|
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. |
|
|
|
|