to piecesM8spuns:

E0-)AT- TE)EI

*!e stor% is told % 6ic4 Carra7a% 7!o !as Bust moved net to t!e luurious

mansion elonging to Ea% =ats%. *!e t7o uic4l% ecome friends and 6ic4 finds out

t!at !is cousin ;ais% is t!e lifelong interest of !is neig!our.

Ea% !as made a lot of mone% out of illegal usiness# most proal% traffic4ing

alco!ol and is no7 ac4 to 7in ;ais%"s !eart. +nfortunatel% ;ais% is no7 married to *om

$uc!anan# a 7ealt!% aristocrat. *!eir marriage is un!app%@ *om c!eats on !er and s!e in

t!e end resolves to start an affair 7it! =ats%.

(n t!e end %rtle is run over % ;ais% 7!o is driving =ats%"s car. %rtle"s

!usand elieves =ats% 4illed !er on purpose and decides to murder !is 7ife"s supposedlover. =ats% is found dead in !is s7imming pool. Onl% fe7 people attend t!e funeral

and ;ais% decides to go on 7it! !er life.

Tema Nr.

EANEST HE)ING9A


22/46

igura mac!o-ului este reprezentat de locotenentul rederic4 )enr%


Bi#liogra!ie recomanat&$ ello7# Eames 8.# )eming7a%# ' ,ife ?it!out Conseuences# ;a Capo 3ress#/00G

$a4er# Carlos# )eming7a%# 3rinceton +niversit% 3ress# /1D5 )eming7a%# arnest# ' are7ell to 'rms# Scriner# /00D e%ers# Eeffre%# )eming7a%: ' $iograp!%# ;a Capo 3ress# /000

$orn in Oa4 3ar4# a respectale C!icago suur# rnest )eming7a% 7as t!e

son of a doctor 7!o 7as also a 4een sportsman. $efore ecoming a reporter in /0/D !e

run t7ice from !ome# t!us announcing a reel spirit# a non-conformist. (n /0/> !e 7as a

volunteer amulance driver on t!e (talian front@ !e 7as adl% 7ounded# ut !e returned to

serve t!e last fe7 7ee4s of t!e 7ar 7it! t!e (talian infantr%. *!e irst ?orld ?ar !ad a

terrile effect on !im# visile in t!e succession of c!aracters !e 7as to create 7it! ot!

p!%sical and ps%c!ological effects.

*!e net novel pulis!ed % )eming7a% 7as A Fare3ell to Arms I/050J#

t!e result of ten %ears digestion of !is eperiences in t!e irst ?orld ?ar. *!e central

c!aracter is rederic4 )enr%# a %oung 'merican 7!o is in (tal% 7!en 7ar rea4s out and

7!o enlists 7it! t!e (talian amulance unit. )e is 7ounded# and !is convalescencecoincides 7it! a love affair et7een !im and t!e $ritis! nurse# Cat!erine $arcla%. )enr%

returns to t!e front ut !e 7itnesses a c!aotic retreat# and t!e insanit% for suc! a 7orld

ma4es !im 7ant to reBoin Cat!erine. )e is osessed % t!e feeling t!at ever%t!ing 7ort!

caring for is eing destro%ed and % t!e fear t!at t!e 7orld 7ill soon catc! up 7it! !im

and Cat!erine. 'lt!oug! t!e% see4 refuge in t!e S7iss 'lps# At!e 7orldF !as t!e last

7ord: ot! Cat!erine and t!e c!ild die.

*!e 4e%note of t!is novel is not terror# ut doom. *!is impartialit% of deat! is

cruel# for deat! falls on eart! li4e a stead% rain# ma4ing place for ot!er men and 7omen

to !ave dreams and !opes# onl% to rea4 t!em too in t!e end. 6ature finds its final unit%

in deca%.

$ut t!ere is also t!e unit% of love. ?it!in t!e great circle of deca%# t!e t7o

lovers strive to 4eep intact. $ut soon t!is At7o of usF ecomes AoneF# ecause Cat!erine


23/46

simpl% melts a7a% 7it!in )enr%"s personalit%# ut even t!is does not prevent t!e tragic

ending. *!e circle tig!tens# and love too finds its unit% in doom.

*!e t7o stories# one of love and one of 7ar# are in fact realized after t!e

model stor% 7it!in a stor%. *!e% are contrasted# t!oug! t!e love stor% unfolds 7it!in t!e

igger contet of t!e 7ar stor%.

' second contrast is t!at et7een time internal and time eternal. *!e oo4

represents a %ear in t!e life of rederic4 )enr%# eginning 7it! t!e spring of /0/D. *!us

natural time is encompassing# determining and doule-faced. (ts contrast pressure is felt

in t!e novel# not Bust in terms of da%s# seasons and 7eat!er# ut also as time over 7!ic!

!uman eings !ave no control

*!e tet presents t7o transformations t!at occur in )enr%: one is due to t!e

eperience of 7ar# t!e terrile events !e lived I!is 7ound# t!e retreat# and t!e deat! of afriend# '%mo# and t!e eecutions at t!e ridgeJ. *!e ot!er transformation is roug!t aout

% love. 't t!e eginning of t!is love stor%# )enr% reveals !imself as a self-centred

person# incapale of commitment. Step % step !e learns to commit !imself to Cat!erine#

to care for !er. *!e process is favoured % Cat!erine"s attitude# s!e is preoccupied 7it!

)enr%"s interests and protects !im. *!e% complete eac! ot!er# and t!is ma4es t!eir

relations!ip 7or4.

$ut t!e end of t!e novel rings anot!er turn in )enr%"s inner development:after Cat!erine"s deat!# !e regresses to a former self# indifferent to t!e fate of t!e ants !e

7atc!ed urning 7!en !e 7as a c!ild. )is anger rends t!e faric of t!e narrative and re-

invo4es a time t!at precedes !is eperience of 7ar and love.

TEST +E E(A-AE

/. ?!% does ,ieutenant rederic4 )enr% aandon t!e frontM8spuns:

The male protagonist abandons the front out of profound love for Catherine 0ar&ley. (e

does not behave in a typical macho way$ leaving aside patriotism and the sense of duty in

order to be reunited with the loved one.

5. ?!at is t!e interconnection et7een t!e aut!or and !is male protagonistsM

8spuns:


24/46

/ntre#&ri/. ?!at are t!e main features of )eming7a%"s st%leM8spuns:

(is main ability lies in the fact that he can present events in simple$ yet powerful

sentences where there is no space for lengthy descriptions or sentimentality. The focus of

his writing is always on facts.

5. ?!% are love and 7ar central to a proper understanding of t!e novelM

8spuns

E0-)AT- TE)EI

' are7ell to 'rms dra7s !eavil% on t!e time arnest )eming7a% spent as an

amulance driver in nort!ern (tal% during t!e irst ?orld ?ar.,ieutenant rederic4 )enr%# an 'merican amulance driver 7it! t!e (talian 'rm%

fig!ting on t!e 'ustrian front# falls in love 7it! an nglis! nurse# Cat!erine $ar4le%.

*!e% are posted to different places# ut meet up again in ilan# 7!ere rederic4 is

convalescing after eing 7ounded. Cat!erine gets pregnant ut rederic4 must go ac4 to

t!e front. )aving almost een eecuted % t!e carainieri for aandoning t!e attle front#

!e decides to desert and !ead for S7itzerland 7it! Cat!erine. *!e% live !appil% toget!er

for a fe7 mont!s ut Cat!erine and !er c!ild die during c!ildirt!.(n ' are7ell to 'rms rain represents deat! and t!e protagonist goes ac4 to t!e

!otel in a !eav% s!o7er.

Tema Nr. D

EANEST HE)ING9A


25/46

Bi#liogra!ie recomanat&$ )eming7a%# arnest# *!e Complete S!ort Stories of arnest )eming7a%#

Scriner# /00> ;urst Eo!nson# Claudia# +nderstanding elville"s S!ort iction# =reen7ood

3ress# 511H

$r%ant# Eo!n# elville and 8epose: t!e 8!etoric of )umour in t!e 'merican8enaissance# Oford +niversit% 3ress# +S'# /00G

)eming7a%"s last maBor 7or4 7as The "l )an an the SeaI/0H5J# 7!ic!

7on !im a 3ulitzer 3rize and in t!e /0HK 6oel prize.

)e confesses: A( am glad 7e do not !ave to tr% to 4ill t!e starsF. (n t!ese simple

7ords t!e aut!or states t!e !uman condition# and t!e s!ar4s are t!e agents of destruction

t!at in!ait man"s mind. Piolence engages ot! freedom and necessit%@ true terror must

correspond to one 7it!in t!e individual# an emptinessZvoid t!at mar4s people.

*!e Old an and t!e Sea is t!e stor% of an epic struggle et7een an old# seasoned

fis!erman and t!e greatest catc! of !is life. or eig!t%-four da%s# Santiago# an aged

Cuan fis!erman# !as set out to sea and returned empt%-!anded. So conspicuousl%

unluc4% is !e t!at t!e parents of !is %oung devoted apprentice and friend# anolin# !ave

forced t!e o% to leave t!e old man in order to fis! in a more prosperous oat.

6evert!eless# t!e o% continues to care for t!e old man upon !is return eac! nig!t. )e

!elps t!e old man tote !is gear to !is rams!ac4le !ut# secures food for !im# and discusses

t!e latest developments in 'merican aseall# especiall% t!e trials of t!e old manRs !ero#

Eoe ;iaggio. Santiago is confident t!at !is unproductive strea4 7ill soon come to an

end# and !e resolves to sail out fart!er t!an usual t!e follo7ing da%.

On t!e eig!t%-fift! da% of !is unluc4% strea4# Santiago does as promised# sailing

!is s4iff far e%ond t!e islandRs s!allo7 coastal 7aters and venturing into t!e =ulf

Stream. )e prepares !is lines and drops t!em. 't noon# a ig fis!# 7!ic! !e 4no7s is a

marlin# ta4es t!e ait t!at Santiago !as placed one !undred fat!oms deep in t!e 7aters.

*!e old man epertl% !oo4s t!e fis!# ut !e cannot pull it in. (nstead# t!e fis! egins topull t!e oat.

+nale to tie t!e line fast to t!e oat for fear t!e fis! 7ould snap a taut line# t!e

old man ears t!e strain of t!e line 7it! !is s!oulders# ac4# and !ands# read% to give

slac4 s!ould t!e marlin ma4e a run. *!e fis! pulls t!e oat all t!roug! t!e da%# t!roug!

t!e nig!t# t!roug! anot!er da%# and t!roug! anot!er nig!t. (t s7ims steadil% nort!7est


26/46

until at last it tires and s7ims east 7it! t!e current. *!e entire time# Santiago endures

constant pain from t!e fis!ing line. ?!enever t!e fis! lunges# leaps# or ma4es a das! for

freedom# t!e cord cuts !im adl%. 'lt!oug! 7ounded and 7ear%# t!e old man feels a deep

empat!% and admiration for t!e marlin# !is rot!er in suffering# strengt!# and resolve.

On t!e t!ird da% t!e fis! tires# and Santiago# sleep-deprived# ac!ing# and

nearl% delirious# manages to pull t!e marlin in close enoug! to 4ill it 7it! a !arpoon

t!rust. ;ead eside t!e s4iff# t!e marlin is t!e largest Santiago !as ever seen. )e las!es it

to !is oat# raises t!e small mast# and sets sail for !ome. ?!ile Santiago is ecited % t!e

price t!at t!e marlin 7ill ring at mar4et# !e is more concerned t!at t!e people 7!o 7ill

eat t!e fis! are un7ort!% of its greatness.

's Santiago sails on 7it! t!e fis!# t!e marlinRs lood leaves a trail in t!e

7ater and attracts s!ar4s. *!e first to attac4 is a great ma4o s!ar4# 7!ic! Santiagomanages to sla% 7it! t!e !arpoon. (n t!e struggle# t!e old man loses t!e !arpoon and

lengt!s of valuale rope# 7!ic! leaves !im vulnerale to ot!er s!ar4 attac4s. *!e old man

fig!ts off t!e successive vicious predators as est !e can# staing at t!em 7it! a crude

spear !e ma4es % las!ing a 4nife to an oar# and even cluing t!em 7it! t!e oatRs tiller.

'lt!oug! !e 4ills several s!ar4s# more and more appear# and % t!e time nig!t falls#

SantiagoRs continued fig!t against t!e scavengers is useless. *!e% devour t!e marlinRs

precious meat# leaving onl% s4eleton# !ead# and tail. Santiago c!astises !imself for goingAout too far#F and for sacrificing !is great and 7ort!% opponent. )e arrives !ome efore

da%rea4# stumles ac4 to !is s!ac4# and sleeps ver% deepl%.

*!e net morning# a cro7d of amazed fis!ermen gat!ers around t!e s4eletal

carcass of t!e fis!# 7!ic! is still las!ed to t!e oat. Tno7ing not!ing of t!e old manRs

struggle# tourists at a near% caf] oserve t!e remains of t!e giant marlin and mista4e it

for a s!ar4. anolin# 7!o !as een 7orried sic4 over t!e old manRs asence# is moved to

tears 7!en !e finds Santiago safe in !is ed. *!e o% fetc!es t!e old man some coffee

and t!e dail% papers 7it! t!e aseall scores# and 7atc!es !im sleep. ?!en t!e old man

7a4es# t!e t7o agree to fis! as partners once more. *!e old man returns to sleep and

dreams !is usual dream of lions at pla% on t!e eac!es of 'frica.

TEST +E E(A-AE


27/46

/. ?!at is t!e s%mol of t!e marlinM8spuns:

!agnificent and glorious$ the marlin symboli-es the ideal opponent. *n a world in which

1everything &ills everything else in some way$2 Santiago feels genuinely luc&y to findhimself matched against a creature that brings out the best in him3 his strength and

courage$ his love and respect.

5. plain t!e crucifiion imager%.

8spuns:

/ntre#&ri/. ?!at do !is dreams signif%M8spuns:

Santiago dreams his pleasant dream of the lions at play on the beaches of #frica three

times. 0ecause Santiago associates the lions with his youth$ the dream suggests the

circular nature of life. #dditionally$ because Santiago imagines the lions$ fierce

predators$ playing$ his dream suggests a harmony between the opposing forces4life and

death$ love and hate$ destruction and regeneration4of nature.

5. plain t!e parallels eisting et7een Santiago and t!e classic !eroesM

8spuns:

E0-)AT- TE)EI

)eming7a% 7rote *!e Old an and t!e Sea I/0H5J# t!e stor% of an elderl%

fis!erman"s lonel% struggle 7it! t!e fis! and t!e sea# and !is victor% in defeat. *!e oo4

7as an instant success. (t 7on t!e 3ulitzer 3rize and ultimatel% led to t!e /0HK 6oel

3rize for literature.

's t!e old man struggles up t!e !ill 7it! !is mast across !is s!oulders# t!e reader

cannot !elp ut recall C!ristRs marc! to7ard Calvar%. ven t!e position in 7!ic! !e

collapses on !is ed^!e sleeps facedo7n on t!e ne7spapers 7it! !is arms out straig!t

and t!e palms of !is !ands up^rings to mind t!e image of C!rist suffering on t!e cross.

Tema Nr.


28/46

9IIA) FA-=NE5 IGHT IN A-G-ST

Presentation o! the count' o! oe *hristmas, a mongrel 3ho cannot !in his place in societ' Pro5segregation versus anti5slaver'

"#iectivele temei: Studenii sunt familiarizai cu inutul imaginar numit Lo4napata7p!a Sunt deztute proleme cu coninut rasial# proleme cu care se confrunt

locuitorii sudului Eoe C!ristmas este vzut ca un personaB neadaptat# datorit originii sale dule 'luziile ilice sunt frecvente

Timpul alocat temei$ % oreBi#liogra!ie recomanat&$ aul4ner# ?illiam# ,ig!t in 'ugust# Pintage (nternationalZ8andom )ouse# /00/ 3orter# Carol%n# ?illiam aul4ner: ,ives and ,egacies# Oford +niversit% 3ress#

+S'# 511D *o7ner# *!eresa .# *!e Camridge (ntroduction to ?illiam aul4ner#

Camridge +niversit% 3ress# 511> ,oris Polpe# dmond# S%racuse +niversit% 3ress# 511G $lotner# Eosep!# aul4ner: ' $iograp!%# +niversit% 3ress of ississippi# 511H

$ut t!e determing factor in t!e social life of t!e Sout! 7as t!e issue of

lac4 and 7!ite. *!is is present in almost ever%t!ing aul4ner 7rote# and in t!e net t7o

novels !e confronted it full-force: ight in August I/0G5J and A#salom A#salom

I/0G9J. aul4ner eplained t!at t!e cr%ptic title of t!e first novel refers to ,ena# a

c!aracter in t!e oo4# s!e is Alig!t in 'ugustF 7!en s!e gives irt! to !er c!ild.

)ere t!e mental landscape of t!e Sout! is portioned into t!ree separate fields

on 7!ic! operates representatives of t!ree different attitudes to7ards life. *7o of t!em

are plainl% osessions# represented % males c!aracters as main protagonists. (t is t!eosession 7it! t!e past# t!e defeat of t!e Sout!# 7!ic! freezes t!e 8everend )ig!to7er

into mental and emotional stagnation and sterilit%. *!en t!ere is t!e osession 7it! lood

and race# t!e victims of 7!ic! are Eoe C!ristmas I t!e man under suspicion of 6egro

$lood J and# in a reverse sense# Eoanna $urden# t!e 7!ite p!ilant!ropist# 7!ic! result in


29/46

violence and murder. *!e t!ird attitude contrasts 7it! t!ese t7o in almost ever% respect:

it is a feminine one# represented % t!e !umle and patient ,ena =rove Isupported % t!e

gentle $%ron $unc! J# 7!o is concerned solel% 7it! ringing fort! and preserving life.

*!e novel eplores t!e pairs lig!t and dar4# good and evil# mirroring t!e

dic!otom% t!at can resent in a !uman personalit% & especiall% 7!en polarized % a

Calvinistic osession 7it! =od and t!e devil# % real or imaginar% racial amivalence# or

% t!at !opeless contraction t!at lies at t!e core of an% lieral or C!ristian sout!erner.

$e%ond t!e sc!izoid e!avior of most of t!e c!aracters due to t!e religious and !istorical

conditioning# t!ere is t!e universalit% of t!eir predicament# and t!e need for a sacrificial

cat!arsis.

Eoe C!ristmas life 7as an alternation of anguis! and violence# torn %

incertitude and alienated from t!e normal course of life. $% emracing !is racialamiguit%# Eoe C!ristmas moves to7ards an integration of several fundamental

oppositions of t!e ?eatern mind: lac4 and 7!ite# female and male# freedom and

restraint# merc% and inBustice# t!e unconscious and t!e conscious.

*!e ot!er allusion to t!e $ilical tradition is t!e triangle ,ena =rove# !er

c!ild and $%ron $unc! 7!o sustitutes ,ucas $urc! Ialias $ro7n# t!e e-usiness

partner of Eoe C!ristmas# a 4ind of EudasJ. $% operating t!is sustitution ,ena re-creates

!er cautionar% tale of promiscuit% and its price into a ne7 version of t!e !ol% famil% andits re7ard -a re7riting of t!e ancient stor% t!at is also a re7riting of t!e destin% of t!e

c!ild as Eoe C!ristmas re-enacted it. ,ena encloses Eoe C!ristmas tragic stor% in a comic

one.

TEST +E E(A-AE

/. ?!ic! associations do %ou find et7een Eoe C!ristmas and Eesus C!ristM8spuns:

Joe Christmas is born on 56th December and left on the stairs of an orphanage.

#ssociations are to be made due to the connection between Christmas day$ Joe"s surname

and also the fact that he dies at the age of 77 stoned to death by an angry mob.

5. plain t!e reverend"s reaction to different forms of racism.8spuns:


30/46

/ntre#&ri/. ?!o is ,ena =rove associated toM8spuns:

,ena 8rove seems to be a veiled 9irgin !ary. She gives birth to a fatherless child and all

the way through the novel she is loo&ing for the man who abandoned herself and the

child.

5. plain 7!% Eoanna $urden"s attitude to7ards 'fro-'mericans leads to !er deat!.

8spuns:

E0-)AT- TE)EI

aul4ner descries t!e sout! and its racial prolems ver% accuratel% in !is novel,ig!t in 'ugust. )e creates an imaginar% count% for !is c!aracters to in!ait#

Lo4napata7p!a.

Eoe C!ristmas is a poor replica of Eesus C!rist# eing orn on 5H t!;ecemer and

d%ing at t!e age of GG. )e !as a ver% controversial racial ac4ground# descending from

7!ite and lac4 parentage. 's a conseuence !e is never accepted % eit!er communities

and efriends promiscuous people. )e gets involved in all sorts of illegal usiness and

ecomes a social outcast.*!e female protagonist# ,ena =rove# is vie7ed as earing some similarities to

Pirgin ar%. S!e is a single mot!er and proves to e t!e onl% innocent c!aracter in t!e

novel. )er c!ild is vie7ed as a guiding lig!t# !aving come to save t!e people"s croo4ed

souls.

Tema Nr. 1

>"HN STEINBE*= "F )I*E AN+ )EN

Po3erlessness ue to intellectual, social an economic circumstances oneliness as one o! the ma:or themes o! )oernism The Great +epression an its e!!ects on the people

"#iectivele temei: Studenii treuie s se familiarizeze cu anumite aspecte legate de area ;epresie


31/46

Singurtatea ca i cauz a unei societi moderne 'lienare# neunie# criz economic i social


Bi#liogra!ie recomanat&$ Steinec4# Eo!n# Of ice and en# 3enguin# 5115 Sc!ultz# Eeffre%# and ,i# ,uc!en# Critical Companion to Eo!n Steinec4: '

,iterar% 8eference to )is ,ife and ?or4# C!ec4mar4 $oo4s# 511H =eorge# Step!en T.# Eo!n Steinec4: ' Centennial *riute# 3raeger 3ulis!ers#

5115 orman# Carol# Eo!n Steinec4"s *!e 3earl# $arronRs ducational Series# /0>H

(n /0G1# after a decade of varied living-for t!e first five %ears !e !ad studied

intermittentl% at Stanford +niversit%# efore tr%ing !is !and as reporter in 6e7 Lor4-!e

married and settled do7n near ontere%# at t!e mout! of t!e Salinas 8iver. )is net

novel# To a Go -n?no3nI/0GGJ# 7as a m%t! of nature. 'lt!oug! set in California# its

c!aracters are as unreal as t!ose in !is previous novel# *up o! Gol. $ut it is onl% 7it!

!is ot!er novel# Pastures o! HeavenI/0G5J & ased on t!e t%pical t!eme of den & t!at

!e found a literar% form and st%le 7!ic! 7as to produce several of !is most famous

7or4s.

' iograp!ical element is ver% important for t!e suseuent development of t!e

7riter: in ontere%# Steinec4 !ad met t!e marine iologist d7ard 8ic4etts and !adcome to s!are !is interest in t!e animal life around t!e coast# particularl% in t!e

p!enomenon of a group of tin% creatures functioning as one organism. *!ere is t!en no

surprise to understand 7!% t!e 7riter came to see !uman e!aviour in a perpetual

comparison 7it! t!e animal e!aviour@ t!e comparison is done# too# t!in4ing of suc!

principles as t!e survival of t!e fittest and t!e continuit% of life. )e sa7 t!at t!e

p!enomenon of group# famil% or communit% e!aviour could e greatl% illuminated % a

iological approac!# and line of creative t!in4ing is at t!e asis of man% of !is novels.

'not!er important novel of Steinec4 is Tortilla FlatI/0GHJ. *!e adventures of

t!e people from t!is novel are descried in moc4-'rt!urian st%le# suggesting an almost

legendar% ualit% for t!eir sanit% and !appiness.


32/46

Se against t!e social miseries of t!e great depression Tortilla Flatcould not fail &

!o7ever oBective and iological its aut!or 7as tr%ing to e & to e a comment on t!e

'merican societ%.

(n /0GD appeared "! )ice an )en, 7!ere t!e usual group consists of onl% t7o

people: ,ennie# a p!%sical giant 7it! t!e mind of a c!ild# and =eorge !is protector#

s!re7d and practical. (n a 7orld consisting almost entirel% of single men - t!e ranc!ing

countr% of t!e 7est# 7it! its s%stem of casual laour & t!e% cut an odd figure. ?it!out t!e

responsiilit% of caring for ,ennie# 7!o does not 4no7 !is o7n streng!t and is al7a%s

getting into troule# =eorge 7ould e free to enBo% !imself on !is mont!s earnings li4e

t!e ot!ers.

$ut t!e feeling of stailit% and securit% goes in ot! directions# t!at is =eorge

derives as muc! stailit% from t!e relations!ip as does ,ennie. (n t!eir plans to set up!ose toget!er and lead a settled eistence# t!e% !ave a contentment and sense of purpose

t!at is denied to t!e ot!ers. ;espite ever%t!ing# At!e est laid plans of mice and men gang

aft agle%F@ ,ennie# !imself somet!ing of a mouse# is destined to 7rec4 all around !im

and all t!eir dreams % !is fondness for pla%ing 7it! soft t!ings. 't t!e eginning of t!e

novel ,ennie !olds pat!eticall% a mouse t!at !e !as crus!ed to deat!# and at t!e end#

7!en !e !as c!o4ed to deat! a girl 7!o !as lured !im into fondling !er# !e !imself must

e 4illed in order to e saved from an ignole deat!: l%nc!ing."! )ice an )en!as no ovious political or religious overtones# apart from t!e general

consciousness of t!e unsettled economic and social ac4ground.

TEST +E E(A-AE

/. ?!% does ,ennie !ave a dead mouse in !is poc4etM8spuns:

,ennie loves cuddling soft animals and while playing with them he brea&s their nec&s.

#spects of childhood are mied with ruthless cruelty$ thus emphasi-ing the abnormal

nature of a changing society.

5. ;escrie t!e relations!ip et7een ,ennie and =eorge.8spuns:

/ntre#&ri


33/46

/. (dealism versus realit%. plain.8spuns:

:f !ice and !en tells the story of two simple men who try to escape homelessness$

economic poverty$ and emotional and psychological corruption. :therwise$ the fate of

those who do not abandon the lives they lead as itinerant wor&ers is blea& and

dehumani-ing. 8eorge and ,ennie dream of owning a farm$ but by the end of the novel

the dream has failed.

5. ?!at is t!e st%le used in t!e novelM

8spuns:

E0-)AT- TE)EI

*!e protagonists of t!e novel#=eorge and ,ennie# !ave een let off a us miles a7a%from t!e California farm 7!ere t!e% are due to start 7or4. =eorge is a small# dar4 man 7it!

s!arp# strong features. ,ennie# !is companion# is !is opposite# a giant of a man 7it! a

As!apeless face.

*!e novel suggests t!at t!e most visile 4ind of strengt!# t!at used to oppress

ot!ers# is itself orn of 7ea4ness. ,ennie and =eorge# 7!o come closest to ac!ieving t!is

ideal of rot!er!ood# are forced to separate tragicall%. ?it! t!is# a rare friends!ip

vanis!es# ut t!e rest of t!e 7orld^represented % Curle% and Carlson# 7!o 7atc!

=eorge stumle a7a% 7it! grief from !is friendRs dead od%^fails to ac4no7ledge or

appreciate it.

Tema Nr. 11

>"HN STEINBE*= THE GAPES "F 9ATH

)igration ue to povert' a#our an eCploitation o! 3or?ers

Famil' an !ello3ship Pitiless s'stem o! agricultural economics

"#iectivele temei: Studenii treuie s se familiarizeze cu critica la adresa societii nemiloase care

eploateaz individul 'naliza psi!ologic a clasei muncitoreti igraia n cutarea unui viitor mai un


34/46

Sistemul agricol i economic care zace n ruin


Bi#liogra!ie recomanat&$

Steinec4# Eo!n# *!e =rapes of ?rat!# 3enguin# 5115 $ur4!ead# C%nt!ia# Student Companion to Eo!n Steinec4# =reen7ood 3ress#

5115 =eorge# Step!en T.# *!e oral 3!ilosop!% of Eo!n Steinec4# *!e Scarecro7

3ress# 511HSteinec4"s net novel# a massive epic The Grapes o! 9rathI/0G0J concentrates

on a stor% of t!e Eoads# a dispossessed farming famil% from O4la!oma# ma4ing t!eir

terrile tre4 to t!e promised land of California. $ut instead of t!e !app% ending t!e%

epected# t!e% find t!emselves rut!lessl% eploited and reduced to near-starvation. *!e

stor% relies !eavil% on true !istorical facts: t!e alternate c!apters of t!e oo4 set t!eirstor% in perspective % tracing t!e eperience of t!e migrant communit% as a 7!ole.

Steinec4"s approac! to t!e stor% is ot! iological and political# as t!e reader 4no7s.

an% of Steinec4"s novels !ave titles related to religious t!oug!t# and t!e prase

At!e grapes of 7rat!F comes from Eulia 7ard )o7e"s religious-political A$attle )%mn of

t!e 8epulicF I Aine e%es !ave seen t!e glor% of t!e coming of t!e ,ordF J. $ot! t!e

stor% of t!e trial and t!e st%le in 7!ic! is related !ave t!e strong Old *estament flavour

so often found in Steinec4"s 7or4s@ even California ta4es t!e attriutes of At!e land 7it!

mil4 and !one%F.

=ood IAgrapesFJ and evil IA7rat!FJ are often t7o sides of eac! t!ing or creature

on eart!. 3lent% Boins povert%@ good lic4 is constantl% undermined % ad luc4. *!e

grapes t!e migrant people find in California prove t!is: t!e grapes are not t!e grapes of

plent% ut of 7rat!. *!e !int is at t!e 'merican ;ream.

$ut t!in ending of t!e stor% does not satisf% t!e reader"s curiosit% as to 7!at !as

!appened to *om# t!e eldest son and t!e protagonist# 7anted % t!e police# or t!e 7!ole

famil%# not to mention to t!e large mass of t!e dispossessed farmers. 'nd t!is leads to one

possile conclusion: t!e fate of an individual does not matter 7!en compared to t!e

collectivit% to 7!ic! !e elongs.

$ut t!e last action in t!e novel also rings to t!e surface a deeper sense of t!e

7ord AsurvivalF: in fact# at t!e most asic level# it is aout t!e continuation of life


35/46

t!roug! ever% 4ind of vicissitude# 7!ic! !as een prefigured % t!e famous earl% c!apter

aout t!e progress of t!e turtle.

' final consideration upon t!e narrative: t!e e-preac!er Eim Case% 7!o travels

7it! t!e Eoads is not Bust t!e p!%sical emodiment of religion# ut t!roug! !is stri4ing

initials !e reminds t!e reader of anot!er mart%r 7!o soug!t to redeem !umanit%. Eim 7ill

ecome t!e first mart%r of t!e stri4e movement in t!e lands t!e% t!oug!t of as !eaven on

eart!.

TEST +E E(A-AE

/. ?!% does t!e =reat ;epression influence t!e lives of peopleM8spuns:

John Steinbec& chronicles the hardship and poverty that hit rural #merica during the8reat Depression of the ;


36/46

?est in no easier t!an it 7as at !ome. *!e men do find 7or4 pic4ing peac!es and cotton

ut onl% at susistence 7ages. *!e Eoads settle in a camp and *om is forced to go into

!iding ecause of !is involvement in trade union agitation.

Tema Nr. 1%

E-GENE "2NEI )"-NING BE*")ES EE*TA

Gree? theatre in!luence on "2Neill2s 3or? Sha?espearean in!luence on )ourning Becomes Electra ee!ining moern theatre

"#iectivele temei: Studenii treuie s contientizeze aportul lui ugene O"6eill la modernizarea

teatrului 'utorul introduce elemente din teatrul grec sic el al lui S!a4espeare ,umini# mti# sunet


Bi#liogra!ie recomanat&$ $lac4# Step!en '.# ugene O" 6eill: $e%ond ourning and *raged%# Lale

+niversit% 3ress# 5115 an!eim# ic!ael# *!e Camridge Companion to ugene O"6eill# Camridge

+niversit% 3ress# /00>

OR6eill# ugene# ourning $ecomes lectra# *!omas C. $reuer# 511>

a%a Toreneva in "Neill an the Paths o! American +rama ties

O6eills searc! for a AdifferentF t!eatre to t!e emergence of Ane7 dramaF in urope at

t!e turn of t!e centur%. *!e prevalence of t!e epic element in drama at t!e epense of t!e

poetic one Beopardized t!e ver% eistence of dramatic form# prompting ne7 poetic forms

7it!in prosaic structures.

*!e 4e% prolem of O"6eill"s drama can e defined as t!e total

alienation eperienced % contemporar% man. Seen from t!is perspective# t!e collisionsof !is pla%s can e regarded as individual cases of t!e Auniversal sic4ness of toda%F

IO"6eillJ# 7!ic! can e cured not t!roug! social action ut % retrieving t!e lost

!armon% et7een an and +niverse. )ence t!e osession of O"6eill"s A!aunted !eroesF

7it! t!e idea of Boining in t!e eternal life c%cle on a par 7it! its ot!er elements. Special


37/46

consideration s!ould e given to recurrent images in O"6eill"s pla%s: t!e 7rat!ful =od#

t!e fog# t!e Aole devilF of t!e sea# t!e idea of elonging.

Critics !ave focused on t7o interrelated prolems@ O"6eill"s searc! for

modern traged% and !is literar% affiliations. *!ere is a notale distinction et7een t!e

Auniversal traged%F c!aracteristic to !is earlier pla%s and At!e traged% of t!e individualF

dealt 7it! in mature vision.

(n t!e latter /0G1s and earl% /0K1s# in self-imposed seclusion# O"6eill

returned to !is famil% iograp!% to 7rite !is est dramatic literature. )e also returned to a

more strictl% realistic form. O"6eill never stopped striving to 7rite At!e great 'merican

dramaF# even 7!en !e !ad alread% accomplis!ed t!is in !is last autoiograp!ical pla%s.

?!en !e read e%ond strictl% personal t!emes in The *ceman Cometh and,ong Day"s

Journey *nto Night# 7e can see t!e realist"s master% of a 7!ole social environment inO"6eill o7n time# as informed % t!e influence of past !istor%# ut emodied in dramatic

dialogue rat!er t!an narrated# and free of cant and costume trappings.

/. arl% naturalistic pla%s 7it! autoiograp!ical references to O"6eill"s

sea-faring and tuerculosis crisis S.S. 8lencairn c%cle of one-act

pla%s# pulis!ed in /0/0: see pla%s mar4ed % poetic naturalism# t!e

first successes of t!e 3rovinceto7n 3la%!ouse:0eyond the (ori-on#

/051.5. perimental pla%s emplo%ing formal innovations from O"6eill"s

middle career: The Emperor Jones# /05/ & O"6eill"s first maBor

$lac4 c!aracterization@ etensive use of epressionistic structure#

staged dreams# ps%c!ological monologues# and 'frican drumming as

a s%molic element.

!ourning 0ecomes Electra# /0G/ & t!ree-pla% c%cle# originall%

performed on t!ree evenings# recasting t!e :resteiatrilog% of 'esc!%lus

as a post-Civil ?ar 6e7 ngland famil% drama@ includes imitations of

=ree4 c!orus# solilou% and m%t!olog%# ut re-cast in 'merican terms@

!is 6oel 3rize 7inning 7or4.


38/46

!ourning 0ecomes Electrais considered O"6eill"s most amitious 7or4. (n t!e

pla%# !e adapts t!e =ree4 tragic m%t! :resteia to nineteent!-centur% 6e7 ngland.

=enerall%# critics praised t!e pla% as one of O"6eill"s est. ven t!oug! performances ran

almost si !ours long# audiences seemed to agree@ it ran for /H1 performances. ,i4e

:resteia$O"6eill"s pla% features t!emes of fate# revenge# !uris# adulter%# and !onor.

an% critics note t!at t!e pla% reflects !is recurring concerns aout t!e unsuccessful

struggle of an individual to escape a tragic fate and t!e dar4 nature of !uman eistence.

*!e pla% is structured as a trilog%# 7it! t!ree different pla%s ^ The (omecoming$ The

(unted$ The (aunted^ comprising t!e stor%. (n a small

6e7 ngland seaport to7n a group t!at functions as a =ree4 c!orus^Set! $ec47it!#

'mos 'mes# ,ouisa# and innie^sit in front of t!e annon !ome. *!e% eplain t!at t!e

patriarc! of t!e famil%# zra annon# serves as a general in =rantRs arm%. ' 7ealt!% man#!e is epected to return soon to reBoin !is 7ife# C!ristine# and !is t7o c!ildren# ,avinia

and Orin. 's t!e scene progresses# 3eter 6iles as4s ,avinia for !er !and in marriage#

7!ic! s!e refuses. *!e

second pla% in t!e trilog% opens outside t!e annon !ouse t7o da%s after zraRs deat!.

'gain# a group of five local people form a c!orus# gossiping aout 7!at !as occurred and

repeating rumors. Orin returns

from t!e 7ar. ,avinia is Bealous over !er mot!erRs preferential treatment of Orin.C!ristine# 7!o despised !er !usand and loves !er son Orin# !ates ,avinia@ s!e lames

,avinia for convincing Orin to go off to 7ar. One %ear later#

a c!orus of local residents discusses t!e rumors t!at t!e annon !ouse is no7 !aunted.

,avinia and Orin enter@ s!e loo4s li4e !er mot!er C!ristine# 7!ile !e resemles !is fat!er

zra. ,avinia claims t!at t!e dead !ave QQforgotten"" t!em. (nside t!e annon !ouse#

,avinia and Orin discuss t!eir recent trip to t!e QQlessed isles#"" 7!ere ,avinia !oped to

free Orin of !is feelings of guilt for C!ristineRs deat!.

G. inal realistic pla%s 7ritten in seclusion# on autoiograp!ical

t!emes: The *ceman Cometh# /0K9 and,ong Day"s Journey *nto

Night# /0HH.


39/46

TEST +E E(A-AE

/. ?!at is t!e s%molism of revenge in t!e pla%M8spuns:

%evenge serves as a primary motivation for the play>s actions. See&ing to revenge the

death of his mother$ !arie 0rantome$ #dam hopes to destroy the !annon family$

especially E-ra. The !annon family is a comple web of revenge scenarios3 Christine

wants revenge on her husband for her unhappy marriage? ,avinia wants revenge on her

mother for &illing her father? :rin wants revenge on 0rant for sleeping with his mother.

5. ?!at is t!e role of t!e c!orus in t!e pla%M

8spuns:/ntre#&ri

/. )o7 did O"6eill redefine t!eatreM

8spuns::"Neill abandoned traditional divisions into acts and scenes$ using mas&s such as those

found in #sian and ancient 8ree& theatre. *ntroducing Sha&espearean monologues and

8ree& choruses? and producing special effects through lighting and sound.

5. ?!% is t!e pla% ased on t!e Oedipus compleM

8spuns:

E0-)AT- TE)EI

*!e stor% is an update of t!e =ree4 m%t! of Orestes to t!e famil% of a 6ort!ern

general in t!e 'merican Civil ?ar. 'gamemnon is no7 =eneral zra annon#

Cl%temnestra is !is second 7ife C!ristine# Orestes is !is son Orin# and lectra is !is

daug!ter ,avinia. 's an updated =ree4 traged%# t!e pla% features murder# adulter%#

incestuous love and revenge# and even a group of to7nspeople 7!o function as a 4ind of

=ree4 c!orus.*!oug! fate alone guides c!aractersR actions in =ree4 tragedies# OR6eillRs

c!aracters !ave motivations grounded in /0G1s-era ps%c!ological t!eor% as 7ell. *!e
http://en.wikipedia.org/wiki/Greek_mythologyhttp://en.wikipedia.org/wiki/Oresteshttp://en.wikipedia.org/wiki/American_Civil_Warhttp://en.wikipedia.org/wiki/Agamemnonhttp://en.wikipedia.org/wiki/Clytemnestrahttp://en.wikipedia.org/wiki/Electrahttp://en.wikipedia.org/wiki/Greek_tragedyhttp://en.wikipedia.org/wiki/Greek_chorushttp://en.wikipedia.org/wiki/Destinyhttp://en.wikipedia.org/wiki/Psychologyhttp://en.wikipedia.org/wiki/Greek_mythologyhttp://en.wikipedia.org/wiki/Oresteshttp://en.wikipedia.org/wiki/American_Civil_Warhttp://en.wikipedia.org/wiki/Agamemnonhttp://en.wikipedia.org/wiki/Clytemnestrahttp://en.wikipedia.org/wiki/Electrahttp://en.wikipedia.org/wiki/Greek_tragedyhttp://en.wikipedia.org/wiki/Greek_chorushttp://en.wikipedia.org/wiki/Destinyhttp://en.wikipedia.org/wiki/Psychology


40/46

pla% can easil% e read from a reudian perspective# pa%ing attention to various

c!aractersR Oedipus compleesandlectra complees.

!ourning 0ecomes Electrais divided into t!ree pla%s 7it! t!emes corresponding

to The :resteia trilog% % 'esc!%lus. (n order# t!e t!ree pla%s are titled(omecoming$

The (unted$ and The (aunted. )o7ever# t!ese pla%s are normall% not produced

individuall%# ut onl% as part of t!e larger trilog%. ac! of t!ese pla%s contain four to five

acts# and so !ourning 0ecomes Electra is etraordinaril% lengt!% for a drama. (n

production# it is often cut do7n.

Tema Nr. 17

ATH- )IE5 +EATH "F A SAES)AN

The eath o! the American +ream +isappearance o! hope o3 class !aing a3a' Sel! sacri!ice an its uselessness

"#iectivele temei: Studenii treuie s oin infomaii despre societatea american aflat in criz amilia dezinat fr viitor i visul care nu mai are finalitate in realitate

;eteriorarea strii protagonistului duce la moartea acestuia lsnd n urmnemulumire i nempliniri


Bi#liogra!ie recomanat&$ iller# 'rt!ur# ;eat! of a Salesman# 3enguin# /009 iller# 'rt!ur# *imeends: ' ,ife# 3enguin# /00H $rater# noc!# ' 3la%7rig!t"s ,ife and ?or4# *!ames < )udson# 511H $igs%# C!ristop!er# 'rt!ur iller: ' Critical Stud%# Camridge +niversit% 3ress#

511H $igs%# C!ristop!er# *!e Camridge Companion to 'rt!ur iller# Camridge

+niversit% 3ress# /00D

*!e Ee7is!-'merican son of a 7ealt!% merc!ant 7!o lost !is fortune

during t!e ;epression# 'rt!ur iller 7or4ed in factories to support !is universitar%

education# and 7rote apprentice 7or4 on t!e fringes of t!e socialist t!eatre of t!e /0G1s.
http://en.wikipedia.org/wiki/Freudianhttp://en.wikipedia.org/wiki/Oedipus_complexhttp://en.wikipedia.org/wiki/Electra_complexhttp://en.wikipedia.org/wiki/The_Oresteiahttp://en.wikipedia.org/wiki/The_Oresteiahttp://en.wikipedia.org/wiki/Aeschylushttp://en.wikipedia.org/wiki/Freudianhttp://en.wikipedia.org/wiki/Oedipus_complexhttp://en.wikipedia.org/wiki/Electra_complexhttp://en.wikipedia.org/wiki/The_Oresteiahttp://en.wikipedia.org/wiki/Aeschylus


41/46

Of !is generation# 'rt!ur iller offers t!e most direct vision of after-effects of !is social

crisis of /0G1s in !is 7or4s. or eample# ?ill% ,oman# in Death of a SalesmanI /0K0 J

!ad !is est usiness %ear in /05>@ alt!oug! iller never mentions t!e ;epression !ere#

!e depicts a used-up commercial traveler 7!o is sit% in /0K0# 7!o still longs for fleeting

success and popularit%# and 7!o cannot understand 7!at is lig!ting !is professional and

domestic life. *!is pla% raises larger issues of success-7ors!ip# self-delusion and t!e

over-valuation of popularit% and appearances rat!er t!an ac!ievement 7!ic! are still

prolems in 'merican social life# ut its specific realit% depicts a ;epression survivor

7!o in fact cannot survive t!e ps%c!ic trauma.

?ill% ,oman is t!e person 7!o suffers most from !is o7n et!os# and 7e see

!im more as a victim imprisoned 7it!in a frame7or4 of false social values. ost of t!e

pla% ta4es place inside !is !ead# muc! of it consisting of memor% and dream: mostsignificant of t!e recurring images eing t!at of !is rot!er $en# an 'las4an pioneer 7!o

emodies for ?ill% t!e concrete success t!at !e !as not ac!ieved !imself# and 7!o mig!t

e ta4en to represent t!e pioneer spirit t!at 7as t!e antecedent of contemporar% 'merican

Palues.

?ill%"s values recur in t!e career of !is son $iff# 7!o is a star on t!e footall

field ut Aflun4ed mat!sF. at!er and son are euall% doomed to failure# not realizing t!at

even in t!e 'merican usiness 7orld a s!oes!ine and at!letic pro7ess are not enoug!.?!en ?ill% loses !is Bo and !is situation ecomes critical# !e still elieves t!at if onl%

!e could raise enoug! mone% all 7ill e 7ell for !is famil%. *!e sic4ening logic of t!is

monumental delusion culminates in !is suicide & for# if# alive# !e can no longer !elp

t!em# at least !is deat! 7ill enefit t!em % realizing !is insurance.

*!e stress is laid upon t!e failure of ordinar% and essentiall% decent

individuals to ma4e an% connection et7een t!eir private and pulic roles.

*!e agonies of most of t!e innocent are !eig!tened % a sense of

e7ilderment as to 7!at is !appening to t!em & a sense of !elplessness in t!e face of

uncontrollale social forces t!at mig!t 7ell e compared to 7!at of ?ill% ,oman. $ut in

t!e case of t!e eceptionall% sane and intelligent Eo!n 3roctor and !is 7ife# t!ere is a

greater individualit%# an etraordinariness# 7!ic! includes a capacit% for !eroism.


42/46

)is central value as a pla%7rig!t# esides t!e !onest c!ronicling of a

comple political era# is !is depiction of t!e average man in !is pulic role# t!e anal

temptations and delusions !e is pre% to# and %et t!e greatness of aspiration and striving

for insig!t t!at ma4e !is do7nfall tragic.

TEST +E E(A-AE

/. ?!at is ,inda"s role in t!e famil%M8spuns:

#s a wife$ ,inda must constantly &eep +illy grounded. (e is unable to stay in reality for

more than a few minutes at a time$ constantly fading away into a fantasy eistence.

,inda reassures him that things will be alright$ loo&s after the bills$ and tries to be a

good$ supportive wife to him$ even though he cheated on her and tries to &ill himself mostnights.

5. ?!at t%pe of iron% is used in deat! of a SalesmanM8spuns:

/ntre#&ri

/. ?!% is ?ill% so un7illing to let $iff goM8spuns:

+illy needs 0iff>s absolution$ his forgiveness. +illy must live with his guilt$ hiscontribution to 0iff>s failure in life$ and he needs to hear that he is forgiven. This comes

to a head at the end of the play where +illy misreads what 0iff is saying and decides that

@(e loves me.@

5. )o7 does t!e t!eme of alienation relate to ;eat! of a SalesmanM

8spuns:

E0-)AT- TE)EI

;eat! of a Salesman presents to t!e pulic a societ% 7!ic! can no longer gro7

and fig!t for its dreams and t!is is 7!% t!ere is a constant need of re-evaluation. *!e pla%

is mostl% told from ?ill%Rs point of vie7# and it s!o7s

Documents

Lit Americana An3 Sem1 Burdescu 2009