Due: Monday 06/21/2015 Time: 1:00pm
This is a two part Reflection should be one complete page in length, just like Reflection One. Write your Reflection in double spaced in Times New Roman 12 point font. This Reflection counts for four points. Upload ONE WORD FILE. The four points will be granted if your Reflection: (1) is of the assigned length; (2) is on topic; (3) does not contain any plagiarized or copied material; and (4) is written in standard English, the meaning of which is easily understood by the reader. Your submission must be a single file upload in Word. Although it is a two part question, save your reflection as one WORD file for submission in EO.
1. In the first eight chapters of the novel Frankenstein we, as readers, do not become aware of the full extent of the conflict in the novel; but we do know the unstable situation (the creation of the Monster) and the reaction of Victor Frankenstein to his creation. Write one half page in Times New Roman 12 point font in which you describe the wide range of emotions Victor Frankenstein feels in Volume One. If you were a character in the novel, how would you describe Victor to a stranger?
2. Also, did you notice how many times the word “evil” was used in the first eight chapters of the novel of the novel? Find at least three places in these chapters where the word “evil” was used, write out the sentence (Please give the page number and paragraph of the page from which you quote), and briefly explain why Shelley used the word “evil” in that sentence.
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Mattkemp198427
According to Satan in Hawthorne’s short story “Young Goodman Brown” —
“Evil is the nature of mankind.”
Can this be true?
I do not know, but this semester we will explore and attempt to understand Evil in the works we read, reflect on, and discuss because only by recognizing and understanding Evil can we ultimately preserve Good.
The Theoretical, Analytical and Focal Frameworks of this course:
This could be a rather lengthy and complex discussion because what I mean to convey in this section is exactly what I ideas I relied upon in creating and developing this course, an original work on my part. However, I prefer to keep this section simple and straight forward. So, think in terms of we are building a small house or cabin in the woods- kind of like Thoreau, a 19th century American author and philosopher, did- but on a 21st century level.
Theoretical Framework: Think of the theories behind the creation and development of our HUMA 1301 course as the Foundation necessary before we begin to build our cabin.
Sociology of Literature Theory:
The first theory basically means it is that it is important to look at the sociological world that surrounds any literary work. This sociological world consists of three elements: the writer, the (ideal) reader, and the means of the publishing, or making available to the reading public. In other words, the writer who writes the work brings his or her own understanding of the world to the work that he or she writes; the reader who reads the works will superimpose his or her knowledge of the world on the work; and finally, the means and the time and the place in which the work is published will affect the sociological implications of the work. Although this is really complex stuff, it is helpful to understanding the world as presented through literary works; but I feel it isn’t quite complete because of one thing- the theory ignores the individual reader and the various understandings of the readers of literature. So, this led me to rely on a second theory.
Reader Response Theory:
This theory means that the ways in which readers, individual readers, understand and interpret literary works ARE important. There cannot be one right interpretation of a novel, a play, a short story or a poem. We all carry our own sociological ideas with us all the time, and these affect how we interpret literature and life and our fellow human beings.
Meaning Creation Theory:
This is the theory I developed to combine the best aspects of the Sociology of Literature and Reader Response Theory. We create our own meaning when we read literature- or even when we watch a play on stage or see a movie adaptation of a novel. And the life of the writer, the times, the place and the social and personal circumstance under which the writer lived, and the way the work initially was published, are important to adding to our own understanding as readers.
That’s the Theoretical Framework for this class. Think back to our cabin in the woods we’re building. First, we must pour the foundation or the cabin will never stand firmly on the ground. This course rests firmly in two merged socio- literary theories I used to create my theory of how we create meaning, but this Theoretical Foundation for our HUMA 1301 course, like the Foundation of our cabin, is not something we see but we know it is there.
Foundation 2
Analytical Framework
Think again of our cabin we are building. We have the Foundation, and the next step is building the framework for the walls, adding a roof, putting in doors and windows, and adding plumbing and electricity.
Brginning to frame the cabin
In other words, this is where my theoretical concepts take on more practical understanding by the reader. The Analytical Framework involves what I call “The Big Four”: Plot (including Conflict Analysis); Characters; Setting; and Theme. Any work we read, whether a novel, play, or short story, has all of these elements; and an analysis of “The Big Four” will comprise some of which we’ll think, discuss, reflect and write about this semester.
Plot and Conflict Analysis
Characters
Setting
Theme
Framing the cabin
In the next Topic, the novel Frankenstein, I will offer a more detailed discussion of “The Big Four” Analytical Tools, and why these matter to us, and an Overview of the novel in terms of “The Big Four.”
The Focal Framework
Now that our cabin is built the Focal Framework is where we make this cabin our Home.
the finished cabin
In other words, it is the place where we put our personal “touches” on what we read; but we need a focal point, and that focus is the existence of Evil in society, in mankind, and in the ways people treat others through conflict, in betrayal, and with treachery. That cabin in the woods pictured above may look peaceful and serene on the surface, but think of the potential for Evil that may lurk nearby. In particular, certain questions have always bothered me, questions that may have bothered you; and we will try to find some answers in this class:
Why does Evil exist?
Why do bad things happen to good people?
Why do people act in ways and do things that they know will hurt other people?
Is mankind basically good? If so, why are there some people who are just plain evil?
Has the history of mankind always been a struggle of Good vs. Evil? Will it always be so?
If we believe that a power greater than ourselves created all things, then did that Creator also create Evil? If so, why?
So, we have built our “cabin in woods” on a firm foundation, and we have made the cabin our home. Now, it is time to go out into the world and understand it. Here we circle back to the idea presented in Topic One, the idea of the Literary Archeologist–this is our job. We are focused on gaining, on “digging” for, an understanding why people act as they do as reflected in some great works of literature. We’ll begin our journey with the novel Frankenstein. Enjoy the Journey!
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