DOCSLIB.ORG

Anticipation, Uncertainty and Concern for Characters Suspense in Daphne Du Maurier’S Short-Story Collection Don’T Look Now

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Anticipation, Uncertainty and Concern for Characters Suspense in Daphne Du Maurier’S Short-Story Collection Don’T Look Now Anticipation, Uncertainty and Concern for Characters Suspense in Daphne du Maurier’s Short-Story Collection Don’t Look Now Janina Hietala-Lilja Master’s thesis English Philology Department of Languages Faculty of Arts University of Helsinki March 2020 Tiedekunta – Fakultet – Faculty Laitos – Institution – Department Humanistinen tiedekunta Kielten laitos Oppiaine – Läröämne – Subject Englantilainen filologia Tekijä – Författare – Author Janina Hietala-Lilja Työn nimi – Arbetets titel – Title Anticipation, Uncertainty and Concern for Characters: Suspense in Daphne du Maurier’s short-story collection Don’t Look Now Työn laji – Arbetets art – Level Aika – Datum – Month and year Sivumäärä– Sidoantal – Number of pages Pro gradu -tutkielma Maaliskuu 2020 69 Tiivistelmä – Referat – Abstract Tämän tutkielman aiheena on jännitteen (suspense) rakentuminen Daphne du Maurierin novellikokoelmassa Don’t Look Now. Kokoelma on julkaistu ensimmäisen kerran vuonna 1971, ja se sisältää viisi novellia. Novelleja on luonnehdittu jännitysnovelleiksi, mutta niiden genren määrittely ei ole täysin mutkatonta. Jännitettä on kirjallisuudentutkimuksen piirissä tarkasteltu suhteellisen vähän. Tutkielman tärkeimpänä teoreettisena taustana toimii Peter Vordererin, Hans J. Wulffin ja Mike Friedrichsenin toimittama antologia Suspense: Conceptualizations, Theoretical Analyses, and Empirical Explorations. Antologia sisältää useiden eri teoreetikoiden näkemyksiä jännitteestä, ja näitä näkemyksiä on käytetty tutkielman argumentaation lähtökohtana. Jänniteteorian lisäksi Meir Sternbergin teoria ekspositiosta on toiminut tutkielman teoreettisena taustana. Tutkielmassa tarkastellaan jännitteen edellytyksiä ja sitä, millaisia keinoja luoda ja ylläpitää jännitettä kirjailijalla on käytettävissään. Tutkielmassa määritetään jännitteen syntymiselle kolme perusedellytystä: lukijan odotukset (anticipation), huoli henkilöhahmojen kohtalosta (concern for characters) sekä epävarmuus (uncertainty). Lukijan odotusten ohjailussa tärkeässä asemassa ovat muun muassa genre, paratekstit, ennakkomaininnat sekä esineiden ja paikkojen kerronnallistaminen. Lukijan huoli henkilöhahmojen kohtalosta taas pohjaa huolelliseen hahmojen kehittelyyn: lukija kiinnostuu ja kantaa huolta henkilöhahmoista, joista hänellä on tarpeeksi tietoa. Tässä myös ekspositiolla on merkittävä asema. Epävarmuus puolestaan perustuu useiden vaihtoehtoisten mahdollisuuksien olemassaoloon. Epävarmuudella voidaan tässä yhteydessä tarkoittaa paitsi epävarmuutta siitä, mitä seuraavaksi tapahtuu, mutta myös epävarmuutta sen hetkisen käsityksen paikkansapitävyydestä. Valitsemalla tietyn tyyppisen kertojan ja fokalisaation sekä järjestämällä tarinan tietyllä tapaa kirjailija voi vaikuttaa niin epävarmuuteen kuin lukijan odotuksiin ja henkilöhahmojen kehittelyyn. Daphne du Maurierin novellit on tutkimuksessa usein sivuutettu niiden suuresta suosiosta huolimatta. Myös jännitteen teoretisointi on ollut kirjallisuudentutkimuksessa vähäistä. Tämä tutkielma pyrkii avaamaan uusia näkemyksiä molempiin aiheisiin. Tulevaisuudessa tutkielman tarjoamia tuloksia on mahdollista hyödyntää myös laajemmin jännitteen tarkastelussa. Tarkastelua olisi mahdollista laajentaa eri kirjailijoihin, genreihin ja tekstilajeihin. Esimerkiksi romaanien tarkastelu novellien sijaan voisi tuoda uutta näkökulmaa aiheeseen. Avainsanat – Nyckelord – Keywords suspense; du Maurier, Daphne; Don’t Look Now; short stories; narratology Säilytyspaikka – Förvaringställe – Where deposited Muita tietoja – Övriga uppgifter – Additional information TABLE OF CONTENTS 1. INTRODUCTION .............................................................................................................. 1 1.1. Aims and methods ............................................................................................................ 1 1.2. Daphne du Maurier and Don’t Look Now ............................................................................. 3 ‘Don’t Look Now’ .......................................................................................................................... 3 ‘Not After Midnight’ ..................................................................................................................... 4 ‘A Border-Line Case’ ..................................................................................................................... 5 ‘The Way of the Cross’ ................................................................................................................. 6 ‘The Breakthrough’....................................................................................................................... 7 1.3. Outline of the thesis............................................................................................................. 7 2. THEORETICAL BACKGROUND ............................................................................................. 9 2.1. Story, narrative and reading process .................................................................................... 9 2.2. Suspense ............................................................................................................................ 11 2.3. Exposition .......................................................................................................................... 16 3. SUSPENSE AND GUIDING READERS’ EXPECTATIONS .......................................................... 18 3.1. Genre and paratexts .......................................................................................................... 18 3.2. Cataphoric elements and narrativisation of objects ........................................................... 24 3.3. Danger situations and troubled problem-solving ............................................................... 30 3.4. Concluding remarks ........................................................................................................... 34 4. SUSPENSE AND CHARACTERISATION ................................................................................. 36 4.1. Concern for characters ....................................................................................................... 36 4.2. Exposition and characterisation ......................................................................................... 39 4.3. Concluding remarks ........................................................................................................... 47 5. SUSPENSE, NARRATIVE AND UNCERTAINTY ....................................................................... 49 5.1. Narration and focalisation ................................................................................................. 49 5.2. Organisation and temporal ordering .................................................................................. 53 5.3. Concluding remarks ........................................................................................................... 61 6. CONCLUSION .................................................................................................................... 64 WORKS CITED ....................................................................................................................... 67 1 1. Introduction In 1938 Daphne du Maurier writes to her editor concerning the novel she has just finished, Rebecca: ‘here is the book … I’ve tried to get an atmosphere of suspense … the ending is a bit brief and a bit grim’ (quoted in M. Forster 135). Her words show that du Maurier has made a conscious effort to make her fiction suspenseful; suspense is something she is aware of and she has taken deliberate steps to ensure her readers’ will experience it. Although suspense is first and foremost a feeling experienced by readers, authors can determine to certain extent whether or not readers will experience it. It is not a coincidence that some works of fiction tend to give a more acute sense of suspense while others could not as easily be described as suspenseful. That is, there must be something in the text itself that creates suspense. Although suspense is often associated with popular genres such as thrillers and detective fiction, it is in no way absent or irrelevant in so-called high-brow literature. In fact, it seems to be one of the aspects that make literature worth reading. As Meir Sternberg explains: [C]uriosity and suspense – with the variety of forms they may assume or objects to which they may adhere (action, psychology, structure, etc.) – are not only perfectly legitimate literary interests; they constitute besides perhaps the most powerful propulsive forces a storyteller can rely on. By playing on them, he can, therefore, secure the reader’s attention and thus ensure the realisation of his other aims as well. (Expositional Modes 49) In other words, suspense is used to attract and maintain readers’ interest in the story. Authors lure readers into reading their fiction by making it suspenseful. But how can authors ensure that their readers feel suspense? This is the question my thesis tries to answer. The thesis aims to identify the factors that contribute to the sense of suspense in Daphne du Maurier’s collection of short stories titled Don’t Look Now (also known as Not After Midnight) first published in 1971. Next the key aims and methods of the thesis are introduced. 1.1. Aims and methods My thesis has two key aims, and its primary aim is theoretical. The academic study of suspense has not so far been extensive. As an example, Routledge Encyclopaedia’s article on the subject (Pyrhönen,
Load more

Recommended publications
  • Novel Planning Kit Version 03.2020.11
    Novel Planning Kit Version 03.2020.11 Created by Terry J. Benton Dear Writers, I started my first manuscript over 10 years ago, and it would take seven more manuscripts and one novella, countless tears and frustration, and lots of effort devoted to studying craft and learning as much as possible before I signed with an agent. Throughout this journey, I’ve enjoyed giving back to the community and helping those who are coming up through the query trenches behind me. I created this Novel Planning Kit from a combination of useful exercises I’ve employed over the last decade to successfully plan fiction novels with the hope that it will assist newer writers on their paths to publication and beyond. There are a plethora of ways to plan, write, and revise a manuscript, and this is just one of thousands of paths available to you—and may not suit your unique needs. I urge you to continue researching widely to find the methods that work best for you and your process. This kit is intended as a FREE resource for writers. Simply print the kit in its entirety and complete the worksheets to begin planning your new novel. Good luck and happy writing! Terry B. | https://www.tjbenton.com | @terryjbenton | @icecreamvicelord TABLE OF CONTENTS Exercise 1: Story Setup Page 2 Build the three cornerstones of your story: hook, challenge, and theme Exercise 2: Conflict Page 3 Identify internal and external conflict for your protagonist, as well as conflicts with minor characters Exercises 3A & 3B: Character Dossier Pages 4 & 5 Develop substantial background for your main and supporting characters Exercise 4: Plot Development Page 6 & 7 Brainstorm major plot points and plot threads for your story Exercise 5: Act Structuring Page 8 Structure your story’s plot across three acts Exercise 6: Pitch Draft Page 9 Draft the first cut of your pitch (or query) Recurring Exercise: Scene Planning Page 10 Recurring exercise for planning and structuring scenes Appendix: Helpful Resources Page 11 Additional helpful paid and free resources Copyright © 2020 by Terry J.
    [Show full text]
  • Empathy and Literary Reading: the Case of Fräulein Else's Interior Monologue
    ELISABETHA VINCI - EMPATHY AND LITERARY READING: THE CASE OF FRÄULEIN ELSE’S ..............................................................................................................................................................................INTERIOR MONOLOGUE - doi: https://doi.org/10.25185/6.5 Elisabetha VINCI Università degli Studi di Catania [email protected] ORCID iD: https://orcid.org/0000-0003-2680-3832 Recibido: 25/03/2019 - Aceptado: 14/07/2019 Para citar este artículo / To reference this article / Para citar este artigo Vinci, Elisabetha. “Empathy and literary reading: the case of Fräulein Else’s interior monologue”. Humanidades: revista de la Universidad de Montevideo, nº 6, (2019): 133-151. https://doi.org/10.25185/6.5 ISSN: 1510-5024 (papel) - 2301-1629 (en línea) 133 Empathy and literary reading: the case of Fräulein Else’s interior monologue Abstract: This contribution is aimed at analyzing how empathy is instantiated when we read works of fiction and at studying which elements can improve the consonance between characters and readers. Starting from a brief summary about empathy with regard to literary 6, Diciembre 2019, pp. 133-151 texts, the paper examines the question concerning human reception of fictional characters in o order to investigate how we empathize with them through the description of some elements which foster empathy: internal focalization, interior monologue and movement description. Fräulein Else by Arthur Schnitzler will serve as case study of empathic reading. Keywords: empathy, literature, reading, fictional characters, interior monologue. Humanidades: revista de la Universidad Montevideo, N ELISABETHA VINCI - EMPATHY AND LITERARY READING: THE CASE OF FRÄULEIN ELSE’S INTERIOR MONOLOGUE Empatía y lectura literaria: el caso del monólogo interior en Fräulein Else Resumen: El objetivo de esta contribución es analizar cómo la empatía se ejemplifica cuando leemos obras de ficción y estudiar qué elementos pueden mejorar la consonancia de los personajes con los lectores.
    [Show full text]
  • A Rose for Emily”1
    English Language & Literature Teaching, Vol. 17, No. 4 Winter 2011 Narrator as Collective ‘We’: The Narrative Structure of “A Rose for Emily”1 Ji-won Kim (Sejong University) Kim, Ji-won. (2011). Narrator as collective ‘we’: The narrative structure of “A Rose for Emily.” English Language & Literature Teaching, 17(4), 141-156. This study purposes to explore the narrative of fictional events complicated by a specific narrator, taking notice of his/her role as an internal focalizer as well as an external participant. In William Faulkner's "A Rose for Emily," the story of an eccentric spinster, Emily Grierson, is focalized and narrated by a townsperson, apparently an individual, but one who always speaks as 'we.' This tale-teller, as a first-hand witness of the events in the story, details the strange circumstances of Emily’s life and her odd relationships with her father, her lover, the community, and even the horrible secret hidden to the climactic moment at the end. The narrative 'we' has surely watched Emily for many years with a considerable interest but also with a respectful distance. Being left unidentified on purpose, this narrative agent, in spite of his/her vagueness, definitely knows more than others do and acts undoubtedly as a pivotal role in this tale of grotesque love. Seamlessly juxtaposing the present and the past, the collective ‘we’ suggests an important subject that the distinction between the past and the present is blurred out for Emily, for whom the indiscernibleness of time flow proves to be her hamartia. The focalizer-narrator describes Miss Emily in the same manner as he/she describes the South whose old ways have passed on by time.
    [Show full text]
  • James Phelan, Peter J. Rabinowitz, and Robyn Warhol, Series Editors
    THEORY AND INTERPRETATION OF NARRATIVE James Phelan, Peter J. Rabinowitz, and Robyn Warhol, Series Editors Narrative Theory Core Concepts and Critical Debates DAVID HERMAN JAMES PHELAN PETER J. RABINOWITZ BRIAN RICHARDSON ROBYN WARHOL THE OHIO STATE UNIVERSITY PRESS | COLUMBUS Copyright © 2012 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Narrative theory : core concepts and critical debates / David Herman ... [et al.]. p. cm. — (Theory and interpretation of narrative) Includes bibliographical references and index. ISBN 978-0-8142-5184-3 (pbk. : alk. paper) — ISBN 0-8142-5184-6 (pbk. : alk. paper) — ISBN 978-0-8142-1186-1 (cloth : alk. paper) — ISBN 0-8142-1186-0 (cloth : alk. paper) — ISBN 978- 0-8142-9285-3 (cd-rom) 1. Narration (Rhetoric) I. Herman, David, 1962– II. Series: Theory and interpretation of nar- rative series. PN212.N379 2012 808.036—dc23 2011049224 Cover design by James Baumann Text design by Juliet Williams Type set in Adobe Minion Pro Printed by Thomson-Shore, Inc. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materi- als. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 CONTENTS Preface ix Acknowledgments xiii Part One Perspectives: Rhetorical, Feminist, Mind-Oriented, Antimimetic 1. Introduction: The Approaches Narrative as Rhetoric JAMES PHElan and PETER J. Rabinowitz 3 A Feminist Approach to Narrative RobYN Warhol 9 Exploring the Nexus of Narrative and Mind DAVID HErman 14 Antimimetic, Unnatural, and Postmodern Narrative Theory Brian Richardson 20 2. Authors, Narrators, Narration JAMES PHElan and PETER J.
    [Show full text]
  • Uniting Commedia Dell'arte Traditions with the Spieltenor Repertoire
    UNITING COMMEDIA DELL’ARTE TRADITIONS WITH THE SPIELTENOR REPERTOIRE Corey Trahan, B.M., M.M. Dissertation Prepared for the Degree of DOCTOR OF MUSICAL ARTS UNIVERSITY OF NORTH TEXAS May 2012 APPROVED: Stephen Austin, Major Professor Paula Homer, Committee Member Lynn Eustis, Committee Member and Director of Graduate Studies in the College of Music James Scott, Dean of the School of Music James R. Meernik, Acting Dean of the Toulouse Graduate School Trahan, Corey, Uniting Commedia dell’Arte Traditions with the Spieltenor repertoire. Doctor of Musical Arts (Performance), May 2012, 85 pp., 6 tables, 35 illustrations, references, 84 titles. Sixteenth century commedia dell’arte actors relied on gaudy costumes, physical humor and improvisation to entertain audiences. The spieltenor in the modern operatic repertoire has a similar comedic role. Would today’s spieltenor benefit from consulting the commedia dell’arte’s traditions? To answer this question, I examine the commedia dell’arte’s history, stock characters and performance traditions of early troupes. The spieltenor is discussed in terms of vocal pedagogy and the fach system. I reference critical studies of the commedia dell’arte, sources on improvisatory acting, articles on theatrical masks and costuming, the commedia dell’arte as depicted by visual artists, commedia dell’arte techniques of movement, stances and postures. In addition, I cite vocal pedagogy articles, operatic repertoire and sources on the fach system. My findings suggest that a valid relationship exists between the commedia dell’arte stock characters and the spieltenor roles in the operatic repertoire. I present five case studies, pairing five stock characters with five spieltenor roles.
    [Show full text]
  • PALACKÝ UNIVERSITY in OLOMOUC Department of English
    PALACKÝ UNIVERSITY IN OLOMOUC Department of English and American Studies Marie Voždová The Role of the Narrator in the British Detective Novels of the Golden Age Era Diploma Thesis Supervisor: Mgr. Pavlína Flajšarová, PhD. Olomouc 2020 Prohlašuji, že jsem diplomovou práci na téma “The Role of the Narrator in the British Detective Novels of the Golden Age Era” vypracovala samostatně pod odborným dohledem vedoucí práce a uvedla jsem všechny použité podklady a literaturu. V Olomouci dne 7. 5. 2020 Podpis: ………………….. 2 Tímto bych chtěla poděkovat Mgr. Pavlíně Flajšarové, PhD. za vedení diplomové práce, za její podněty a trpělivost a také prof. PhDr. Michalu Peprníkovi, Dr. za konzultaci. 3 Table of Contents Introduction ................................................................................................................................ 5 1 The Golden Age of Detective Fiction .................................................................................. 6 1. 1 Issues Concerning the Terminology .............................................................................. 6 1. 2 Characteristics of Detective Novels in the Times of the ‘Golden Age’ ......................... 7 1. 3 Critical Approach to the Detective Fiction ................................................................. 12 2 Notable Novelists of the Golden Age of Detective Fiction .............................................. 17 2. 1 The Detection Club .................................................................................................... 18 2. 2
    [Show full text]
  • Comedic Devices Exercise.Pdf
    Name ________________________________________________________ Teacher’s Name ______________________________________________ English ____ – Period _____ __________________________________________ Date Month Year Devices of Comedy Part I. DEVICES OF COMEDY. Consider each of the devices of comedy listed below, and then try to come up with examples that you know from television, film, or literature that illustrate these terms. We will go over each term and then try to generate modern examples as a class. ANACHRONISM - Something is anachronistic if it is out of sync with a time period. For instance, if there were a television in the set of an otherwise entirely historical production of a Shakespearean play, that television would serve as an anachronism. In a “Moonlighting Atomic Shakespeare” adaptation of the Taming of the Shrew, Petruchio arrives on his horse with a BMW symbol painted on the rear of his horse just as flying ninjas come bounding through the air (utterly out of place) into the midst of swordplay. ELEVATED LANGUAGE – Language that is overblown, flowery, or lofty (particularly juxtaposed to a more base version of the same language) is said to be “elevated.” Students might think of someone like the brother Nigel on the sitcom “Frasier” who had difficulty speaking to everyday people; in Twelfth Night, the actor playing Malvolio very likely enunciates his words as if he is just a bit more high-brow than his station actually allows. In The Taming of the Shrew, Sly, a drunkard can hardly understand the noblemen who find it hysterical to pretend that Sly is one of them when he so obviously is not—not in station, not in vocabulary, not in diction.
    [Show full text]
  • Viewed As Art Objects
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI film s the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6" x 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. University Microfilms International A Bell & Howell Information Company 300 North Zeeb Road, Ann Arbor, Ml 48106-1346 USA 313/761-4700 800/521-0600 Order Number 0201764 Margaret Atwood’s transformed and transforming Gothic Tennant, Colette Giles, Ph.D. The Ohio State University, 1991 Copyright ©1091 by Tennant, Colette Giles.
    [Show full text]
  • Tony Kushner's <I>Angels in America</I>
    Global Posts building CUNY Communities since 2009 http://tags.commons.gc.cuny.edu Tony Kushner’s Angels in America: Histories, Futures, and Queer Lives Vanessa Campagna/ We must strive, in the face of the here and now’s totalizing rendering of reality, to think and feel a then and there. Queerness is essentially about the rejection of a here and now and an insistence on potentiality for another world.[1] José Esteban Muñoz Two decades have passed since Tony Kushner’s opus, Angels in America: A Gay Fantasia on National Themes (1993), premiered on Broadway at the Walter Kerr Theatre, yet the questions raised by the play are no less a part of the current zeitgeist than they were when the play debuted. Through its protagonist, Prior Walter, Angels in America poses audiences with provocative and poignant questions including: Does a queer engagement with the future exist? If so, what does queer futurity entail? What are the terms and conditions of the “citizenship”[2] Prior demands for himself and his fellow queers? These questions evoke two of the play’s major themes, history and futurity, and initiate conversations about queer lives. In the twenty years since Angels in America debuted, these themes and conversations have become increasingly integrated into American public discourse. The Defense of Marriage Act[3] has been repealed, the United States Supreme Court defeated Proposition 8,[4] and marriage equality measures have passed in nineteen states. Don’t Ask Don’t Tell[5] legislation was dismantled by President Obama, and the Employment Non-Discrimination Act[6] has been presented to nearly every Congress since 1994.
    [Show full text]
  • The Normative Relations Between Fiction, Imagination and Appreciation 1
    The Normative Relations between Fiction, Imagination and Appreciation 1. Summary It is a commonplace that fictional texts — notably in the shape of novels and other works of literature —invite and move us to imagine certain things concerning the characters and events described by the text. Reading The Sound and the Fury, say, prompts us to imagine various incidents in the history of the Compson family. It is equally undeniable that considerations about what fictional texts ask us to imagine, and how, are central to our aesthetic appreciation of them. We value Faulkner’s novel in part because it allows us to imagine these incidents from the very complex, diverse and subjective points of view of the three Compson brothers. What these two truisms about the relationship between fiction, imagination and appreciation have in common is that they describe normative relations. Imagining is the appropriate basic response to fictional texts. We cannot understand fictional texts without becoming imaginatively involved with the world that they describe. If we fail to imagine in accordance with the text’s prescriptions to imagine, we fail to properly engage with it. Similarly, appreciation is the appropriate response to the power of fictional texts to captivate our imagination in rich and rewarding ways. Much of the aesthetic worth of fictional texts resides in the fact that they make specific fictional worlds accessible to our imagination. Hence, the aesthetic evaluation of fictional texts requires us to take into account what they ask us to imagine, and how they do this. The general aim of this interdisciplinary research project is to investigate the nature of these two normative relations, which may be characterized in the following general way: (NR1) Fictional texts direct us to imagine certain things.
    [Show full text]
  • Information to Users
    INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type o f computer printer. The quality of this reproduction Is dependent upon the quality of the copy subm itted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper aligrunent can adversely afreet reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back o f the book. Photographs included in the original manuscript have been reproduced xerographically in this copy. Higher quality 6” x 9” black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. UMI A Bell & Howell Xnfonnation Company 300 North Zeeb Road, Ann Arbor MI 48106-1346 USA 313/761-4700 800/521-0600 SYMPATHY FOR THE DEVIL; FEMALE AUTHORSHIP AND THE LITERARY VAMPIRE DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor o f Philosophy in the Graduate School of The Ohio State University By Kathy S.
    [Show full text]
  • Boxers & Saints
    TEACHERS’ GUIDE with Common Core State Standards Connections boxERS & SAInts by GENE LUEN YANG Full Color Paperback Graphic Novel Diptych Boxers: ISBN 978-1-59643-359-5 / $18.99 Saints: ISBN 978-1-59643-689-3 / $15.99 Also Available As a Boxed Set: ISBN 978-1-59643-924-5 / $39.99 InTRoDUCTIon Gene Luen Yang’s diptych, Boxers & Saints, collects two pieces of historical fantasy set in China during the Boxer Rebellion. The Boxer Rebellion was not only an important moment in Chinese and British history, but it is also significant because of its effect on world history generally. Very seldom is the Boxer Rebellion discussed at length in high school or even introductory world history courses at the college/university level given the emphasis on studying the development and trajectory of “Western” civilization. However, helping students to understand the Boxer Rebellion can create great insight into the philosophical issues at play in wars for inde- pendence, including the United States’ own fight for independence from Britain. Literary characters help us to make important affective connections with texts, and we can come to understand a great deal more about how wars affect everyday people by engaging with historical fiction—whether in the realm of the fantastic or the mundane. Further, historical fiction allows us to contemplate the ethical and moral decisions and the extreme actions that characters make in times of war, allowing us to consider and evaluate their behavior. Boxers & Saints helps readers understand the Boxer Rebellion and its importance to history, and Yang also encourages us to think more deeply about the nature of war, rebellion, and the decisions we make in such times of crisis.
    [Show full text]