Elmira College Center for Mark Twain Studies the Trouble Begins at Eight Spring Lecture Series
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Satire: Evoking Change Through Witty Or Even Virulent Humor
A+ College Ready English Fall AP Conference Prattville, Alabama October 1-2, 2018 Satire: evoking change through witty or even virulent humor Jerry W. Brown [email protected] website: www.jerrywbrown.com Jerry W. Brown 2018 A+ College Ready [email protected] 1 "Satire: evoking change through witty or even virulent humor" Kenneth Burke has stated, “We cannot use language maturely until we are spontaneously at home in irony.” In this session, participants will consider techniques of humor, irony, and satire and how to assist students with these concepts which consistently appear in both the poetry and prose selections on the AP Literature and Composition test. Irony deals with opposites; it has nothing to do with coincidence. If two baseball players from the same hometown, on different teams, receive the same uniform number, it is not ironic. It is a coincidence. If Barry Bonds attains lifetime statistics identical to his father’s it will not be ironic. It will be a coincidence. Irony is "a state of affairs that is the reverse of what was to be expected; a result opposite to and in mockery of the appropriate result." For instance: • If a diabetic, on his way to buy insulin, is killed by a runaway truck, he is the victim of an accident. If the truck was delivering sugar, he is the victim of an oddly poetic coincidence. But if the truck was delivering insulin, ah! Then he is the victim of an irony. • If a Kurd, after surviving bloody battle with Saddam Hussein’s army and a long, difficult escape through the mountains, is crushed and killed by a parachute drop of humanitarian aid, that, my friend, is irony writ large. -
The War-Prayer” Essays on “The War-Prayer” 101
New Perspectives on “The War-Prayer” Essays on “The War-Prayer” 101 “The War-Prayer” in U.S. Popular Culture John HAN Since its publication, Mark Twain’s short but brilliantly crafted story “The War- Prayer” has been an archetypal text for screenplays dealing with the horror of war, as well as a popular tool for advocates of non-violence or paci sm in the United States. Screen- writers use it as a dramatic vehicle to enrich the meaning of their screenplays and scripts, peace activists feature it at anti-war events and on the World Wide Web, and paci st Chris- tian sermons draw moral lessons from it. This essay examines how Twain’s satirical story functions as a moral and ethical framework for paci st discourse in contemporary Ameri- can popular culture. “The War-Prayer” constitutes part of the 1981 television lm The Private History of a Campaign That Failed directed by Peter H. Hunt. (Based on Twain’s short story of the same title, it was released in the VHS format in 2002). Set in the Civil War period, this eighty-nine-minute action/adventure movie focuses on a group of scared teenage soldiers, who go to the battle eld without proper training, without understanding the reality of war, and without understanding the reason for war. The lm ends with the arrival of the ghost of Edward Herrmann at a church, who delivers Twain’s “The War-Prayer” as an anti-war epilogue. Like the white-robed “lunatic” in Twain’s story, Herrmann exposes the dreadful implications of a sermon delivered by a jingoistic, triumphalist preacher (Twain 425). -
Zusas Occasional Papers
ZUSAS OCCASIONAL PAPERS Herausgegeben vom Zentrum für USA-Studien der Martin-Luther-Universität Halle-Wittenberg Heft 6 GARY SCHARNHORST Mark Twain’s Relevance Today Halle (Saale): Zentrum für USA-Studien, 2011 Bibliographische Informationen der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliographie; detaillierte bibliographische Daten sind im Internet über http://dnb.d-nb.de abrufbar. ZUSAS Occasional Papers ISSN 1867-2191 Scharnhorst, Gary. Mark Twain’s Relevance Today Layout: Carsten Hummel © 2011 Zentrum für USA-Studien der Martin-Luther-Universität Halle-Wittenberg 06099 Halle (Saale) Germany http://www.zusas.uni-halle.de Druck: Reprocenter GmbH Halle (Saale) 5 Mark Twain’s Relevance Today From the earliest stage of his writing career, Mark Twain was more than a literary comedian. From the first, his humor had a satirical and sometimes even a bitter edge, and throughout his life he repeatedly ridiculed the fool- ishness and foibles of the “damned human race.” His humor was in fact the basis of his appeal across classes, races, and nationalities. His social satire is the basis of his relevance today. The secret of his success as a humorist, he insisted, was that everything he wrote “had a serious philosophy or truth as its basis. I would not write a humorous work merely to be funny.” If Twain was an American icon, he was also an iconoclast. Nowhere is his iconoclasm more apparent than in his indictment of religious hypocrisy, especially in Adventures of Huckleberry Finn. As the novel opens, for example, pious old Miss Watson tries to teach Huck his cat- echism even while planning to sell the slave Jim down the river. -
Teachers Resource Guide
s! m idea assroo se cl Lessons and Ac Try the tivities For the Classroom Table of Contents: The Mark Twain Boyhood Home & Museum Writing Ideas 2 Word Search 3 Teacher Resource Guide Encounter with 4 Prepared by Dr. Cindy Lovell an Interviewer Quincy University, Quincy, Illinois Legend of 4 Sagenfeld This guide offers some help- visit - call! We love to hear Teaching Award. Applica- ful teacher suggestions and from teachers if only to an- tions must be submitted by Adam and Eve 5 activities to bring Mark swer your questions and help March 15th of each calendar Twain’s writing to life in your you to come up with lesson year, and winners will be an- Sherburn and 5 classroom. These resources plan ideas for teaching Mark nounced on the following May Boggs can be modified for elemen- Twain. 1st. The next time you teach Tom Sawyer - 6 tary, middle, and high school Mark Twain in your class- Mark Twain’s writings fit into Whitewashing students. virtually every type of class- room, consider applying for We are always looking for room. If you have a specific this prestigious award. Activities 7- good teaching ideas to share. idea but are unsure as to how Teaching Twain? 11 If you have any you’d like to to proceed, send us an email Enter by March 15th! share, please let us know. or give us a call - we will help Following the 12 Contact Cindy Lovell at the you prepare the most appro- Equator Mark Twain Boyhood Home & priate lesson for your stu- Museum. -
Adventures of Tom Sawyer
The Adventures of Tom Sawyer Mark Twain THE EMC MASTERPIECE SERIES Access Editions SERIES EDITOR Robert D. Shepherd EMC/Paradigm Publishing St. Paul, Minnesota Staff Credits: For EMC/Paradigm Publishing, St. Paul, Minnesota Laurie Skiba Eileen Slater Editor Editorial Consultant Shannon O’Donnell Taylor Jennifer J. Anderson Associate Editor Assistant Editor For Penobscot School Publishing, Inc., Da nvers, Massachusetts Editorial Design and Production Robert D. Shepherd Cha rles Q. Bent President, Executive Editor Production Manager Christina E. Kolb Sara Day Managing Editor Art Director Kim Leahy Beaudet Diane Castro Editor Compositor Sara Hyry Janet Stebbings Editor Compositor Laurie A. Faria Associate Editor Sharon Salinger Copyeditor Marilyn Murphy Shepherd Editorial Advisor ISBN 0-8219-1637-8 Copyright © 1998 by EMC Corporation All rights reserved. No part of this publication may be adapted, reproduced, stored in a retrieval system or transmitted in any form or by any means, elec- tronic, mechanical, photocopying, recording, or otherwise without permis- sion from the publishers. Published by EMC/Paradigm Publishing 875 Montreal Way St. Paul, Minnesota 55102 Printed in the United States of America. 10 9 8 7 6 5 4 3 2 xxx 06 05 04 03 02 01 00 Table of Contents The Life and Works of Mark Twain. v Time Line of Twain’s Life . vii The Historical Context of The Adventures of Tom Sawyer. ix Characters in The Adventures of Tom Sawyer . xiii Illustrations. xvi Echoes . xviii Preface . 1 Chapter 1 . 3 Chapter 2 . 11 Chapter 3 . 17 Chapter 4 . 23 Chapter 5 . 32 Chapter 6 . 39 Chapter 7 . 49 Chapter 8 . -
Irony in Adventures of Huckleberry Finn: “You Can’T Pray a Lie.”
Mark Twain Boyhood Home & Museum Lesson Plan for Adventures of Huckleberry Finn Created by: Elizabeth Hartley and Clare Georgantas School: Evanston Township High School, Evanston, Illinois July 30, 2010 – Summer Teachers Workshop Hannibal, Missouri Irony in Adventures of Huckleberry Finn: “You can’t pray a lie.” LESSON PLAN FOR Adventures of Huckleberry Finn Concept or Topic: Irony Suggested Grade Level: 11-12 Subject: Advanced Placement English Suggested Time Frame: Two-three days (Language and Literature). (42 minute periods). Objective(s): • Students will demonstrate an ability to understand and analyze the use of irony in Twain’s Huckleberry Finn, “The War Prayer,” selected short stories, poetry, and song lyrics. • Students will identify different types of irony (verbal, situational, dramatic, and Socratic) and be able to apply them appropriately to the texts. • Students will post five (5) distinct and different examples of irony from the above Twain texts on the classroom “Wall of Irony.” • Students will transfer their understanding of irony on to other cultural genres, such as music, media, poetry, art, and personal experience. • Students will write an original short story, poem(s), and/or song lyrics that employ the literary device of irony. State Standards: 2.B.5b Apply knowledge gained from literature as a means of understanding contemporary and historical economic, social and political issues and perspectives. 2.B.5a Analyze and express an interpretation of a literary work. 2.A.5a Compare and evaluate oral, written or viewed works from various eras and traditions and analyze complex literary devices (e.g., structures, images, forms, foreshadowing, flashbacks, stream of consciousness). -
Mark Twain's Postmodern View of Identity and the Body
The Recurrent Trope of the Indivisible Body: Mark Twain’s Postmodern View of Identity and the Body The Recurrent Trope of the Indivisible Body: Mark Twain’s Postmodern View of Identity and the Body MITSUISHI Yoko Toyo University I In writing such works as “What Is Man?” in his later years, Mark Twain revealed his larger philosophical interest in human affairs. Even though he was less a systematic theorist than a humorist, Twain’s philosophical thinking provided his novels with a piercing insight that transformed his humor into something more than a joke. In this essay I consider selected humorous remarks and episodes that reference the indivisible body in Twain’s novels in order to show how his persistent interest in the body was ahead of his time, even approaching postmodern understandings of the body as social construct. Twain’s ideological exploration into fundamental questions of the human condition serves as a platform for the critical reassessment of Twain’s later works, many of which were left unfinished or are yet to be mined for their inspired ideas. In Pudd’nhead Wilson (1894), David Wilson’s enigmatic remark about a troublesome barking dog earns him his disgraceful nickname because of its apparent meaninglessness: “I wish I owned half of that dog… Because I would kill my half” (24). Twain’s assigning such a remark to the eponymous character (who also happens to be a lawyer) becomes increasingly significant when we note Twain’s interest in the trope of the indivisible body in Adventures of Huckleberry Finn (1884/5) and also in Those Extraordinary Twins (1894). -
Mark-Twain-Order-Of
Prelude: (From Bob) Welcome and Announcements Linda Wilkes, Worship Associate Good morning, and welcome to the Gloucester Unitarian Universalist Church. We gather here in this sanctuary, as people have been gathering since 1806, Whoever you are and whomever you love, you are welcome here. However you arrived at this beloved sanctuary, whatever your heritage, wherever you are on your life‘s journey, you are welcome here. If you are a visitor or newcomer and would like to introduce yourself, please stand and tell us your name and where you are from so we can welcome you. If you‘d like to get connected and learn more about our community life, please take a moment to fill out a green pew card, located on the back of the seat in front of you, or sign the guest book in the vestibule. We hope you will join us for refreshments downstairs in the vestry following the service so we have a chance to connect in person. Announcements Now let us deepen into worship Introit (From Bob) Opening Words Linda Wilkes When Mark Twain first went on the lecture circuit, the billboards advertising his lectures said: ―Doors open at 7 o‘clock. The trouble to begin at 8 o‘clock.‖ And, that is what Twain brought to his audiences: trouble – wrapped in satire, sarcasm, and outrageous humor. From the last quarter of the nineteenth century into the first decade of the twentieth century, Twain questioned the political correctness of the day. He found contradictions throughout the society in which he lived. And, with his genius for the turn of a phrase, he unleashed his unparalleled literary skills for social justice and religious tolerance. -
Silent Night, Holy Truce
SILENT NIGHT, HOLY TRUCE Worship resources for services recognising and commemorating the Christmas Truces for the centenary of World War 1 1 TABLE OF CONTENTS Introduction: Narrating World War I 4 A hopeful bit of history 6 The Martin Luther King Peace Committee 8 About These Resources 10 PART 1: A CHRISTMAS TRUCE-THEMED CAROL SERVICE 11 PART 2: RESOURCES TO BUILD YOUR OWN CHRISTMAS TRUCE-THEMED SERVICES 15 How To Use These Resources 15 Opening Words 16 Praise and Thanksgiving 16 Petitionary/Intercessory Prayers 17 Penitential/Confession 19 Reflections/Sermon 20 Actions, Rituals and Ceremonial 21 Endings 22 Other Written Resources 23 PART 3: EXAMPLE SERVICES USING THE SILENT NIGHT, HOLY TRUCE MATERIALS 26 Another Carol Service 26 A Communion Service 29 A Preaching Service/Service of the Word 32 PART 4: A CHRISTMAS TRUCE-THEMED SUNDAY SCHOOL SESSION 34 Further Notes for Leaders 36 Memory Verse Handout 38 The Two Sides in World War 1 Handout 39 2 APPENDICES 40 Appendix I: Multi-lingual Resources 40 Appendix II: Voices from the Trenches 42 Appendix III: Notes for a School Assembly 44 Appendix IV: Poem 45 Appendix V: Further Reading 46 3 INTRODUCTION: NARRATING WORLD WAR I Between 2014 and 2018 the UK will mark the centenary of the First World War. That more than 15 million people died in a conflict marked by new forms of weaponry and warfare is widely accepted, but interpretations of the war continue to divide. Was the war a ‘futile’ waste of a generation? ‘Lions led by donkeys’? - A clash of imperial powers driven by the desire to accumulate capital? ‘Organised murder, nothing else,’ as Harry Patch, Britain’s last veteran of the war, described it? Or was it a just war to check German militarism and liberate Belgium? - Or (from the other side) a just war to peg back the British Empire and defeat the threat of secularist France to Christian civilisation? Given these debates, it is unsurprising that plans in Britain to mark the war have been contentious from the beginning. -
The War-Prayer'
UC Santa Barbara Journal of Transnational American Studies Title Twain's Rhetoric of Irony in 'the War-Prayer' Permalink https://escholarship.org/uc/item/3943t6p3 Journal Journal of Transnational American Studies, 1(1) Author Lock, Helen Publication Date 2009-02-16 DOI 10.5070/T811006966 Peer reviewed eScholarship.org Powered by the California Digital Library University of California 74 Mark Twain Studies Vol. 2 Twain’s Rhetoric of Irony in “The War-Prayer” Helen LOCK The point made by Mark Twain’s “The War-Prayer” (1905) is simple, even simplistic: that the unspoken part of the desire for victory over the enemy is the desire that misery and death befall others. The irony, as noted by the stranger who comments on this silent prayer, is that it is directed supposedly “in the spirit of love” to “Him who is the Source of Love” (398). In fact, Twain’s piece makes this irony unmissable, as it ends with the failure of the congregation even to understand the stranger’s point, let alone to take it to heart: “It was believed afterward that the man was a lunatic, because there was no sense in what he New Perspectives on “The War-Prayer” Essays on “The War-Prayer” 75 said” (398). This inability to “get it,” this immunity to irony, recalls many of Twain’s characters over the years, most forcibly perhaps the townspeople of Dawson’s Landing in Pudd’nhead Wilson (written about ten years earlier), who fail to understand Wilson’s ironic joke and thus doom him to twenty years of mislabeling as a pudd’nhead. -
'From the Throne': What the Stranger in 'The War-Prayer' Says About Mark Twain's Theology
50 Mark Twain Studies Vol. 2 “From the Throne”: What the Stranger in “The War-Prayer” Says about Mark Twain’s Theology Dwayne EUTSEY Written in reaction to America’s imperialist aggression against the Philippines, “The War-Prayer” is Mark Twain’s lacerating critique of religiosity and complacent patriotism in time of war. While its anti-imperialistic and anti-war themes are obvious, often overlooked is what this caustic short story reveals about Twain’s theological views late in life—a time many scholars view as a dark and even nihilistic phase for the distraught humorist. The narrative’s sharp political edge might seem to preclude such a personal read- ing. However, the origin of the Stranger in “The War-Prayer”—who comes “from the Throne—bearing a message from God Almighty”—may provide a deeper, more complex glimpse into Twain’s ever-evolving theological views during his last decade. The text, in fact, can be seen as an important link between Twain’s anti-imperialism and unorthodox New Perspectives on “The War-Prayer” Essays on “The War-Prayer” 51 theology. Written in 1905, “The War-Prayer” seems to be something of a sequel to Twain’s ironic call in “The United States of Lyncherdom” (1901) for American missionaries to stop their imperialistic proselytizing in Asia and come home to “convert these Christians.” The divine Stranger in “The War-Prayer” attempts to do just that when the “messenger of the Most High” interrupts the church service. He is rejected by these Christians just as the “good Christians” of Eseldorf will later reject the mysterious stranger in No. -
The Changing Forms and Functions of Humor in Mark Twain's Later Writings
Dealing With Dark Times – The Changing Forms and Functions of Humor in Mark Twain’s Later Writings Dissertation zur Erlangung des akademischen Grades Dr. phil. genehmigt durch die Fakultät für Humanwissenschaften der Otto-von-Guericke-Universität Magdeburg von: Ksenia Romashova M.A. geb. am: 12. November 1985 in Moskau Gutachter: Prof. Dr. Holger Kersten Prof. Dr. Hans-Werner Breunig Eingereicht am: 28. Januar 2016 Verteidigt am: 22. Juni 2016 2 Table of Contents Preface................................................................................................................................................3 Chapter 1 ............................................................................................................................................4 1.1 Introduction .........................................................................................................................4 1.2 Literature Review ................................................................................................................9 1.3 Review of Scholarly Considerations in the Topic of Humor ............................................... 19 1.4 Review in Scholarly Considerations in the Topic of Humor and Old Age ........................... 30 Chapter 2. Humor in Mark Twain’s Later Writings ........................................................................... 36 2.1 Introduction............................................................................................................................. 36 2.2 Religion and the Human