PL9fwy3NUQKwZ52Wxrug71SHLnFjqhlVJc/HUpZDJ_4-pM_postprocess.srt

1
00:00:11,100 --> 00:00:16,160
Good morning everybody. Are you done with the

2
00:00:16,160 --> 00:00:20,440
quiz? I know today's class is exceptional. It is

3
00:00:20,440 --> 00:00:24,300
very short. Because we started like by doing the

4
00:00:24,300 --> 00:00:28,100
quiz, calling your names. The quiz is like two

5
00:00:28,100 --> 00:00:32,640
marks. It will be added to your midterm. So

6
00:00:32,640 --> 00:00:36,120
hopefully it will improve your midterm exam. Now

7
00:00:36,120 --> 00:00:40,340
we don't want to let this chance go without

8
00:00:40,340 --> 00:00:44,300
videotaping the class. So today we are having

9
00:00:44,300 --> 00:00:47,160
Jehan Farrah. She's going to take over. And she's

10
00:00:47,160 --> 00:00:51,060
going to give a short presentation about the

11
00:00:51,060 --> 00:00:57,090
stylistic analysis of the accent. Good, go ahead.

12
00:00:57,250 --> 00:00:59,670
Okay, I'm not going to do anything new really. I'm

13
00:00:59,670 --> 00:01:03,010
just going to do them quite like, just like a sum

14
00:01:03,010 --> 00:01:08,490
up of what we discussed in the previous class. So,

15
00:01:08,870 --> 00:01:12,570
the oxen, I don't know, we read it before, so I'll

16
00:01:12,570 --> 00:01:15,530
make you listen. After we're done, you can listen

17
00:01:15,530 --> 00:01:19,010
to the Christmas Carol, the oxen itself. Okay,

18
00:01:19,090 --> 00:01:25,860
first of all, we said that in the In the poem, you

19
00:01:25,860 --> 00:01:29,880
have a difference between like the poet separated

20
00:01:29,880 --> 00:01:32,960
between the time of the first two stanzas and the

21
00:01:32,960 --> 00:01:36,900
last two stanzas by saying first he used then and

22
00:01:36,900 --> 00:01:39,820
then he used in these years. So then what does it

23
00:01:39,820 --> 00:01:42,280
signify? It signifies the patterns of life back

24
00:01:42,280 --> 00:01:44,300
then and the ritual supports of the community.

25
00:01:44,600 --> 00:01:47,660
Like everything was like the two stanzas

26
00:01:47,660 --> 00:01:51,850
completely had like this coherent idea of

27
00:01:51,850 --> 00:01:55,070
spirituality and community and stuff like that.

28
00:01:55,350 --> 00:01:58,190
But then in these years, you find a lot of

29
00:01:58,190 --> 00:02:01,010
skepticism, a lot of doubts, a lot of things that

30
00:02:01,010 --> 00:02:03,730
are reflected in the stylistic devices that are

31
00:02:03,730 --> 00:02:06,270
used that we're going to discuss further on. And

32
00:02:06,270 --> 00:02:08,430
you see that the language itself had stylistic

33
00:02:08,430 --> 00:02:10,490
contrast, like the language in the first two

34
00:02:10,490 --> 00:02:13,870
stanzas were contrasting blatantly with the last

35
00:02:13,870 --> 00:02:17,870
two stanzas. So you mean the language, like the

36
00:02:17,870 --> 00:02:20,490
lexical choices? Yeah, we're going to go back to

37
00:02:20,490 --> 00:02:26,030
it. First stylistic contrast was the tense. Like

38
00:02:26,030 --> 00:02:28,030
you see that he drew a parallel. All these

39
00:02:28,030 --> 00:02:32,730
stylistic devices he used are drawing like a

40
00:02:32,730 --> 00:02:35,470
parallel or a parallelism or sort of contrast

41
00:02:35,470 --> 00:02:37,510
between the first two stanzas and the last two

42
00:02:37,510 --> 00:02:40,810
stanzas. The first one was the tense. You find

43
00:02:40,810 --> 00:02:43,530
that in the first two stanzas, The tense he used

44
00:02:43,530 --> 00:02:46,450
was in the past tense. And then in the second, he

45
00:02:46,450 --> 00:02:50,710
used the present tense. Like here you see he's

46
00:02:50,710 --> 00:02:58,330
said, like an elder said, dwelt, all these dead,

47
00:02:58,930 --> 00:03:01,250
all of these were in the past tense. But then he

48
00:03:01,250 --> 00:03:06,860
comes here and he goes, I feel, et cetera. So he

49
00:03:06,860 --> 00:03:10,160
uses the present tense afterwards. So what? So we,

50
00:03:10,380 --> 00:03:12,940
we see that he's drawing a contrast between

51
00:03:12,940 --> 00:03:15,020
before. Yeah, but like, so what? Like, we have to

52
00:03:15,020 --> 00:03:16,960
give meaning to this. Yeah. When we're talking

53
00:03:16,960 --> 00:03:19,500
about, you know, the past which happened and

54
00:03:19,500 --> 00:03:21,700
finished. Yeah. So it's over. It's over. We are no

55
00:03:21,700 --> 00:03:24,300
longer under the pressure of time. Of the time.

56
00:03:24,360 --> 00:03:28,140
You know, it is done. It is behind. But here, it

57
00:03:28,140 --> 00:03:30,440
feels like we are under the pressure of time.

58
00:03:30,600 --> 00:03:33,380
Yeah. We feel, we still have. I feel. We have to

59
00:03:33,380 --> 00:03:36,640
suffer. You see what I mean? And then after that,

60
00:03:36,720 --> 00:03:39,060
we talked about the modal verbs. First of all, we

61
00:03:39,060 --> 00:03:42,860
said, what do they signify? We have the fact that

62
00:03:42,860 --> 00:03:45,580
they reflect greater uncertainty because they're

63
00:03:45,580 --> 00:03:48,100
not like certain verbs. They actually give

64
00:03:48,100 --> 00:03:51,260
uncertainty to the words you're saying. And they

65
00:03:51,260 --> 00:03:54,000
signal subjective orientation towards the events

66
00:03:54,000 --> 00:03:56,460
or the actions that are happening. So in the

67
00:03:56,460 --> 00:03:59,740
second, he didn't use any modal verbs in the first

68
00:03:59,740 --> 00:04:02,240
two stanzas. which give you the impression that

69
00:04:02,240 --> 00:04:04,220
everything was certain they believed in everything

70
00:04:04,220 --> 00:04:06,700
that was said but then he moved in the last two

71
00:04:06,700 --> 00:04:09,820
stanzas he used would should and might and those

72
00:04:09,820 --> 00:04:12,260
are modal verbs so in the second stanzas it

73
00:04:12,260 --> 00:04:15,140
reflects the complexity and the more skeptical

74
00:04:15,140 --> 00:04:17,140
attitude towards things

75
00:04:23,250 --> 00:04:27,610
It's like I, okay. The close structure, we talked

76
00:04:27,610 --> 00:04:30,990
about the shift from a simple structure to a more

77
00:04:30,990 --> 00:04:33,390
complex structure. Like at the beginning you see

78
00:04:33,390 --> 00:04:37,010
just main closes, like there is like a subordinate

79
00:04:37,010 --> 00:04:40,330
close between, but as you carry on, as you move on

80
00:04:40,330 --> 00:04:42,810
in the poem, you see that he actually started

81
00:04:42,810 --> 00:04:46,640
using like defining closes and Like the structure

82
00:04:46,640 --> 00:04:48,700
itself became more complex to reflect the

83
00:04:48,700 --> 00:04:52,920
complexity of the attitude of the nowadays. So

84
00:04:52,920 --> 00:04:55,240
there is parallelism. This is what she wants to

85
00:04:55,240 --> 00:04:58,040
say. There is parallelism between the complexity

86
00:04:58,040 --> 00:05:01,960
of syntax and the complexity of models. of the

87
00:05:01,960 --> 00:05:04,740
meaning he wanted to give. And then the pronouns.

88
00:05:05,120 --> 00:05:07,640
The pronouns, we talked about the we versus the I.

89
00:05:07,740 --> 00:05:10,640
At the beginning, he talked about we, he said we.

90
00:05:11,320 --> 00:05:14,980
And then, like here, we pictured. So he's using

91
00:05:14,980 --> 00:05:18,400
the collective, like he's reflecting the

92
00:05:18,400 --> 00:05:21,660
community. But then he moved on to say I, I feel,

93
00:05:21,760 --> 00:05:25,580
I should go. So this is reflecting the nowadays

94
00:05:25,580 --> 00:05:29,380
more individuality. So there is separation between

95
00:05:29,380 --> 00:05:34,480
the, community and individualism. And then you see

96
00:05:34,480 --> 00:05:37,620
the points of reference it further illustrates the

97
00:05:37,620 --> 00:05:39,780
same point which is for example at the beginning

98
00:05:39,780 --> 00:05:42,420
he used elder and then in the second two stances

99
00:05:42,420 --> 00:05:46,300
he used someone and this reflects also at the

100
00:05:46,300 --> 00:05:48,460
beginning like they knew there is an elder

101
00:05:48,460 --> 00:05:51,180
everyone believed in the wisdom of the elder

102
00:05:51,180 --> 00:05:53,760
everyone believed in this and it was a community

103
00:05:53,760 --> 00:05:56,520
and then he moved to someone there's more doubts

104
00:05:56,520 --> 00:06:04,700
more skepticism if you may. Yeah, yeah And also

105
00:06:04,700 --> 00:06:08,800
here you see like the word yonder, he signified,

106
00:06:08,920 --> 00:06:12,020
like he said, come and then yonder. But then in

107
00:06:12,020 --> 00:06:15,900
the second later, he went like at the beginning,

108
00:06:16,160 --> 00:06:18,700
there's like childhood. It wasn't something

109
00:06:18,700 --> 00:06:23,580
specific. So it's more vague, more general. So as

110
00:06:23,580 --> 00:06:26,440
you move on, there's more particular, like they

111
00:06:26,440 --> 00:06:28,980
pay attention to more particular things. At the

112
00:06:28,980 --> 00:06:30,620
beginning, they used to take things for granted.

113
00:06:32,730 --> 00:06:35,490
It lacks clarity, it lacks any vein, you know?

114
00:06:36,130 --> 00:06:39,010
Yeah, so this is basically what I wanted to say.

115
00:06:39,250 --> 00:06:42,990
And you can add also like the lexical choices.

116
00:06:43,250 --> 00:06:47,950
Yeah, for example here, like he put hard side and

117
00:06:47,950 --> 00:06:53,200
he put childhood, but then he used gloom. Do you

118
00:06:53,200 --> 00:06:57,640
mean meek, mild, creatures, flock? All these words

119
00:06:57,640 --> 00:07:01,140
have positive connotations. But if you go to

120
00:07:01,140 --> 00:07:04,880
gloom, goo, and even like, the sound itself is

121
00:07:04,880 --> 00:07:08,880
like, not very musical. But there is one thing,

122
00:07:08,920 --> 00:07:11,880
you know, I want all of you to think about. Now,

123
00:07:11,940 --> 00:07:15,840
yes, the two, the first two stanzas sharply

124
00:07:15,840 --> 00:07:19,810
contrast with the second two stanzas. However,

125
00:07:19,810 --> 00:07:22,350
there is something I noticed in the poem, and I'm

126
00:07:22,350 --> 00:07:25,590
not sure. Like you have the rhyme, it's perfect

127
00:07:25,590 --> 00:07:29,010
rhyme. You see what I mean? There's a couple,

128
00:07:29,190 --> 00:07:32,310
couplets. What does it mean? Can you give meaning

129
00:07:32,310 --> 00:07:36,850
to this? Now, you have here two words, two

130
00:07:36,850 --> 00:07:40,210
contrasting words. But when it comes to the rhyme,

131
00:07:40,610 --> 00:07:44,750
you know, it is perfect. It is regular. So here,

132
00:07:45,370 --> 00:07:50,260
now if I were him, I would Use like I rhyme,

133
00:07:50,460 --> 00:07:54,340
imperfect rhyme, in order to parallel this word,

134
00:07:54,700 --> 00:08:00,140
but hardly, you know, just like give us this. Yes.

135
00:08:02,840 --> 00:08:06,620
Everything will be okay and that's even if there

136
00:08:06,620 --> 00:08:09,200
is some complications. So do you want to say that

137
00:08:09,200 --> 00:08:12,540
he wants to give some hope? Yes. Okay, good. Thank

138
00:08:12,540 --> 00:08:15,220
you. It's a good, I haven't thought about this.

139
00:08:15,440 --> 00:08:18,420
Yes? Maybe he was affected by the last days or the

140
00:08:18,420 --> 00:08:21,880
last. Yeah, he's still like affected by like. He's

141
00:08:21,880 --> 00:08:24,280
recalling. He has some, you know, something to

142
00:08:24,280 --> 00:08:29,880
offer like good. Perhaps, yes. Sir, maybe, I don't

143
00:08:29,880 --> 00:08:33,140
know, it could be wrong, but maybe he like, he

144
00:08:33,140 --> 00:08:36,020
feels like we didn't really feel this change, like

145
00:08:36,020 --> 00:08:38,800
during the days, like it passed on really quickly

146
00:08:38,800 --> 00:08:41,780
that we didn't feel it, so it felt to us it's like

147
00:08:41,780 --> 00:08:44,500
it's happening very eventual, it's happening

148
00:08:44,500 --> 00:08:50,100
very... Yes, it's a good idea. More, why? This is

149
00:08:50,100 --> 00:08:52,400
a good question, you know, this is a good exam

150
00:08:52,400 --> 00:08:55,890
question. Okay, I don't want to ask you difficult

151
00:08:55,890 --> 00:09:00,670
questions like this. Okay, it's easy. Look here. I

152
00:09:00,670 --> 00:09:05,530
think Hardy, you know, as a poet, the poet works

153
00:09:05,530 --> 00:09:08,210
with rhyme, rhythm, you know? And here, you know,

154
00:09:08,270 --> 00:09:13,510
just like putting perfect rhyme now is an

155
00:09:13,510 --> 00:09:17,110
indication that he himself doesn't point himself

156
00:09:17,110 --> 00:09:21,030
to either words. He's ambivalent. you don't he

157
00:09:21,030 --> 00:09:24,310
doesn't show his attitude he doesn't commit

158
00:09:24,310 --> 00:09:29,890
himself to either of these words to the past or to

159
00:09:29,890 --> 00:09:35,370
the present so himself like he is like not showing

160
00:09:35,370 --> 00:09:38,790
where he is siding with the past or with the

161
00:09:38,790 --> 00:09:43,510
present and this adds more uncertainty to the poem

162
00:09:43,510 --> 00:09:48,450
so he doesn't want to commit himself to an

163
00:09:48,450 --> 00:09:52,430
attitude, to which word he is belonging, and this

164
00:09:52,430 --> 00:09:56,770
adds more ambivalence and more uncertainty to the

165
00:09:56,770 --> 00:09:59,930
poem. In fact, yes, as I told you, you have to

166
00:09:59,930 --> 00:10:04,250
read the stylistic analysis carefully, and if you

167
00:10:04,250 --> 00:10:09,070
have any question, we can answer it easily.

168
00:10:10,590 --> 00:10:13,230
Thank you. I don't know if there's time to show

169
00:10:13,230 --> 00:10:16,750
them Is there a movie? No, it's like a two-minute

170
00:10:16,750 --> 00:10:22,790
Christmas Carol. I don't know if you hear it. We

171
00:10:22,790 --> 00:10:25,550
don't have a voice. Okay.

172
00:10:33,570 --> 00:10:36,830
Yeah, Christmas in a few days. We should have

173
00:10:36,830 --> 00:10:40,050
waited to teach, you know, the accent like next

174
00:10:40,050 --> 00:10:44,230
week. You can't hear it? I think, you know, last

175
00:10:44,230 --> 00:10:52,010
year it coincided with Christmas Like

176
00:10:52,010 --> 00:10:55,950
they sing it as a Christmas carol Yeah, like if

177
00:10:55,950 --> 00:10:59,750
you go to YouTube, I think you can find it sung in

178
00:10:59,750 --> 00:11:00,370
a different way

179
00:11:11,470 --> 00:11:14,510
Thank you very much. Next time we are doing

180
00:11:14,510 --> 00:11:18,270
futility. And in order to understand futility, I

181
00:11:18,270 --> 00:11:22,650
want also you to read The Soldier for Brook. It

182
00:11:22,650 --> 00:11:25,770
will be an introduction. The Soldier. There is a

183
00:11:25,770 --> 00:11:29,350
poem called The Soldier Before Futility. And

184
00:11:29,350 --> 00:11:34,090
again, futility, we are going to conduct stylistic

185
00:11:34,090 --> 00:11:37,830
analysis. So we might finish the course either

186
00:11:37,830 --> 00:11:42,740
Saturday at maximum Monday. But let's hope we

187
00:11:42,740 --> 00:11:45,680
finish on Saturday. Let's hope. Thank you very

188
00:11:45,680 --> 00:11:47,320
much and take care. Bye.