1. Why an impossible quest?
Araby
Why
an impossible quest?

2. Your Discussion Record
About the narrator’s stories –
In the story the narrator told herself, she rescued people from the bombed building. But in fact, she was disappointed cause she can’t help the people suffering from the war in the real world. Plus, she was a rescuer in the story, which indicated that she wanted to help the weak.
What’s more, she was riding on a horse that no one else ever rode before, which meant she wanted to be unique. However, she fell off from the horse and was bad at shooting while learning it. It told us that she knew she can’t be the strong girl how, but she hoped she can be a courageous and bold girl someday, instead of being the girl people think a “girl” should be.
I rescued people from a bombed building (it discouraged me that the real war had gone on so far away from Jubilee).
I rode a fine horse spiritedly down the main street of Jubilee, acknowledging the townspeople’s gratitude for some yet-to-be-worked-out piece of heroism (nobody ever rode a horse there, except King Billy in the Orangemen’s Day parade). There was always riding and shooting in these stories, though I had only been on a horse twice…

3. Your Discussion Record
About Flora– narrator
The hourse, Flora, represents the narrator who originally eagers to get rid of the limitation from her parents and the expectation from the society. After the death of Flora, the narrator's ideal girl has been torn up and compromised to the reality.
Plot and language (Flora is not a symbol here.)

4. Your Discussion Record
After Mack is killed narrator vs. Laird
the narrator tried to behave like a boy, however she couldn’t deny that she is just a girl. Her legs were shaking and she was a little bit frightened by witnessing the killing of Mack. On the other hand, Laird had become a big boy who was strong enough to face everything, not a boy who was scared of climbing the ladder to the top beam. …In fact, Laird had already grown up.

5. Outline Your Q&A Social Background You & “Araby”
The Boy’s Language: Image & Symbol
Group Discussion/Rehearsal
Performance and Analysis

6. Q & A (1)
Q: How does the protagonist describe his own infatuation with Mangan’s sister? What kind of  language does he use?
Q: Why does the author make so many efforts describing the narrator's daily life, which seems to be irrelevant to the topic of this story.
Q:Why did the narrator see himself as “a creature driven and derided by vanity” in the end? What is the meaning of seeing himself in that way?
1) Confused adoration; religious “undertone” – image/connotation

7. Social Factors: Catholicism, Alcoholism and Family/Class Background
Orphan
Comic “Araby”

8. Social Factors: Catholicism, Alcoholism and Irish Nationalism
O'Donovan Rossa
Comic “Araby”

9. James Joyce (1882–1941) James Joyce & The Dubliners
4:24 N. Richman st.
31:00 Dublin as “the center of paralysis” –4 aspects: Childhood, Adolescence, Maturity and Public Life
34:00 - “Araby” – not all about paralysis and meanness
Joyce was an Irish novelist and poet of the modernist avant-garde. He was born into a middle-class family in Dublin but later emigrated to continental Europe. Many of Joyce’s college friends and family members appear in his literary works. Joyce drank heavily and had bouts of violence and persistent financial problems due to his drinking. Arguments remain about Joyce’s religious background—fellow artists believe that he remained a Catholic in cultural heritage and ways of thinking, but renounced the discipline and ritual of Catholicism. These are pervasive issues in his writings.

10. James Joyce (1882-1941): Personal Background
Born into a middle-class, Catholic family
Religious:
Attended a Jesuit school and went on to study philosophy and languages at University College, Dublin.
Almost declared priesthood but then renounced it for the pursuit of his art.
Exiled: Moved to Paris after graduation, and then, except for a short return to Dublin, stayed being an expatriate. (source)

11. Social Background & the Story
Three Major Issues in Dublin in and after the Turn of the 20th Century:
Poverty and the rise of Irish Nationalism (cultural, political and military song of “Jeremiah O'Donovan Rossa” in the market)
For Joyce, alcoholism (e.g. Joyce’s father, the boy’s uncle)
Irish Catholicism in decline ( the dead priest and the boy’s religious sentiment; “I'm afraid you may put off your bazaar for this night of Our Lord.”)
Noises vs.
Romantic Feelings
History of Dublin/Ireland:
Irish Catholics vs. British Protestants (the privileged classes in Dublin)
The potato famine of 1845  Irish Nationalism became more and more militant.
愛爾蘭共和國成立於1922年的愛爾蘭自由邦，結束了大英帝國的統治，獨立戰爭後簽訂了英愛條約，愛爾蘭獨立，但東北方的的領土選擇繼續留在聯合王國內，形成了北愛爾蘭。
Violence …

12. Today’s Ireland Dublin in 1904 & Today Image Sources: 1, 2
Violence had decreased greatly after the Provisional IRA and loyalist ceasefires in 1994 and in 2005 the Provisional IRA announced the end of its armed campaign and an independent commission supervised its disarmament and that of other nationalist and unionist paramilitary organisations.
… On 27 June 2012, Northern Ireland's deputy first minister and former IRA commander, Martin McGuinness, shook hands with Queen Elizabeth II in Belfast, symbolising reconciliation between the two sides.

13. Signs of Poverty and Materialist Needs in the Story
Spiritual Poverty
The boy without parents; praying alone.
The priest dead
Material Poverty
The boy’s need of money
The visit of Mrs. Mercer, a pawnbroker's widow – The uncle owes her some money?
A combination:
“… --O, there's a fib!”
I allowed the two pennies to fall against the sixpence* in my pocket.
Noises vs.
Romantic Feelings
Feelings of being driven and derided by vanity
Poverty  Irish nationalism (“Jeremiah O'Donovan Rossa” in the market)
1.00 GBP, =  TWD. (URL: 1 florin = 4.9 TWD; 2 shillings = 1 florin;
12 pence = 1 shilling; 20 shillings = 1 pound. 
1/4 supposed to be the train fee; but actually, he spends 1 shilling on it, and have left a 6pence and 6 pennies

14. FYI: Joyce Plan on The Dubliners
"My intention was to write a chapter of the moral history of my country and I chose Dublin for the scene because the city seemed to me the centre of paralysis. I have tried to present it to the indifferent public under four of its aspects: childhood, adolescence, maturity, and public life. The stories are arranged in this order. I have written it for the most part in a style of scrupulous meanness and with the conviction that he is a very bold man who dares to alter in the presentment, still more to deform, whatever he has seen and heard. I cannot do any more than this. I cannot alter what I have written. " Letters, 2:134 .

15. FYI: Joyce on The Dubliners  the Universal
"For myself, I always write about Dublin, because if I can get to the heart of Dublin I can get to the heart of all the cities of the world. In the particular is contained the universal."

16. Questions for YOU! Characters:
Is the boy self-centered?
Is the story fair to the girl (Mangan’s sister)?
Functions of the other characters: uncle, aunt, the other boys
Language: images of light vs. darkness (in the priest’s room, at the end), noises, constraint, materialism vs. religion.
Describe—and compare--the functions and implications of the dominant images in the stories we have read: “Boys and Girls,” “A&P” and “Araby.”
Theme:
Meaning of the ending? The story of growth and a quest? : “Boys and Girls,” “A&P” and “Araby.”

17. Have you had any experience similar to that of “Araby”?
Puppy love and quest
Mixture of passion and religious sentiment (e.g. ecstasy)
First Shopping Experience
First Negative Encounter with Adults
If so, what makes your experience less frustrating than the boy’s?

18. "Araby“: Your Tasks – Performance: Action/Sentiment, Analysis: Characters & Settings
[1-2] childhood game and Mangan‘s sister (par 1-6) setting –N. Richmond St, market street & his house
[3-4] talking with Mangan's sister  (par 7-11)
[5-6] waiting alone for the action (par 12) –Dublin
[7-8] the boy waiting for his uncle (par 13-22) –image of Mangan’s sister; Home w/ Mrs. Mercer and aunt first & then uncle
[9-10] going to the Bazaar (par 23-24) –train station; street of Dublin; the Bazaar about to close
[11-12] at the Bazaar  (par 25-end); a lady & 2 gentlemen vs. the boy 

19. “Araby” -- Analysis
[2] Setting & Characters: Images that tell us about the social environment & the characters
[4] Setting & Characters: Religion vs. Materialism: Depiction of Mangan’s sister and the boy’s feelings for her
[6] The boy’s changes: The boy before and after he talks with Mangan’s sister (Araby)
[8] Minor Characters:  Family (The boy’s uncle and aunt, Mrs. Mercer, use of direct and indirect speech); Image of Mangan’s sister
[10] Setting & Characters (3): Dublin on the street, train, and at the Bazaar entrance
[12] Setting & Characters (4): the bazaar, the saleswoman, the boy

20. Group Discussion 10:10 – 10:30 Come back at 10:40
Let’s Take a Break!!!
Group Discussion 10:10 – 10:30 Come back at 10:40

21. Religion & Society in Figurative Language
Image, Metaphor and Symbol

22. Language in Setting (1)– images of enclosure, darkness and decay +dead religion
North Richmond Street – “blind,” expressionless and imperturbable.
The priest’s room – musty air, littered useless papers, The Abbot, by Walter Scott, The Devout Communicant, and The Memoirs of Vidocq.
I liked the last best because its leaves were yellow.
the backyard – rusty bike-pump, wild garden with an apple tree
The books reveal :
1. the priest’s preferences –romance, religion and detective story.
2. And the boy’s interest in the past.
3. Being a mixture of the secular/romantic and the religious, they are
 suggestive of the boy’s own ‘confused’ longing for Mangan’s sister.

23. Language in Setting (2)—light in darkness, femininity
Mangan’s sister
Railroad and the street scenes
The bazaar

24. The Boy’s Love -- Mangan’s Sister
Images of light vs. browness (pars. 3, 10 vs. 4, 15). Why?
She was waiting for us, her figure defined by the light from the half-opened door. [. . .] Her dress swung as she moved her body, and the soft rope of her hair tossed from side to side.
“I kept her brown figure always in my eye”;
“the brown-clad figure cast by my imagination ”

25. Characterization: Narration, Dialogue & Thought Bubbles

26. Don’t forget your mission.
Characters: The Boy
par 5-6: 3rd-person narration + thought bubble. (confusing his religious sentiment with the romantic) (film: chap 5-6)
par 10, 16  Dialogue between the boy and Mangan’s sister; par 16, when he waits for his uncle. (film: chap 7)
Par 25 –ending: Dialogue+ Narration + Thought Bubbles
Note: Thought Bubble
Too late ….
Don’t forget your mission.

27. The Boy & his puppy love
Stands by the railing when seeing or talking to her.
Possible Readings of Mangan’s sister:
She is unaware of his adoration;
She is limited by her environment which is a mixture of religious devoutness and materialism.

28. The boy’s emotions –religious images
Par 5 [In the market, he] imagined that [he] bore [his] chalice safely through a throng of foes.
Speaks of her names “in strange prayers and praises” he does not understand, his eyes full of tears.
Par 6 At the priest’s room: “All his senses seemed to desire to veil themselves and, feeling that he was about to slip from them, he pressed the palms of my hands together until they trembled, murmuring: O love! O love! many times. ”  religious devotion and ecstasy?
You are my sunshine!
O Love! O love!

29. Final Question: Creative Adaptation
Can this be a story set in Taiwan – or where you are from?
How will the setting be changed?
(Setting: commerce, religion and politics)

30. "A Rose for Emily" – Emily on Trial -- Did she kill Homer Barron?
[2] Judge –jury trial (see next slide)
[4] Prosecutor ref.
[6] Defendant, Emily (at age 80)
[8] Defendant's Lawyer ref.
[10] Witness (1): the first-generation town people (e.g. Colonel Sartoris)
[12] Witness (2): Town people of the 2nd generation (who went into her house twice)  

31. Trial Procedure Simplified
Opening statements. The prosecution and then the defense make opening statements to the judge or jury. These statements provide an outline of the case that each side expects to prove. …
Prosecution case-in-chief. The prosecution presents its main case through direct examination of prosecution witnesses.
Cross-examination. The defense may cross-examine the prosecution witnesses.
Defense case-in-chief. The defense presents its main case through direct examination of defense witnesses.
Cross-examination. The prosecutor cross-examines the defense witnesses.
Judge’s questions & Jury’s deliberation Ref. 1, 2

32. Your Jobs & Performance Record 10/082 4 6 8 10 12 1 3 5 7 9 11
Plot
narrator
2-1 image character
3. L-Image - society
3-2. L-interesting details
com/con perform.
2-2 overall
Others
G 1-2: Act/Image childhood game and Mangan's sister (par 1-6)
G 3-4: Act/Image talking with Mangan's sister (par 7-11)
G 5-6: Act/Image waiting alone for the action (par 12)
G 7-8: Act/Image the boy waiting for his uncle (par 13-22)
G 9-10: Act/Image going to the Bazaar (par 23-24)
G 11-12: Act/Image at the Bazaar (25-end)

33. Allusions & References
Run the gauntlet -- Wikipedia
O'Donovan Rossa

34. Irish Coins
The complete set of Irish Free State coins minted in 1928 Top row: Halfcrown, florin, shilling, sixpence and threepence Bottom row: Penny, halfpenny and farthing (source)