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September 29, 2005


Rix, ''Was Oedipus Framed?'' -- Drama as Literature (EL 250)

"Oedipus is held responsible for the plague that is depopulating the Theban city. And the expulsion of the culprit is the only way to salvation. In this way, the myth of Oedipus constitutes a classic story of persecution."

Rix's interrprutations of Oedipus were very interesting to me. I totally agree with him when he says Sophocles' play is a classic story of persecution. I never really thought of that specific point until I read it in Rex's academic atricle.

Posted by AmandaNichols at 12:00 AM | Comments (0)

September 27, 2005

Sophocles, Oedipus the King (Finish) -- Drama as Literature (EL 250)

Oedipus: From what did you save me from?
Messenger: Your ankles should tell you that.

I believe this is the point in the play where the audience figures out that Oedipus was the baby that Jocasta and Laois got rid of years ago to try and save them from the profecy. Yet Oedipus still doesn't realize that he has killed his father and married his mother. Also, I think it is ironic that Oedipus believes this messenger has saved him, but in reality Oedipus was doomed since the day he was "saved" by this man.

Posted by AmandaNichols at 04:42 PM | Comments (4)

September 25, 2005

Sophocles, Oedipus the King (Up to Scene III) -- Drama as Literature (EL 250)

"Teiresias: Brother and father - the very same; to her Who bore him, son and husband - the very same Who came to his father's bed, wet with his father's blood. Enough. Go think that over. If later you find error in what I have said, You may say I have no skill in profecy."

I love how this play is filled with hidden meanings and frequent instances of foreshadowing. Teiresias clearly predicts it is indeed Oedipus who killed his father and married his mother. Oedipus denies this constantly throughout the play. Teiresias is actually the one who sees the truth, ironically he is also blind. Oedipus, who has vision, does not see that he's the one who killed Laois.

Posted by AmandaNichols at 05:51 PM | Comments (1)

September 20, 2005

Do we rape the rapist?

Robbins and Prejean, Dead Man Walking: The Shooting Script -- Drama as Literature (EL 250)

Do we rape the rapist? Why is it that we kill the murderer?

I've done a two-peron speech before on the death penalty. One had to argue against it and the other for it. I happened to pick the side against capitol punishment, and as I did the research, and even after reading/seeing this play I still feel it isn't right.

I felt sympathy for Matt often throughout the play. Does that make me a bad person, lol?

TRAPP: Sister, I ain't got no problem with killin' nobody. I served my country proudly in Nam. I killed men before. But them guys had guns. Kill or be killed, you know? These here guys can't defend themself. We're draggin' 'em, holdin' 'em down. It ain't fair, makes you feel dirty.

I believe Matt was truly sorry for what he did and thought it was unfair he was put to death and not the other guy.

MATT: Last night when they dimmed the lights on the tier I kneeled down by my bunk and prayed for them kids. I never done that before.

Posted by AmandaNichols at 10:05 AM | Comments (8)

September 18, 2005

200 Word Reflection

Wojtyla, The Jeweller's Shop -- Drama as Literature (EL 250)

“Love is a constant challenge, thrown to us by God, thrown, I think, so that we should challenge fate (53)”.
Karol Wojtyla defined love better than anything I have ever read and perhaps ever will. Love is “a melody played on all the strings of the heart (34)”. It is “a kaleidoscope of waves and situations full of attraction.” It is “one of the greatest dramas of human existence.” Just when one thinks they have “reached the limits of existence and wrested all its secrets from it”, they have not yet even “touched it (39)”. Love “cannot be a single moment (41)”.
The significance of the jeweller’s shop, the mirror, and the ring were perfect symbols of love and understanding. The jeweller is like this godly man who sees into couple’s souls when gazing into the shop. He does not just measure fingers and assist in picking out the very best wedding ring, but understands relationships more than a passerby can know. When Anna tries to sell her wedding ring back to the jeweller, his divine personality comes through. "Your husband must be alive - in which case neither of your rings, taken separately, will weigh anything - only both together will register. My jeweller's scales have this peculiarity that they weigh not the metal but man's entire being and fate."
I believe Rachel and I felt the same way about this play. Wojtyla’s romantic explanations of what love is and quotes about seeing the world touched us more than anything we’ve read so far in class. However, I didn’t understand why Christopher and Monica didn’t see what Teresa, Andrew, and Anna saw in the jeweller.

Posted by AmandaNichols at 03:01 PM | Comments (2)

The Jeweller's Shop

Wojtyla, The Jeweller's Shop -- Drama as Literature (EL 250)

"We have to accept the fact that love weaves itself into fate (52)". - Christopher

Wow. There were so many lines like that one that really touched me. Although there were different relationships throughout the play that made me feel both happy and sad, I always felt a constant sense of hope.

"Andrew did not die in me, did not die on any front, he did not even have to come back, for somehow he is (50)". - Teresa

I love how Wojtyla shows everlasting love in Teresa's quote.

Posted by AmandaNichols at 02:59 PM | Comments (2)

September 14, 2005

"Woman finds husband dead."

Treadwell, Machinal (Finish) -- Drama as Literature (EL 250)

HUSBAND: What are you reading?
HUSBAND: You must be reading something.
YOUNG WOMAN: Woman finds husband dead.

Wow, that line is awesome! Talk about major foreshadowing! If the reader is smart enough to pick up on it, they'd know the YOUNG WOMAN is planning on murdering her husband in the following scenes. I absolutely love how Tread put that in there. Similar articles written by the reporters in the court room were probably put in the local papers, too. I think this play would be so neat to actually see on stage, especially the last half.

Posted by AmandaNichols at 02:16 PM | Comments (7)

September 13, 2005

Uncaring Mothers

Treadwell, Machinal (Scenes 1-5) -- Drama as Literature (EL 250)

YOUNG WOMAN: Ma, there's something I want to ask you - something important.
MOTHER: Is it mealy?
YOUNG WOMAN: S'all right. Ma - tell me.
MOTHER: Three pounds for a quarter
YOUNG WOMAN: Ma - tell me -
MOTHER: (her dull voice brightening) There's the garbage. (Goes to door - or dumbwaiter- opens it. Stop radio)

The Mother in Machinal is very uncaring of her daughter's feelings. Previously to this quote, the Young Woman tries to talk to her mother, but she interrupts and keeps telling her to eat a potato. Then the Young Woman attempts to talk to her mother again, and almost succeeds, however the garbage comes and Mother jumps up from the table. The stage directions even says that her "dull voice [brightens]". Why would her mother be more concerned and happy with the garbage than her own daughter? This bothers me because I know I would feel hurt in a situation like and am also grateful that my own family doesn't treat me the way Mother treats the Young Woman.

Posted by AmandaNichols at 02:18 PM | Comments (4)

September 11, 2005

Wilde, The Importance of Being Earnest -- Drama as Literature (EL 250)

Well I thought that “the Importance of Being Earnest” was the best play we have read so far. I really enjoyed the conversation and frequent puns between Algernon and Jack “Earnest”. However, I really disliked the women in the play, especially Cecily and Gwendolen. Their personalities were similar to that of Nora in “A Doll’s House” because they played the pathetic role of helpless women.

Gwendolen: How absurd to talk of the equality of the sexes! Where questions of self-sacrifice are concerned, men are infinitely beyond us.
Jack: We are. [Clasps hand with Algernon]
Cecily: They have moments of physical courage of which we women know absolutely nothing,

I think the above conversation is absolutely pitiable. Granted I may be three tenths of a feminist, but their roles of male-dependent women are almost sickening.
In addition, I really liked Kayla’s comment agreeing with one of mine that was written a few days earlier.

"‘ALGERNON. My dear boy, I love hearing my relations abused. It is the only thing that makes me put up with them at all. Relations are simply a tedious pack of people, who haven't got the remotest knowledge of how to live, nor the smallest instinct about when to die.’
Like, Amanda Nichols, I too can relate to Algernon’s harsh observations about family members. Spending time with my cousins, in particular, is rather like repeatedly slamming your fingers in a car door: you should've learned better the first time, because it only gets more painful after that.
Algernon makes so many wise and clever statements (but of coarse, "everybody is clever now-a-days," as Jack says). He seems to have an opinion on every thing, and never holds back.
I don't see the appeal in cucumber sandwiches, however.”

Algernon really is this cocky, know-it-all and although my family can be irritating from time to time, I certainly wouldn’t find pleasure in hearing about them being abused. Does Algernon have some grudge against his relatives? Have they done something so terrible to him in the past that we do not know about?

Posted by AmandaNichols at 03:04 PM | Comments (3)

September 09, 2005

Crazy relatives

Wilde, The Importance of Being Earnest -- Drama as Literature (EL 250)

Algernon: ...To begin with, I dined there on Monday, and once a week is quite enough to dine with one's own relations.


I really liked this quote because I could realy relate to it. However, for me once a year is enough to dine with some of my crazier relatives. I liked how this play had so many puns and this was just one of the many I found myself laughing out loud about.

Posted by AmandaNichols at 03:03 PM | Comments (4)

September 08, 2005

Foster, How to Read Literature Like a Professor Intro through p. 22 -- Drama as Literature (EL 250)

“…writing a meal scene is so difficult, and so inherently uninteresting, that there really needs to be some compelling reason to include it in the story. And that reason has to do with how the characters are getting along. Or not getting along.” - Foster, How to Read Literature Like a Professor

“And this is gonna be the last time, right? You’re not planning to keep this up all summer,are you?” -Lee, Heart in the Ground

Foster’s quote made me realize how powerful the scene in Heart in the Ground is when Lee and Karen are at the dinner table. I think he is right, an author does need a purpose to include a meal scene in a story. And I think this one in Heart in the Ground is a great example of one. The simple act of buttering bread shows the tenseness of the scene and also how differently the actors react to something that bothers them. Lee, who is angry at Karen for burying their child over and over again, is obviously tense and when takes a square edge of butter and tries to butter the bread. Inevitably, the force from his tense fingers tear the bread and he becomes annoyed, “[tossing] it to the table”. Karen, on the other hand, takes a more unorthodox approach by “[scraping] her knife across the top of the bread”. The bread does not tear and she hands it straight to Lee. The author puts this seemingly unimportant bread scene in, but after reading chapter two in Foster’s book, I realized the scene was actually quite important.

Posted by AmandaNichols at 07:35 PM | Comments (1)

September 02, 2005

So shady

Last night I got gas and it was $3.19 a gallon. The gas attendent said by next week it will be $4.85 and rising...INSANE!

Posted by AmandaNichols at 12:14 PM | Comments (0)

So shady

Last night I got gas and it was $3.19 a gallon. The gas attendent said by next week it will be $4.85 and rising...INSANE!

Posted by AmandaNichols at 12:14 PM | Comments (0)