LAST OF US T H E J O E - K A T E R E L A T I O N S H I P PB Q S - - PowerPoint PPT Presentation

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A L L M Y S O N S L E C T U R E T E N LAST OF US T H E J O E - K A T E R E L A T I O N S H I P PB Q S KI L L S C LOS E A N A LYS I S OF C HA RACT ER REL AT IO NSHIPS L I N KI N G HE R E TO ELSEWHERE THE QUESTION Write a critical

SLIDE 1

OF US

LAST

L E C T U R E T E N A L L M Y S O N S T H E J O E - K A T E R E L A T I O N S H I P L I N KI N G HE R E TO ELSEWHERE C LOS E A N A LYS I S OF C HA RACT ER REL AT IO NSHIPS PB Q S KI L L S

SLIDE 2 Write a critical commentary on the following passage

Joe and Kate Keller’s

relating it to the portrayal of

competing desires

THE QUESTION 2 0 1 4 P R E L I M Q U E S T I O N 3 B A C T T H R E E ( 8 2 - 8 4 ) W H Y D I D W E S E T T H I S I N 2 0 1 4 ? W H A T D O T H E S T A R S T E L L Y O U , M R . L I M ?

SLIDE 3

CHARACTER RELATIONSHIPS

QUESTION ANALYSIS

CONCERNS CHARACTERS

SELF-DECEPTION, TRUTH, GUILT, MORALITY, RESPONSIBILITY, FAMILY UNITY / CONFLICT BE PREPARED FOR ‘FOREIGN WORDS’. TRANSLATE INTO FAMILIAR CONCERNS. MOTHER-ANN, THE KELLERS, CHRIS-KELLER, MOTHER-KELLER, CHRIS-GEORGE? PREDICTABLE BECAUSE THEY HAVE TO PRESENT ‘HERE AND ELSEWHERE’ JOE KELLER, CHRIS KELLER, JIM BAYLISS, SUE BAYLISS, GEORGE DEEVER LOOK OUT FOR MINOR CHARACTERS. SAFE BETS ON THE KELLERS. I T ’ S N E V E R T O O E A R LY T O G I V E P R E L I M A N D ‘A’ L E V E L H I N T S

SLIDE 4

C O M P E T I N G

D E S I R E S

JOE A ND K ATE ’ S QUESTION ANALYSIS

concerns

effects

FAMILY RELATIONSHIPS

JOE-KATE CONFLICT

FAMILIAL LOYALTY

KATE’S PROTECTION
JOE’S DEVOTION

TENSION CONFRONTATION AGGRESSION CONSOLATION GRIEF APPREHENSIVE DESPONDENT DISMAY SHOCK ANGER DESPERATION

effects 2

O V E R C H R I S ’ S R E T U R N

SLIDE 5 CLOSE ANALYSIS OF THE PASSAGE

D I S U N IT Y

F R O M U N I T Y T O

W A T C H T H E S C E N E C L O S E L Y A N A L Y S E L I N E S 2 4 - 3 5

INTENTIONS APPEAL PLACATE REFUSE REBUKE OPPOSE

F O R E F F E C T S A N D I N T E N T I O N S

TONE/EFFECTS ACCUSATORY ASSERTIVE UNEASE TENSION DISCORD

SLIDE 6 CLOSE ANALYSIS OF JOE’S DIALOGUE

J O E

I S O N T H E D E F E N S I V E ( C O U N T E R - A T T A C K ) R E P E L L I N G K A T E ’ S ‘ S O L U T I O N ’ T O T H E C O N F L I C T SHOCK AND FURY AT KATE EXCLAMATORY SENTENCES DEFIANT, PETULANT TOWARDS KATE RHETORICAL QUESTIONS + ‘YOU’ ACCUSATORY, BLAMES KATE MIXING OF MONEY AND FAMILY

SLIDE 7 CLOSE ANALYSIS OF KATE’S DIALOGUE

KATE

W H I L E R E F U T I N G J O E ’ S R E A S O N S O F C O N T I N U E S T O I N S I S T O N H E R I N T E N D E D P L A N F A M I L Y A N D M O N E Y EFFECT - OF KATE ‘INSISTING’? METHOD - HOW DOES KATE ‘INSIST’? EFFECT - OF KATE ‘REFUTING’? METHOD - HOW DOES SHE ‘REFUTE’? I D E N T I F Y W O R D P A T T E R N S I N P A I R S A N D S E N T E N C E P A T T E R N S

SLIDE 8 ‘LINKS’ AT THE MID YEAR EXAM

HASTY LINK TO THE ENDING

“K AT E AND J OE ARGUE OVE R TH E POTATOE S. T H E FAM ILY COLL AP SE S AT TH E E ND WHE N J O E K ILLS HIM S ELF. HOLY F RE NCH F RIE S!” L I NK TO A ‘ NEAR ER ’ EPISO DE MAR KED BY T E N S I ON ( E. G . H O P E L E SS F URY AT T HE END O F ACT O NE, P4 2 -4 3 )

LET ME ANALYSE ELSEWHERE

“ O K T HER E I S B EST I AL IMAGE RY AT THE E ND OF T HE P L AY, ‘ CO S T HEY ’RE SUP E R A NGRY ” CLO SELY ANALYS E TH E PASS AGE O NLY. YO U CAN JUS T S TATE TH E EF F ECT S EL SEW H ERE W I TH OUT EX PL AINING IN DETAI L.

YOU END THE PARA ON A CONCERN

“ Y E T, CLOS E R I N S PE CTI ON OF TH E I R RE L ATIONSHIP S SUGGE STS THAT THE FAM I LY ’ S UN I T Y M AY N OT H OL D .” ADD A LI N K TO LATER, W H ERE TH E FA M I LY I S CLE ARLY DI VI DE D

SLIDE 9

LINKS SHOW CONTINUITY OR CHANGE

UNDERSTANDING LINKS TO ELSEWHERE O F C H A R A C T E R S , R E L AT I O N S H I P S , E F F E C T S A N D C O N C E R N S ( E . G . J O E C O N T I N U E S T O D E M A N D T H AT C H R I S B E L O Y A L T O T H E FA M I LY )

SPECIFIC VS GENERAL LINKS

A I M T O D E S C R I B E T H E E F F E C T S O R C O N C E R N S I N A S P E C I F I C S C E N E ( E . G . K AT E ’ S E N T R A N C E ) O R I N G E N E R A L ( E . G . A C T O N E I S L I G H T - H E A R T E D )

LINKS SHOW PURPOSE OF THE PASSAGE

I T ’ S S A F E T O S A Y T H AT Y O U C A N M A K E A ‘ L I N K ’ A F T E R W R I T I N G A B O U T T H E C O N C E R N ( E . G . K AT E ’ S L O Y A LT I E S C H A N G E … ) EARLIER - JUST BEFORE - THE PASSAGE - JUST AFTER - LATER TIM E L I N E

SLIDE 10 IDENTIFYING POSSIBLE LINKS TO ELSEWHERE

Scene Pages Characters and Idea 3.1 79-81 Mother-Jim: ‘Chris is a good son…’ 3.1 81-84 Mother-Keller: ‘If… you’re willing to pay’ 3.1 84-86 Mother-Ann: Larry’s letter 3.2 86-91 Chris-Mother-Keller: catastrophe

B A S E D O N

D R A M A T I C S T R U C T U R E

J U S T B E F O R E - J U S T A F T E R - T H E E N D I N G

SLIDE 11 IDENTIFYING POSSIBLE LINKS TO ELSEWHERE

Scene Pages Characters and Idea 1.3 21-24 Mother-Keller: ‘I want you to stop…’ 1.6 42-43 Mother-Keller: ‘Be smart…’ 2.5 74-75 Mother-Keller: ‘smashes him across…’ 3.1 81-84 Mother-Keller: ‘What happened to my family?’

B A S E D O N

C H A R A C T E R R E L AT I O N S

P I C K A S T A R T , A M I D D L E A N D A N E N D

SLIDE 12 IDENTIFYING POSSIBLE LINKS TO ELSEWHERE

Scene Pages Characters and Idea 2.5 74-75 Chris-Mother: ‘Chris… now I say no!’ 2.5 75-78 Chris-Keller: ‘For me! Where do you live…’ 3.1 81-84 Mother-Keller: ‘something bigger than the family’ 3.1 86-88 Chris-Keller: ‘to him they were all my sons’

B A S E D O N

C O M P E T I N G D E S I R E S

S H O W T H E I R R E G A R D A N D D I S R E G A R D F O R C H R I S

SLIDE 13

Joe-Kate relationship

S H O W C O N T I N U I T Y F R O M E A R L I E R I N T H E T H E P A S S A G E

CA R R IE S FO RWA RD

T H E S I M M E R I N G T E N S I O N S F R O M T H E E N D O F A C T T W O ( 7 5 )

A R ES U LT OF

T H E E S T R A N G E M E N T B E T W E E N T H E M I S C H R I S ‘ S T O R M I N G ’ E X I T F R O M T H E FA M I LY LINK TO ELSEWHERE (CONCERN)

SLIDE 14 T H E A B S O L U T E N E S S O F J O E ’ S T O N E

S H IF T S TO

M U T E D D E S P A I R W H E N H E D I S C O V E R S L A R R Y ’ S D E AT H H E R E I N T H E P A S S A G E AT T H E E N D O F T H E P L A Y. T H E C O N T E N T S O F T H E L E T T E R

F I N A L LY

M O V E H I M T O R E C O G N I S E T H A T ‘ S O M E T H I N G I S B I G G E R T H A N T H E FA M I LY ’ T O B O T H L A R R Y A N D C H R I S .

Familial Loyalty

S H O W C H A N G E I N A L AT E R S C E N E F O R J O E ’ S LINK TO ELSEWHERE (CONCERN)

SLIDE 15 THINKING FRAMEWORK

I D E N T I F Y A N E F F E C T O R C O N C E R N

L I N K W O R D

E F F E C T O R C O N C E R N

F R O M T H E P A S S A G E F R O M E A R L I E R O R L AT E R ( E . G . A R G U M E N T B E T W E E N J O E A N D K AT E … ) ( E . G . I S A C U L M I N AT I O N O F… ) ( E . G . T H E T E N S I O N S O V E R J O E ’ S M I S D E E D S I N A C T O N E )

SLIDE 16 INTERACTIVE SEGMENT

Joe-Kate relationship

S H O W C H A N G E F R O M E A R L I E R

Familial Loyalty

S H O W C O N T I N U I T Y F R O M E A R L I E R 2T01, 2T03, 2T05, 2T07, 2T11, 2T23, 2T27, 2T33 LINK THE PASSAGE TO THE GIVEN SCENE. CONSIDER THE CHANGE(S) IN EFFECTS AND INTENTIONS. IDENTIFY AN EARLIER INSTANCE OF JOE’S FAMILIAL LOYALTY. LINK THE PASSAGE TO SHOW CONTINUITY. 2T02, 2T04, 2T06, 2T08, 2T20, 2T28, 2T32, 2T34

SLIDE 17

Joe-Kate relationship

S H O W C H A N G E F R O M E A R L I E R F R O M T H E P A S S A G E F R O M E A R L I E R L I N K W O R D A R E A N E S C A L AT I O N F R O M T H E S O F T E R , M O R E P A S S I V E D I S A G R E E M E N T S E E N AT T H E E N D O F A C T O N E J O E A N D K AT E ’ S C O N F L I C T I N G I N T E R E S T S H E R E , W H E R E N E I T H E R I S W I L L I N G T O G I V E I N , C O N T R I B U T E D B Y A G U S T I N X U E

SLIDE 18 F R O M T H E P A S S A G E F R O M E A R L I E R L I N K W O R D J O E ’ S B E L I E F I N T H E U N C O N D I T I O N A L L O Y A LT Y B E T W E E N FAT H E R A N D S O N ( ‘ B E C A U S E I ’ M H I S FAT H E R … ’ ) H A S R E M A I N E D U N W A V E R I N G S I N C E

Familial Loyalty

S H O W C O N T I N U I T Y F R O M E A R L I E R H I S C A L L F O R A N N T O F O R G I V E H E R FAT H E R ( ‘A FAT H E R I S … ’ ) I N A C T T W O ( 5 4 ) .

SLIDE 19

before the passage

S H O W C O N T I N U I T Y I N D R A M AT I C E F F E C T S F R O M J U S T O V E R C H R I S ’ S R E T U R N

S U R FAC E S

I N T H E P A S S A G E F R O M H E R P R E V I O U S C O N V E R S A T I O N W I T H J I M K A T E ’ S A N X I E T Y K A T E ’ S P R O P O S I T I O N T O J O E LINK TO ELSEWHERE (STRUCTURE) D E V E L O P S F R O M H E R E A R L I E R A P P R E H E N S I O N

SLIDE 20

after the passage

S H O W C H A N G E I N D R A M AT I C E F F E C T S J U S T LINK TO ELSEWHERE (STRUCTURE) T H E R E V E L AT I O N O F T H E L E T T E R

G RE ATE R

D E V A S T A T I O N T O K A T E A N D J O E ’ S H O P E S F O R T H E F A M I L Y W I L L B R I N G E V E N D E S P E R A T I O N T H E I R S H A R E D A T T H E E N D O F T H E P A S S A G E

H INT S

T H E I N E V I TA B L E T R A G E D Y

SLIDE 21

catastrophe

S H O W H O W T H E P A S S A G E F O R E S H A D O W S T H E I F H I S S O N D O E S N O T F O R G I V E H I M

A N T I C I PAT E S

T H E P L A Y ’ S M O U R N F U L C O N C L U S I O N K E L L E R ’ S T H R E A T T O ‘ P U T A B U L L E T I N M Y H E A D ’ K A T E ’ S A F F I R M A T I O N F O R A ‘ L O S T ’ J O E A L S O P A R A L L E L S T H E F I N A L S C E N E I N W H I C H S H E C O M F O R T S C H R I S F O R H I S E Q U A L L Y D E S T R U C T I V E ‘ D E S I R E S ’ LINK TO ELSEWHERE (STRUCTURE)

SLIDE 22

O U T L I N E

R E A D T H E O N P A G E S 7 T O 9 A N D O T H E R L I N K S T O E L S E W H E R E F O R F U R T H E R C L O S E A N A L Y S I S F O R E S H A D O W I N G O F O U R O W N

T H E AGE O F I NNOCENCE

W E E K 4 S O C I A L O R D E R A N D C O N F O R M I T Y W E E K 6 S O C I A L F O R M A N D T R A D I T I O N S W E E K 8 A R C H E R A N D T H E B I L D U N G S R O M A N