User:Pindham/sandbox

The Yellow Wallpaper - Hamon's Sandbox
I'm using this sandbox to add to the article about "The Yellow Wallpaper" by Charlotte Perkins Gillman.

Week 6 Exercise:
In her article "The Writing's on the Wall: Symbolic Orders in 'The Yellow Wallpaper,'" Barbara A. Suess attempts a psychoanalytic reading based on the theory of psychoanalyst Jacques Lacan. She frames the struggle of Jane, the protagonist, in Lacanian terms of self-constitution, wherein a person establishes a more or less functional relationship between herself and reality through the processes of social similitude and personal identity. However, the psychotic individual, such as Jane in the story, is unable to come to terms with reality because she rejects the dominant patriarchal language, or Symbolic Order, which is the key to the process. Without access to the dominant order, Jane creates her own order and reality, and thus, frees herself from the dominant order just as the woman in the wallpaper frees herself from the restrictive design in the paper. For Suess, then, Jane's psychosis results not from defects within Jane but from her unrelenting struggle against the dominant patriarchy of her age. By the end of the story, Jane gains her freedom but loses her mind.

Articles

 * Suess, Barbara A. “The Writing’s on the Wall: Symbolic Orders in ‘The Yellow Wallpaper.’” Women’s Studies: An Interdisciplinary Journal, vol. 32, no. 1, Jan. 2003, pp. 79–97. EBSCOhost, ezproxy.mga.edu/login?url= http://search.ebscohost.com/login.aspx?direct=true&db=mlf&AN=2003050526&site=eds-live&scope=site.





=Keith Hamon Wikipedia's Sonnet 30 article for ENGL9876.99=

Analysis of Article
The current article (April, 2015) has little more than an introduction to the poem, so it is in need of almost everything. The introduction can be expanded and the following categories could all be added:
 * 1) Summary
 * 2) Narrator & Point of View
 * 3) Characters
 * 4) Setting
 * 5) Poetic Form
 * 6) Voice: Diction, Tone, & Style
 * 7) Themes
 * 8) Symbolism
 * 9) Figurative Language: Imagery, Metaphor, & Simile
 * 10) Sound: Rhyme, Rhythm, Alliteration & Assonance

Reading List

 * Alexander, Harriet Semmes. (1984). American and British Poetry: A Guide to the Criticism, 1925-1978
 * Freeman, Margaret H. (2009, June 29). The Fall of the Wall between Literary Studies and Linguistics
 * Hadas, Rachel. (1976). Form, Cycle, Infinity: Landscape Imagery in the Poetry of Robert Frost and George Seferis.
 * Hansen, Kristina. (2013). Robert Frost’s “Mending Wall” as an Allegory of Tolerance
 * Holland, Norman. (1988). The Brain of Robert Frost: A Cognitive Approach to Literature.
 * Kearns, Katherine. (1994). Robert Frost and a Poetics of Appetite.
 * Kemp, John C. (1979). Robert Frost and New England: The Poet as Regionalist.
 * Kennedy, X. J. & Dana Gioia. (2013). Literature: An introduction to fiction, poetry, drama, and writing.
 * Lentriccia, Frank. (1975). Robert Frost: Modern Poetics and the Landscapes of Self. Copyright © 1975 by Duke University Press
 * Monteiro, George. (1974). Unlinked Myth in Frost's "Mending Wall"
 * Monteiro, George. (1988). Robert Frost and the New England renaissance.
 * Raab, Lawrence. (1996). Touchstone: American Poets on a Favorite Poem.
 * Richardson, Mark. (1997). The Ordeal of Robert Frost: The Poet and His Poetics. Copyright © 1997 by the Board of Trustees of the University of Illinois
 * Baym, Nina, & Robert S. Levine. (2012). The Norton Anthology of American Literature, Vol A.

Original
"Mending Wall" is a poem written in blank verse, published in 1914, by Robert Frost (1874–1963). There are five stressed syllables per line, with varying feet and occasional lines of iamb. The poem appeared as the first selection in Frost's second collection of poetry, North of Boston

Revised
"Mending Wall" is a poem by the twentieth century American poet Robert Frost (1874-1963). It is the second poem in Frost's second collection of poetry, North of Boston, published in 1914 by David Nutt, and it has become "one of the most anthologized and analyzed poems in modern literature".

Like many of the poems in North of Boston, "Mending Wall" narrates a story drawn from rural New England. The narrator, a New England farmer, contacts his neighbor in the Spring to rebuild the stone wall between their two farms. As the men work, the narrator questions the purpose of a wall "where it is we do not need the wall" (23). He notes twice in the poem that "something there is that doesn’t love a wall" (1, 35), but his neighbor replies twice with the poem's most famous line: "Good fences make good neighbors" (27, 45).

The 45-line poem is written in blank verse and has five stressed syllables per line, with varying feet and occasional lines of iamb.

Original Contribution to Mending Wall
Despite its simple, almost folksy language, "Mending Wall" is a complex poem with several themes, beginning with human fellowship, which Frost first dealt with in his poem "A Tuft of Flowers" in his first collection of poems, A Boy's Will. Unlike the earlier poem which explores the bond between men, "Mending Wall" deals with the distances and tensions between men. The poem explores the contradictions in life and humanity, including the contradictions within each person, as man "makes boundaries and he breaks boundaries". The poem also explores the role of boundaries in human society as mending the wall serves both to separate and to join the two neighbors, another contradiction. "Mending Wall" also plays with the theme of seasons as recurring cycles in life, and contrasts those cycles with both physical and language parallelism as the men walk along the wall, each to a side, and their language stays each to a side. Then, in "Mending Wall", Frost meditates on the role of language as a kind of wall that both joins and separates people. Finally, Frost explores the theme of mischief and humor in "Mending Wall", as the narrator says halfway through the poem, "Spring is the mischief in me, and I wonder/If I could put a notion in his head" (28,29). Mending the wall is a game for the narrator, though in contrast, the neighbor seems quite serious about the work.