AOU The Sisters and An Encounter & Dancing at Lughnasa and Eveline Essays instructions: Answer both questions on the exam paper. Each question will be gr

AOU The Sisters and An Encounter & Dancing at Lughnasa and Eveline Essays instructions:

Answer both questions on the exam paper. Each question will be graded out of 50 marks.

All answers should be in standard essay format:Start with a thesis, provide specific and appropriate examples, then end with a conclusion. Analyze and discuss the examples, and define all important terms.

The word count for each essay should range from 600-650 words.

Edit your answers, paying attention to grammar, punctuation, and spelling

Cross out any notes you make which you do not want to be considered.

The files bellow you’ll find most of ur answers in the i want an A.

Answer in the same file the has the questions

Answer the following questions. (50 marks each)

Q1. Brian Friel’s play Dancing at Lughnasa and James Joyce’s story ‘Eveline both focus on the theme of memory. Discuss the treatment of memory in both works and how memory is illustrated as a theme in the works. How do characters in the works deal with their own memories? How do those impact their lives? Make sure you support your discussion by providing specific examples from the texts.

Q2. Discuss the theme of paralysis in ‘The Sisters,’ and ‘An Encounter,’ from James Joyce’s collection of short stories, Dubliners. How is paralysis manifested in the portrayal of the city of Dublin and how does it affect the lives of some of the characters in the stories? Make sure you illustrate your answer with specific examples from the stories. Take Home Exam for Final Assignment 2019-2020/Summer
Version1: Branch Saudi Arabia
A230B: Reading and Studying Literature II
Cut-Off Date : 23/7/2020
Total Marks
Cut off Time: 2 pm
:
Duration
:
Contents:
Warnings and Declaration…………………………………………………………….………………………………………………………………. 1
Question1 ………………………….…………………………………………………………………………………………….………………………..…. 2
Question 2 …………………………………………………………………………………………………………………………….……………….…..…. 3
Plagiarism Warning:
As per AOU rules and regulations, all students are required to submit their own THE-Final work and avoid plagiarism. The
AOU has implemented sophisticated techniques for plagiarism detection. You will be penalized for any act of plagiarism as
per the AOU’s rules and regulations.
Declaration of No Plagiarism by Student (to be signed and submitted by student with THE-Final work):
I hereby declare that this submitted THE-Final work is a result of my own efforts and I have not plagiarized any
other person’s work.
Name of Student
:
…………………………………………………..
Signature
:
…………………………………………………..
Date
:
…………………………………………………..
A230B/ THE-Final
2019-2020/Summer
Instructions:
1. Answer both questions on the exam paper. Each question will be graded out of 50 marks.
2. All answers should be in standard essay format: Start with a thesis, provide specific and
appropriate examples, then end with a conclusion. Analyze and discuss the examples, and
define all important terms.
3. The word count for each essay should range from 600-650 words.
4. Edit your answers, paying attention to grammar, punctuation, and spelling
5. Cross out any notes you make which you do not want to be considered.
6. Refer to relevant critical theory to support your argument.
TUTOR’S REMARKS:
Q1:
Content
Q2:
Language
and
Organization
Earned Mark
A230B/THE-Final
2
2019-2020/Summer
Answer the following questions. (50 marks each)
Q1. Brian Friel’s play Dancing at Lughnasa and James Joyce’s story ‘Eveline
both focus on the theme of memory. Discuss the treatment of memory in both
works and how memory is illustrated as a theme in the works. How do
characters in the works deal with their own memories? How do those impact
their lives? Make sure you support your discussion by providing specific
examples from the texts.
Q2. Discuss the theme of paralysis in ‘The Sisters,’ and ‘An Encounter,’ from
James Joyce’s collection of short stories, Dubliners. How is paralysis manifested
in the portrayal of the city of Dublin and how does it affect the lives of some of
the characters in the stories? Make sure you illustrate your answer with
specific examples from the stories.
END OF QUESTIONS
A230B/THE-Final
3
2019-2020/Summer
Take Home Exam for Final Assignment 2019-2020/Summer
Version1: Branch Saudi Arabia
A230B: Reading and Studying Literature II
Cut-Off Date : 23/7/2020
Total Marks
Cut off Time: 2 pm
:
Duration
:
Contents:
Warnings and Declaration…………………………………………………………….………………………………………………………………. 1
Question1 ………………………….…………………………………………………………………………………………….………………………..…. 2
Question 2 …………………………………………………………………………………………………………………………….……………….…..…. 3
Plagiarism Warning:
As per AOU rules and regulations, all students are required to submit their own THE-Final work and avoid plagiarism. The
AOU has implemented sophisticated techniques for plagiarism detection. You will be penalized for any act of plagiarism as
per the AOU’s rules and regulations.
Declaration of No Plagiarism by Student (to be signed and submitted by student with THE-Final work):
I hereby declare that this submitted THE-Final work is a result of my own efforts and I have not plagiarized any
other person’s work.
Name of Student
:
…………………………………………………..
Signature
:
…………………………………………………..
Date
:
…………………………………………………..
A230B/ THE-Final
2019-2020/Summer
Instructions:
1. Answer both questions on the exam paper. Each question will be graded out of 50 marks.
2. All answers should be in standard essay format: Start with a thesis, provide specific and
appropriate examples, then end with a conclusion. Analyze and discuss the examples, and
define all important terms.
3. The word count for each essay should range from 600-650 words.
4. Edit your answers, paying attention to grammar, punctuation, and spelling
5. Cross out any notes you make which you do not want to be considered.
6. Refer to relevant critical theory to support your argument.
TUTOR’S REMARKS:
Q1:
Content
Q2:
Language
and
Organization
Earned Mark
A230B/THE-Final
2
2019-2020/Summer
Answer the following questions. (50 marks each)
Q1. Brian Friel’s play Dancing at Lughnasa and James Joyce’s story ‘Eveline
both focus on the theme of memory. Discuss the treatment of memory in both
works and how memory is illustrated as a theme in the works. How do
characters in the works deal with their own memories? How do those impact
their lives? Make sure you support your discussion by providing specific
examples from the texts.
Q2. Discuss the theme of paralysis in ‘The Sisters,’ and ‘An Encounter,’ from
James Joyce’s collection of short stories, Dubliners. How is paralysis manifested
in the portrayal of the city of Dublin and how does it affect the lives of some of
the characters in the stories? Make sure you illustrate your answer with
specific examples from the stories.
END OF QUESTIONS
A230B/THE-Final
3
2019-2020/Summer
Dubliners 2
Introduction
In this chapter, the theme of paralysis is developed. We’ll look at Joyce’s use of memory
and the ways in which it helps to oppose the dominance of theme of paralysis in the
collection. Memory is also important when considering Dubliners with reference to
ideas about period.
Single Dublin life
There were limited opportunities available to single women in the city, which is what
Maria, the protagonist of ‘Clay’, reflects. In this period, a woman’s destiny was regarded
as marriage and motherhood, while being single was considered a failure. However,
from the turn of the 20th century, many women began to demand access to education
and more employment opportunities and to the right to have independent lives for
themselves beyond marriage. Maria reflects on this, she believed that it’s much better
to be independent and to have your own money in your pocket. In fact, Dublin was
opening itself up to professional and working women.
Clay
‘Clay’ has a third-person narrator. The first paragraphs inform us to many aspects of
Maria’s physical appearance, character and life, which makes us believe that the
narrator is omniscient (all-seeing and all-knowing). The term ‘point of view’ means the
perspective from which a story is told. A first-person narrator (as in ‘The Sisters’) allows
the reader to see events through the protagonist/narrator’s eyes. The narrative was
limited to what the boy knew. By the time of ‘Eveline’, Joyce was using a third-person
narrator. The narrator of ‘Eveline’ tells the story mainly from the protagonist’s point of
view. This kind of narrator is in ‘Clay’ too. So, the narrator doesn’t really seem to be
omniscient because the narrative is often filtered through Maria’s consciousness (what
we get is her particular view of reality, and events according to her experience of them).
This technique, which involves a very close interference between then narrative voice
and the voice of a character, is known as free indirect style. It’s one of the forms of
representing characters’ speech and consciousness. The effect of free indirect speech is
to place the narrative in the character’s consciousness.
Dubliners is well known for its use of free indirect style. One major effect of this is that
there’s no narrator giving comments or making overt moral judgements on events.
Joyce switches from first-person narration as his main characters ‘grow up’ because now
they are expected to know more about their world and their narratives. He also denies
to his third-person narrators the God-like knowledge of the omniscient narrator and
therefore, denying the reader any certainty. The lack of omniscience and clear moral
judgement are notable features of this collection, which is a modernist narrative style.
Joyce rejected omniscience along with any idea that readers had to be told what to
think. Filtering the narrative through Maria’s consciousness doesn’t mean that we only
see the world through her eyes. Because Joyce has let us know that her perspective is
limited, we are able to see more than she sees and suspect that her perception of
events isn’t acute. Joyce’s skillful use of the third-person narrator and devices like free
indirect style give to the story the ambiguity that the collection is famous for. In the
story’s crucial scene, she participates in a traditional game to predict the future. At
Maria’s turn, she selects a dish of clay that the next-door girls have included to signify
death. Maria stands helpless until the game is rearranged so that she selects the prayerbook. It seems oblivious that Maria realizes that she’ll face her death alone. Joyce
complicates the narrative perspective at the end of the story, suggesting that Maria is
aware that she has missed out on life.
Unlike Eveline, Maria doesn’t face decisions and situations with large consequences.
Maria represents the quiet life of a single woman. She’s a small, gentle woman who
loses herself in joy. However, the events in this story are quiet but far from harmless.
Maria focuses on the small details, which deadens her life. For her, everything needs
organization and precision. She supervises the distribution of food at the charity, she
prides herself on her neat and tidy body, and she divides the minutes of her evening.
She wants to create order and clarity in her life, but all she actually does is encourage
frustration. When she realizes that she has lost the plum cake, she’s so angry with
herself and her carelessness that she almost cries. Unlike Eveline who feels nothing to
the loss of her love and a potential new life, Maria feels intense emotions over small
events. This story shows that Maria’s responses are as limiting as Eveline’s. Maria
focuses closely on life’s small details in order to avoid greater pains. Preoccupation with
small matters help to control the more difficult aspect of life. The title of the story refers
to Maria’s selection of clay in the Halloween game. The clay doesn’t imply a literal
death, but instead describes Maria’s uneventful, detail-oriented life as a metaphorical
early death. Clay also suggests the state of Maria and her life up to that moment. Like
the paralyzed Father Flynn from “The Sisters”, Maria is in a state between living and
dying where she engages with her surroundings only on a superficial, material level. She
fails to recognize the boring routine of her life, as her repetition of the song suggest.
Maria doesn’t actively shape her experiences, but instead, she allows it to shape her.
The image of her face collapsing into itself in laughter implies that Maria and her blind
happiness is moldable and soft, like clay. Maria chooses the prayer book after the clay,
which suggests she might find an escape in the isolated life of nunnery.
A Painful Case
Mrs. Sinico is clearly the painful case. The story’s title is taken from the newspaper
report on her death. But it could also be suggested that Mr. Duffy is the painful case
because his life is described in details by Joyce. The reader’s sympathies are divided
between the two characters because they both experience serious degrees of loneliness
and isolation. The reader may feel some bias, favoring one painful case over the other,
because Mrs. Sinico had a family. Still, the point of view is more telling. Mr. Duffy’s is the
central consciousness of the story, while Mrs. Sinico never offers her perspective on
events. Men controlled her life and narrated her death, (the Deputy Coroner, the train
driver, the railway porter, the policeman, the doctor, the newspaper reporter and her
husband) are all powerful and patriarchal power.
The theme of paralysis is employed by Joyce in a different way in this story. On a
superficial level, Duffy seems to be in control of his life, with fixed routines and a dislike
of innovation and disorder. He is paralyzed by fear of contact, of what a close friendship
or a romantic relationship might mean in his emotionally ruined life. His strange analysis
of the impossibility of loving relationships is only a way of freeing himself from any
normal human interaction. Like Eveline, Duffy has been offered one chance at happiness
but he rejects it.
Mr. Duffy knows that his relationship with Mrs. Sinico is a disruption of his orderly life
that he must stop, but he eventually fails to control. Mrs. Sinico awakened new
emotions in Mr. Duffy, but when she makes an intimate move he reacts with surprise
and toughness. Accepting Mrs. Sinico’s offered intimacy, which opens the possibility for
love and deep feeling, would mean a disorder in his life. So he continues his lonely life
with some relief after he stopped the relationship. When he reads of Mrs. Sinico’s death
four years later, he reacts with shock and disgust, as he did when she touched his hand
once. Mrs. Sinico’s dramatic death points to a depth of feeling that Mr. Duffy will never
understand or share, this provides Mr. Duffy epiphany as he walks home. He realizes
that his concern with order shuts everyone out of his life and prevents him from living
fully. Like other characters in Dubliners who experience epiphany, Mr. Duffy isn’t
inspired to begin a new phase in his life, but instead, he just accepts his loneliness. The
story concludes where it begins, Mr. Duffy is alone. This narrative circle mimics the
many routines that cover his life and deny him true companionship. The story opens
with a detailed depiction of Mr. Duffy’s home in a neighborhood that he chose to be
away from Dublin’s noises. His house is colorless, no wallpapers, and disorder,
spontaneity, passion are not welcomed. His house is just like his soul. His regular
movements make each day the same as the next. Mrs. Sinico refreshes Mr. Duffy’s
routine and almost warms his cold heart. However, she only succeed in making him
realize his cycle of solitude after her death. Mrs. Sinico died of a broken heart that he
caused. But he will not change the life he has created for himself. He is paralyzed,
despite his realization and his guilt.
Activity 3
Despite the intimacy of Dublin, and the ways in which social interaction is highly
possible in this period, Joyce places this growing intimacy outside the city walls. The
lonely road to Chapelizod simply mirrors and helps to create these two characters’
separate isolations. It is in Mrs. Sinico’s little cottage outside Dublin that they become
close. It is as though they are being changed and developed by the rural environment.
The complexity of modernity is at its clearest in this tale. Mrs. Sinico and Mr. Duffy push
back the modern world, re-creating an earlier period. They sit in the dark, avoiding the
lighted lamp, he withdraws from politics, she becomes his confessor, his mental life is
emotionalized and so he begins to change. He displays no ill effects until he is faced with
the newspaper article that reports her death. Once Duffy’s disgust has been satisfied, he
develops a more interesting human process (memory). Memory becomes more relevant
as Dublin grows up.
The ‘Dead’
In this story, Gabriel‘s reputation with his aunts as the favorite nephew who takes care
of everything mark him as a man of authority, but two encounters with women at the
party challenge his confidence. First, Gabriel awkwardly provokes a defensive comment
from Lily when he asks her about her love life. Instead of apologizing or explaining what
he meant, Gabriel quickly ends the conversation by giving Lily a holiday tip. He blames
his prestigious education for his inability to relate to servants like Lily, but his willingness
to let money speak for him suggests that he relies on the comforts of his class to
maintain distance. During his dance with Miss Ivors, he faces questions about his
nonexistent nationalist sympathies, which he doesn’t know how to answer
appropriately. Unable to compose a full response, Gabriel blurts out that he is sick of his
own country, surprising Miss Ivors and himself with his unmeasured response and his
loss of control.
Gabriel’s anxiety ends in his tense night with Gretta, and his final encounter with her
forces him to confront his inflexible view of the world. When he sees Gretta fascinated
by the music at the end of the party, Gabriel wants to have control of her strange
feelings. Though Gabriel remembers their love and is overwhelmed with the attraction
for Gretta, this attraction is actually rooted in his desire to control her. At the hotel,
when Gretta confesses to Gabriel that she was thinking of her first love, he becomes
angry at her and himself, realizing that he has no claim on her. After Gretta falls asleep,
Gabriel softens. He’s not jealous, but he is sad to know that Michael once felt a strong
love that he himself has never known. Reflecting on his own controlled, passionless life,
he realizes that life is short and those who leave the world like Michael with great
passion live more fully than people like himself.
Gabriel experiences an inward change that makes him examine his own life and human
life in general. While many characters in Dubliners suddenly stop pursuing what they
desire without explanation, this story offers a more specific explanation for Gabriel‘s
actions. Gabriel sees himself as a shadow of a person, shining in a world in which the
living and the dead meat. Though in his speech at the dinner he insisted on the division
between the past of the dead and the present of the living, Gabriel now recognizes after
hearing that Michael’s memory lives on, that such division is false. As he looks out of his
hotel window, he sees the falling snow and he imagines it covering Michael’s grave just
as it covers those people still living, as well as the entire country of Ireland. The story
leaves open the possibility that he might change his attitude and embrace life.
The party consists of deadening routines that make existence so lifeless in Dubliners.
The events of the party repeat each year (Gabriel gives a speech, Freddy arrives drunk,
everyone dances the same steps, everyone eats). Like the horse that circles around and
around and Gabriel’s story, these Dubliners fall into a routine at this party. Such
boredom sets the characters in a state of paralysis. They are unable to break from the
activities that they know, so they live life without new experiences.
This story contains the themes developed in the entire collection and serves as a
balance to the first story, “The Sisters”. Both stories explore the intersection of life and
death. However, “The Dead” honestly address the state of Ireland. In his speech, Gabriel
claims to grieve the present age in which hospitality is undervalued, but at the same
time, he insists that people must not live in t…
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