Question.3161 - Brief description (the phrases in bold are amplified below): Choose three of the first six U.S. writers we have read. Describe and differentiate their strategies of appropriation vis-à-vis Cervantes’ text in a 3-5 page essay. Begin with some general consideration of questions of influence, appropriation, intertextuality, or whatever other term you wish to use for talking about how a novelist draws on an earlier work which has been widely read and discussed. Proceed to describe the strategies of appropriation of the three writers you have chosen, making sure to find at least one clear differentiating feature among them. Try in some way in closing to account for the differences in approach you have encountered among the different writers. There is no obligation to use additional sources, but if you do, you must acknowledge them in a list of works cited, even if this only means a website you checked for additional information about the writer. The first six U.S. writers: Tabitha Gilman Tenney, Female Quixotism Washington Irving, “The Legend of Sleepy Hollow” Mark Twain, The Adventures of Tom Sawyer and The Adventures of Huckleberry Finn Hermann Melville, White Jacket and Moby Dick F. Scott Fitzgerald, The Great Gatsby William Faulkner, “The Old Man” You do not have to read any more of any of these writers than I assigned for class to be able to attempt at least a speculative reconstruction of their strategies of appropriation of Don Quixote. If you do have familiarity with other relevant texts by any of them, you may certainly use them. You may refer to the two critical essays I have given you so far, on Melville and on Fitzgerald. I will also give you at least one other essay, by Montserrat Ginés, on Faulkner. Maybe also her chapter on Twain. You can read additional critical work or other secondary sources if you wish, but if you do you should cite them in your text, and include the reference in your list of works cited. Strategies of appropriation: I have chosen this as a general term to refer to the way a later writer situates his/her work in relation to that of an earlier one. Of course, it implies self-conscious, deliberate choice(s), by means the writer on the receiving end shapes the elements s/he adopts, by a complex process of selecting, changing, and recombining. There are many aspects of this process that can be the focus of the analysis of such a strategy. One can emphasize what was kept, what was not, how what was borrowed has been transformed, how it has not, how it has been recombined with the newer writer’s own creation. One can give importance to the role of the reader, especially with reference to the degree to which appears the reader is expected to notice the relation to the earlier text. Any of the “elements” we brought out in the first assignment in this course can be seen as part of this strategy: style, tone, narrative technique, character, setting, theme, motif, etc.For me, the term “strategy of appropriation” implies, above all, that the analysis strives to give a coherent pattern to the whole relationship between the two texts (and/or the two authors). Of course, this pattern implies that the appropriation is part of a larger strategy of communication with the reader’s active participation, of certain meanings. So in this way, hopefully, we begin to move beyond the mere cataloguing of borrowings as evidence of “influence,” towards an understanding of intertextuality as central to the way literary texts mean, and therefore, integral to any effort at interpretation. Differentiating features: While the strategies of appropriation you find in these texts may have certain features in common (such as the relative youth of the quixotic figures, as compared with Cervantes’ original), there will also be definite differences between and among them. Try to find one or more differences that make it possible to place the three strategies in a clearly contrastive relation with one another. In other words, try to give a high profile to an aspect that makes it possible to clearly differentiate these as three distinct strategies, such that where one author makes a certain strategic choice, another author makes, in some sense, the opposite choice. Ideally, two differentiating features could serve to work out a systematic set of contrasts between the three: if you had, say, feature X vs. not-X and feature Y vs. not-Y, you would end up with four possibilities, X-Y, X-not Y, not X-Y, and not X-not Y. Three of the four would be manifested in the writers under consideration. (Obviously, the features might not simply come down to presence vs. absence, there could be variations. But I have expressed it this way in order to offer a simple model.) 3-5 page essay: Just to remind you that it should be well-written in standard English, with a well-organized, coherent argument, and supported by convincing, well-chosen examples from the texts. Do not forget Cervantes! This is about how these writers appropriated Don Quixote, but that means we are still engaging Cervantes’ text, too, in order to understand the original material that is being incorporated.
Answer Below:
Tabitha xxxxxx Tenney xxxxxx QuixotismThe xxxx of xxxxxxx Gilman xxxxxx Female xxxxxxxxx has xxxx modeled xx the xxxx of xxxxxx de xxxxxxxxx rsquo xxxxxx opus xxx Quixote xxx protagonist xx Female xxxxxxxxx Dorcasina xx working xxxxxxx a xxxxxx of xxxxxx to xxx true xxxx which xxxxx unsuccessful xxx often xxxxxxx ends xx a xxxxxxxx who xxx a xxxxxx heart xxx deeply xxxxxxx to xxxx love xx her xxxx Lang xxxxxxxxxx of xxxxxxxxxxxxx of xxxxxxx Gilman xxxxxx Female xxxxxxxxxxxxxxx Quixotism x defining xxxx of xxxxxxx Gilman xxxxxx derives xxx works xx the xxxxx of xxxxxxxxx rsquo xxx Quixote x common xxxxxx between xxxxx two xxxxx is xxx element xx satirizing xx the xxxxxxxxxx prevalent xx the xxxxxxx There xx an xxxxxxx of xxxxx against xxx established xxxxxxxxx of xxx society xxxxx is xxxxx in xxx work xxxxxx rsquo x Female xxxxxxxxx derived xxxx Don xxxxxxx Humanities xxxxxx Another xxxxxx which xxx novel xx Tenney xxxxxxxxxxxx from xxx work xx Cervantes xx the xxxxxxxxxx pattern xx the xxxxxxxxxxxx of xxx play xxxxxx rsquo x character xxxxxxxxx is xxxxxxx in xxxxxxxxxx to xxx Quixote xxxxx s xxxxxxxxx in xxxxx of xxxxx avid xxxx readers xxxx draw x lot xx their xxxxxxxxxxx from xxx literary xxxxx they xxxx in xxx novels xxxxxx They xxxxxx a xxxxx resemblance xx their xxxxxxx on xxx basis xx the xxxxxxxxxx they xxxx across xx the xxxxx they xxx read xxxxx The xxxxxxxxxx of xxx plot xx Dorcasina xxxxx s xxxxx novel-mania xxxxx is xxx most xxxxxxxx parallel xxxx Don xxxxxxx rdquo xxxxxxxx amp xxx Collins xxxxxxxx on xxx similarity xxxxxxx the xxxx of xxxxxxx rsquo x Female xxxxxxxxx and xxx Quixote xx the xxxxxxx of xxxxxxxxx and xxx companion xxxxx who xxx modeled xx match xxx characters xx Don xxxxxxx and xxx servant xxxxxx Plaza xxx characters xx Tenney xxxxx s xxxxx andCervantes xxxxx Sancho xxxx similarity xx terms xx being xxxxxxxxxxxxx practical xxx having xxxxxx sense xxxxx Like xxxxxx Panza xxxxx is xxxxxxxxx the xxxxx of xxxxxx and xxxxxx sense xxxxxxx Dorcasina xxxxx s xxxxxxxx delusions xxxxx Nienkamp xxx amp xxxxxxx The xxxxxxxxxx between xxx characters xx the xxxxxx rsquo x work xxxx Cervantes xxxxx novel xx very xxxxxxxx Washington xxxxxx ldquo xxx Legend xx Sleepy xxxxxx rdquo xxxxx The xxxxxx of xxxxxx Hollow xxxxx is x magical xxxxx by xxxxxxxxxx Irving xxxx highlights x dreamy xxxx that xxxxxxxx resistance xx enlightenment xxxxxxxx It xx created xx a xxxx of xxxxxxxxxxx where xxxxx imagination xxxxx and xxxxxx falls xxxxx Carns xxxx unreal xxxxx provides x suitable xxxxxxxx for xxxxxxxxxxxx between xxx strategies xx appropriation xxxx the xxxx of xxxxxxxxx Strategies xx appropriation xx Washington xxxxxx ldquo xxx Legend xx Sleepy xxxxxx rdquo xxx main xxxxxxx of xxxxxxxxxxxxx of xxxxxxxxxx Irving xxxxx s xxxxx The xxxxxx of xxxxxx Hollow xxxxx is xxx resemblance xx its xxxxxxxxx Ichabod xxxxx with xxx Quixote xxxxx s xxxxxxxxx He xxx been xxxxx character xxxxxxxxxx of x book-lover xxx fails xx the xxxxxxxxxxxxxx of xxxxxxxxx in xxx practical xxxxx Irving xxxxxxxx him x touch xxx Quixote xxxxx s xxxxxxxxx when xx rides xxxxx a xxxxxxxxxxx plough xxxxx rdquo xxxxx Crane xxxxx s xxxxxxxxx has xxxx merged xxxx certain xxxxxx of xxxxxxxxx which xx similar xx Don xxxxxxx rsquo x character xxx love xx Crane xxx folklore xx another xxxxxxxx similarity xx Cervantes xxxxx Quixote xxxxxx mentions xxxx ldquo xxx appetite xxx the xxxxxxxxx and xxx powers xx digesting xx was xxxxxxx extraordinary xx tale xxx too xxxxx or xxxxxxxxx for xxx capacious xxxxxxx rdquo xxxxx There xx a xxxxxx presence xx Quixote xxxxx s xxxxxxxxx of xxxxxx rsquo x Crane xx the xxxxxxxxxx and xxxxxxxxxxx Both xxx book-loving xxx idealistic xxxxxxxxxx who xxxx towards xxx levels xx absurdity x Scott xxxxxxxxxx The xxxxx GatsbyF xxxxx Fitzgerald xxxxx s xxx Great xxxxxx provides xxxxxxx of xxx decline xx the xxxxxxxx dream xxxxx were xxxxxxxxx in xxx social xxxxxxx of xxx rsquo x The xxxxxxxxxx and xxxxxxxx between xxxxxxx social xxxxxxx in xxxx focused xxxxx highlighting xxx role xx past xx the xxxxxx of xxx future xxxxxxxxxx of xxxxxxxxxxxxx of x Scott xxxxxxxxxx The xxxxx Gatsby xxx character xx Gatsby xx focused xx living xxx a xxxxx which xxxxx the xxxxxxxxxx In xxxx context xxxxxxxxxx has xxxxx handsome xxxxxxxxx from xxx Quixote xxxx the xxxxxxxxxx have x charm xx live x larger xxxx reality xxxxxxxxx which xxxxxx be xxxxxxxxx with xxxxxxxx of xxxxxxxxx and xxxxxxxxx purpose xxxxx Just xx Don xxxxxxx wishes xx be x knight xxxxxx longs xxxxxxxxxxx to xx a xxxxxxxxx rdquo xxxxxx Extending xxx influence xx Don xxxxxxx Fitzgerald xxxxxxxxx Gatsby xx Daisy xx order xx regain xxxxxxxx was xxxx which xx similar xx manner xx which xxx Quixote xxxx up xxx mission xx change xxx life xx a xxxxxx peasant xxxxxxxx For xxx preposterous xxx often xxxxxxxxxx way xx doing xxxxxx ldquo xxxxxxxxxx amp x Gatsby xx American xxxxxxxxxx amp x very xxx Don xxxxxxx rdquo xxxxxx Having x striking xxxxxxxxxxx to xxx character xx The xxxxx Gatsby xxxxxxxxxx has xxxxx a xxx of xxxxxxxxxxx from xxx Quixote xxxxx s xxxxxxxxx Differentiating xxxxxxxxxxx three xxxxxx have x striking xxxxxxxxxxxxxx feature xxxx the xxxx of xxxxxx de xxxxxxxxx rsquo xxx Quixote xxx treatment xx idealism xx Don xxxxxxx is xxxxxxxxx from xxx characters xx Tenney xxxxx s xxxxxxxxx Washington xxxxxx rsquo x Crane xxx Fitzgerald xxxxx s xxxxxx Quixote xxxxxxxxxx have xx added xxxxxxx surrealism xxxxxxxx to xxxx in xxxxxxxxxx to xxxxx characters xxx altruistic xxxxxxx of xxxxxxx is xxxxxxxxx from xxx rest xxx so xxx cause xx actions xxxxxxx between xxxxx characters xxxxx all xxxxx various xxxxxxxxxx have xxx a xxxxxxxxxxx unifying xxxx yet xxxx differ xxxxxxx in xxxxx treatment xx the xxxxxxxxx Cervantes xxxxx Don xxxxxxx has xxxxxxxx the xxxxx of xxxxx novelists xxx they xxxx been xxxx to xxxxxxxx their xxxxxxxxxx and xxxxxxxxxxxxx inspite xx obvious xxxxxxxxxxxx and xxxxxx of xxxxxxxxxxxxx between xxxx ReferencesArdila x G xxx Cervantean xxxxxxxx reception xxx influence xx Cervantes xx Britain xxxx Publications xxxxx L xxxxxxxxxx Irving xxxxx s xxxxx Sleepy xxxxxx rdquo xxxxx Reason xxxxx to xxxxx Retrieved xxxx http xxxx org xxxxxxxx php xx Humanities xxxxxx Cervantes xx the xxxxxxxxxxxxxxxx World xxx Essays xxxxxxxxx from xxxx www xxxxx org xxxxxxx csa xxxxxx stormf xxxxxxx J xxxxxxxxxx the xxxxxxx Reading xxxxxxxxx in xxxxxx Quixotism xxxxxxxxx from xxxx muse xxx edu xxxxxxxx tsl xxxxxxx v xxxx htmlNienkamp x amp xxx Collins x Female xxxxxxxxx Exhibited xx the xxxxxxxx Opinions xxx Extravagant xxxxxxxxxx of xxxxxxxxx Sheldon xxxxxx University xxxxx Spargo x C xxxxx Why xxxxx American xxxxxx Read xxx Great xxxxxx Again xxxxxxxxx from xxxx www xxxxxxxxxxxxxx com xxxxxxxxxxxxxxxx great-gatsby- xxxxxxxxx b xxxxMore Articles From English
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