HUMAN O U R H A N D S A R E C O L D O U R H E A R T S A R E K - PowerPoint PPT Presentation

A L L M Y S O N S L E C T U R E S E V E N WE ARE HUMAN O U R H A N D S A R E C O L D O U R H E A R T S A R E K I N D W A R C O R R U P T I O N R ES P O N S IB ILIT Y

W E W A L K E D I N T H E S H A D O W O F DEATH W H E R E W E R E C O G N I S E D A M A N ’ S G R E A T R E S P O N S I B I L I T Y P H O T O : L E E K I N M U N

ANTHEM FOR DOOMED YOUTH What passing-bells for these who die as cattle ? Only the monstrous anger of the guns. Only the stuttering rifles’ rapid rattle Can patter out their hasty orisons. No mockeries now for them; no prayers nor bells ; Nor any voice of mourning save the choirs,— The shrill, demented choirs of wailing shells And bugles calling for them from sad shires. WILFRED OWEN

O U T L I N E W E G R I E V E F O R T H E D E A D A N D T H E L I V I N G W E F I G H T A G A I N S T T H E C O R R U P T A N D A M O R A L W E H O N O U R T H O S E W H O S A C R I F I C E D T H E M S E LV E S WE ARE HUMAN W E L E A R N T O F O R G I V E A N D R E S P E C T A L L PERMISSION TO REFER TO FILMS AND VIDEO GAMES, SIR! BROAD METHODS AT THE TOP, KEY WORDS UNDERLINED, SIR!

P A R T O N E W E G R I E V E P A G E T W O - T H R E E

SETTING M E M O R I A L F O R A L O S T S O N APPLE TREE ‘ T O P P L E D ’ T O T H E S I D E O F T H E S TA G E ‘ S T I L L C L I N G I N G ’ T O T H E PA S T O F L A R R Y ’ S P R E S E N C E

PURPOSE (THESIS) T H E P L A Y I N T E R R O G A T E S HUMAN W H AT I T M E A N S T O B E MORTALITY O U R F R A G I L E HUMA N LIF E MORALITY O U R D I M I N I S H E D H UM A NIT Y

CONTEXT + DICTION T W O Y E A R S S E T I N A F T E R W W I I A U G U S T 1947 1946 W O U N D S O F T H E PAST A R E S T I L L F E L T N O S TA LG IA M OU RN IN G ‘A VERY HAPPY FAMILY USED TO ‘WE USED TO SEE HIS FACE LIVE IN YOUR HOUSE, JIM’ (7) IN THE COCKPIT GOING BY’ (20) ‘RAISE SOME HELL HERE, LIKE WE ‘I GUESS I NEVER GREW UP… USED TO BEFORE LARRY WENT!’ (27) THOSE DEAR DEAD DAYS ’ (26)

DRAMATIC EFFECT + CONTEXT A C O M M O N S E N S E O F A N G U I S H M O T H E R ’ S D R E A M I S S H A R E D B Y THEY T H E P O S T - W A R A U D I E N C E O F M O T H E R S A N D F A T H E R S ‘ IN THE DARK O F NIG HT T HEY’R E S T I L L WA I T I NG FO R T H EI R S O NS ’

DICTION + PAST TENSE S U S P E N S I O N O F TIME M O S T C H A R A C T E R S A R E ‘ W A I T I N G ’ LONGING F O R T HE PA ST… S O M E A R E U N A B L E T O B R E A K F R E E F O R ‘A COU PL E OF Y E AR S ’, ‘ T HR E E Y E AR S ’ A N D D E P R I V E D O F A F U T U R E

METAPHOR SYMPATH Y F O R THE FA MILY AT A R A I L R O A D S T A T I O N O F FUTILITY ‘ N E V E R TOOK U P OU R LIV ES’ S TA S I S D E S P A I R C H R I S ’ S S H A M E ‘ N E V E R C O M E S I N ’

ASSERTIVE LANGUAGE T H E FA U LT L I N E S I N T H E F A M I L Y SUBJUGATION? ‘HE’S NOT GOING TO MARRY HER.’ (22) RESISTANCE? ‘STAND(S) HIS GROUND’ AGAINST HIS PARENTS SELF-INTEREST? THREATENS TO ‘GET OUT’ AND ‘LIVE SOME PLACE ELSE’ (17)

MOTHER AND KELLER I don't know. I'm beginning to think we don't really know him . They say in the war he was such a killer. Here he was always afraid of mice. I don't know him. I don't know what he'll do. This one , everything bothers him. You make a deal, overcharge two cents, and his hair falls out . ACT THREE, 84

DISTANCING LANGUAGE ISOLATION B E T W E E N M O T H E R A N D T H E ‘ N E W ’ C H R I S REPETITION JUXTAPOSITION ‘I DON’T KNOW’ ‘IN THE WAR’ VS ‘HERE’ IRREPARABLE FAT H E R - S O N R E L AT I O N S H I P PROFANITY PRONOUN ‘GODDAM’ ‘THIS ONE’ T H E Y H A V E L O S T BOTH SONS

P A R T T W O W E F I G H T P A G E F O U R - S E V E N

CHARACTERISATION T H E L A W Y E R G E O R G E D E E V E R A N A G E N T O F J U S T I C E A N A U T H O R I A L V O I C E T H E P L A Y L A M E N T S T H E LOS S O F VALUES V I O L AT I O N O F T H E S O C I A L C O N T R A C T B Y W A R T I M E P R O F I T E E R S L I K E J O E K E L L E R T O ‘ P U T H I M U P A G A I N S T A W A L L’ ( 6 9 )

STAGE DIRECTIONS + TONE G E O R G E ’ S ANGER S U R G I N G B A C K ‘ B L O O D I N H I S E Y E ’ S TA N D S T O J U D G E A N TA G O N I S T I C T O N E I M P E R AT I V E S A N D H A R S H W O R D S

MORALLY CHARGED DICTION His father destroyed your family. (surging back at him) They know he was a liar the first time, but in the appeal they believed the rotten lie . He simply told your father to kill pilots, and covered himself in bed! ACT TWO, 58, 59, 73

PURPOSE G E O R G E R E P R E S E N T S T H E P L AY ’ S INTOLERANCE T O W A R D S T H E S A V A G E A C T I O N S O F T H E F E W W H O ‘ K I L L E D ’ I N N O C E N T M E N E C H O I N G M I L L E R ’ S O W N S TA N C E O N W A R P R O F I T E E R I N G

MANIPULATIVE LANGUAGE A D I S H O N E S T KILLER? H E R E C O U N T S T H E P A S T T O ‘ F O R C E A C O N F E S S I O N ’ N O T E H I S R E W R I T I N G O F T H E ‘ T R U T H ’ I N T W O O T H E R R E C O U N T S ( 3 2 , 3 4 ) ‘ T H E M A N N E V E R L E A R N E D H O W T O TA K E T H E B L A M E ’ ‘ T H ERE ARE CE RTAIN PEO PL E WH O W O UL D R AT H ER S EE E V E R Y B O D Y H U N G B E F O R E T H E Y ’ L L TA K E B L A M E ’ I R O N Y + H Y P O C R I S Y D I S H O N E S T J O E A C C U S E S S T E V E O F H I S O W N M O R A L FA I L U R E .

LANGUAGE OF MONEY JOE KELLER Who worked for nothin’ in that war? When they ship a gun or a truck outa Detroit before they got their price ? Is that clean ? It's dollars and cents , nickels and dimes ; war and peace, it's nickels and dimes , what's clean ? Half the goddam country is gotta go if I go! That's why you can't tell me. ACT THREE, 89

INTERACTIVE SEGMENT J O E K E L L E R VILLAIN OR PART I CI PAN T P A I R W O R K W H A T H O W I N Y O U R V I E W , C O N S I D E R E F F E C T F I R S T. D O E S T H E P L A Y W H O L LY I D E N T I F Y B R O A D M E T H O D C O N D E M N K E L L E R ’ S V A L U E S ? A N D E V I D E N C E ( 3 2 , 8 8 ) . I S H E A V I L L A I N O R O N E O F C L O S E A N A LY S E E F F E C T M A N Y P A R T I C I P A N T S ? O F S P E C I F I C W O R D S .

EVIDENCE But here? This is the land of the great big dogs , you don't love a man here, you eat him ! That's the principle; the only one we live by... The world’s that way, how can I take it out on him? What sense does that make? This is a zoo , a zoo ! (88) B E S T I AL IM AGE RY RHETO RI CA L Q U ES T I O NS CONDEMNS JOE KELLER FOR HIS CONVEY SOME EMPATHY FOR HIS MURDEROUS, ANIMALISTIC DEEDS PARTICIPATION IN THIS ‘LAND’, ‘WORLD’

SENTENCE STRUCTURE J O E A S K S C H R I S T O SEE IT HUMAN U S I N G T H E V O C A B U L A R Y O F V I C T I M H O O D TO EV OK E D ES PER AT ION R HE TO R ICA L Q U E ST IO N TO SH OW H E L PL E SSN E SS - ‘ W H AT COU LD I D O’ STAGE DIRE CTIO N S ‘HI S V OI CE CR ACKI NG’ A N A P HO R A + R E P E T IT IO N - ‘ I N E VE R T H OU G H T ’ - ‘ I SW E AR ’ - ‘ I T H OU G H T ’

DICTION JOE PORTRAYS HIMSELF AS A CASUALTY OF THE WAR ‘PROCESS’ E N U ME R AT I O N O F I MAG ERY V I O L E N T V E R B S POOR ‘M A DHO U S E’ ‘C LO SE YO U UP ’ B EIN G ‘ WHI PPED’ ‘T E A R UP YO UR CO NT R ACT S’ ‘KNOC K YO U O UT ’ R E G A R D L E S S , B OT H K E L L E R A N D T H E M I L I TA R Y B E T R AY T H E R E L AT I O N S H I P B E T W E E N I N D I V I D U A L A N D S O C I E T Y

DICTION J O E K E L L E R ’ S HAMARTIA T H E P R O V I D E R ’ S D E V O T I O N T O H I S O W N FA M I LY C O M E S AT T H E C O S T O F O T H E R S N A R R O W V I S I O N O F ‘ FO R YO U ’ ‘ALL I EVER LIVED FOR’ ‘FOR BOTH OF YOU’ I S A B L I N D N E S S T O T H E N E E D S O F O T H E R S T H E FAT H E R W I L L P A Y W I T H T H E L I F E O F H I S S O N … A N D H I S O W N L I F E .

DRAMATIC STRUCTURE + SYMBOL JOE KELLER H A S ‘KI L L ED ’ H I S SO N ( 75) RETRIBUTION C O M E S V I A T H E LETTER ABSOLUTE REJECTION ‘HOW COULD HE HAVE DONE THAT?’ ‘IF I HAD HIM… I COULD KILL HIM’ DEJECTION AND SHAME ‘I CAN’T EXPRESS MYSELF. I CAN’T TELL YOU HOW I FEEL. I CAN’T BEAR TO LIVE ANY MORE. I CAN’T FACE ANYBODY’ THIS B RINGS K E LLE R TO HIS ‘AN AGN ORI SI S’

PURPOSE KELLER DIES. CHRIS SURVIVES. SELF-INTEREST IS REPLACED BY RESPONSIBILITY. T H E E N D I N G I S A S I G N O F HOPE F O R A P O S T - W A R W O R L D T O B U I L D A N E W U N I V E R S E B A S E D O N L O V E A N D S O L I D A R I T Y

P A R T T H R E E W E H O N O U R P A G E S E V E N - E I G H T

LANGUAGE E L E VAT E D TO N E — T R A N S C E N D E N TA L ? ‘ T HE Y WE R E N ’ T JU ST ME N ’ ‘ T HE Y D ID N ’ T D IE ’ ‘ FO R E AC H OT HE R ’ S O C I A L A N D M O R A L RESPONSIBILITY C H R I S S E E M S S Y M B O L I C O F T H I S I N A C T O N E LANGUAGE OF MORAL IDEALISM ‘THE LOVE A MAN CAN HAVE’ ‘MAN FOR MAN’, ‘FOR EACH OTHER’ ‘A KIND OF—RESPONSIBILITY’ A LT RUI S M S ACR I FI CE