User talk:Apaigeinabook/sandbox

Article Evaluation
Evaluating Content -the article details Will Smith's character's introduction in the series and outlines his personality briefly as it evolves throughout the series -there is a hyperlink to Malcolm X's Wikipedia page (because the character has a Malcolm X poster in his bedroom), so I was distracted by that because it doesn't make any links to the character and I think people might conflate the fiction Will Smith's association with Malcolm X with the actor Will Smith's relationship to him. -Malcolm X hyperlink could potentially be less distracting if it lead to a stub article on "Malcolm X in Pop Culture" where the reader can understand the connection and then return to the character page without thinking Malcolm X has more to do with the show because he is really only mentioned in the pilot episode as a way for Uncle Phil to reprimand Will. -because the article is mostly a summary of how the character Will Smith exists in the Fresh Prince of Bel-Air universe, it is fairly easy to fact check (by watching the show) and I think it is still a good jumping off point in research even if it is not heavily cited. Evaluating Tone -the tone is conversational at times: "however this would eventually contradict the season one episode "Lucky Charm", in which Will says his birthday is July 3, 1973 (given that Will doesn't turn 20? He goes to Vegas on Carlton's 21st. He would have to be twenty one. until the sixth and final season, which aired during the 1995–96 television season)" and the sentence structure in the instance in fragmented. Evaluating Sources There were four sources. Two of them redirected to dead links and one source was the Fresh Prince of Bel-Air theme song on Youtube. The last source was the pilot episode of the show which is a good source. Overall, this article is lacking good sources and citations. And the sources present need to be refreshed Checking the Talk page -the talk page highlights that the image used in the article is used under fair use policies but as it does not explain why, this is a potential copyright infringement -article needs to be disambiguation. -discussion surrounding if the page needs to exist at all and a close session discussion about moving the page (requested move: nov 5, 2017

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Some great work here, Paige, particularly on checking sources, and on identifying conversational tone.

I think the link to Malcolm X as opposed to Malcolm X in pop culture is the correct one here. I’ll ask Shalor to weigh on this. Conversely, I think a link to the Will Smith article would certainly belong on the Malcolm X in Pop Culture page.

In terms of content – is there a reason for focus on certainly episodes over others? Are there others that might shed further light on the character here?

Good work in terms of checking links and evaluating sources. This article woule certainly benefit from some media or scholarly material to support its introduction to the character.

Also - this evaluation should be in your sandbox proper as opposed to on the talk page!

EmerOToole (talk) 17:12, 3 October 2018 (UTC)

Marina Carr Edits
Change introductory sentence. I would write something like: "Marina Carr, born November 17, 1964 is a prolific Irish playwright. She has written almost thirty plays, including By the Bog of Cats (1998) which was most recently revived at the Abbey Theater in 2014."

I intend to split the "Early life and Career" section into two subjects, respectively.

Early life

Marina Carr was born in Dublin, Ireland but she spent the majority of her childhood in Pallas Lake, County Offaly, adjacent the town of Tullamore. Carr grew up in a house filled with, writing, painting, and music. Her father, Hugh Carr, was a playwright and studied music under Frederick May. Her mother, Maura Eibhlín Breathneach, was the principal of the local school and wrote poetry in Irish. As a child, Marina and her siblings built a theatre in their shed, "we lay boards across the stacked turf, hung an old blue sheet for a curtain and tied a bicycle lamp to a rafter".[4] Carr recalls, "it was serious stuff, we even had a shop and invited all the local kids in; the plays were very violent!"[3].

Career Carr attended University College Dublin, studying English and philosophy. She graduated in 1987, and subsequently received an honorary degree of Doctorate of Literature from her alma mater. She has held posts as writer-in-residence at the Abbey Theatre, and she has taught at Trinity College Dublin, Princeton University, and Villanova University. [5] Marina Carr is currently a member of Aosdána.Aosdana Her works have been translated into many languages (how many?)Bold text, and have received much critical acclaim. She currently lectures in the English department at Dublin City University.

Acclaim and Awards Carr's work has received numerous awards; The Mai won the Dublin Theatre Festival Best New Irish Play award (1994-1995), and Portia Coughlan (do titles of works need to be italicized?) won the nineteenth Susan Smith Blackburn Prize (1996-1997). Other awards include The Irish Times Playwright award 1998, the E. M. Forster Award from the American Academy of Arts and Letters and the American/Ireland Fund Award, the Macaulay Fellowship and the Hennessy Award. Carr has been named a recipient of the Windham-Campbell Prize, administered by the Beinecke Rare Book & Manuscript Library at Yale University.[6][7] The award, which includes a financial prize of $165,000 (or €155,000), will be formally presented in September 2017.[6] She is the second Irish author to receive the prize, following playwright Abbie Spallen in 2016.[6] Apaigeinabook (talk) 00:44, 15 October 2018 (UTC)

Hi

I like the addition to the opening sentence here, but don't use "recent" as that won't age well! I like the idea to split early life and career. Some research using academic sources will help you to develop your ideas further. EmerOToole (talk) 17:24, 18 October 2018 (UTC)

Hi

It is time to start drafting something on your user page (as opposed to this talk page) in response to my feedback above in preparation for moving material to the wikipedia page. This is a graded part of the assignment and failure to do so many affect your grade. EmerOToole (talk) 19:17, 8 November 2018 (UTC)

Hi

Some good work here, particularly on adding a reference. Some suggestions for moving this assignment forward:

1. The first sentence now contains a punctuation mistake. Please fix this. 2. While I like the addition of sections on Career and Awards, at the moment you have positions these sections as sub-headings under Early Life and Education. Please give them their own sections. 3. Could you please update the section on publications? Carr has published Plays 2 and Plays 3 since it was last updated! The Mai is incorrectly listed as just Mai. 4. More research is needed on this project in order to get a good mark. Why not add sections on some of her other influential plays, such as Portia Coughlan, The Mai or On Raftery's Hill. You would need to read these plays and offer brief introductory sections such as currently exist for By the Bog of Cats, Woman and Scarecrow and Marble.

EmerOToole (talk) 18:31, 21 November 2018 (UTC)

I intend to find a source that confirms that The Deer Surrender has not been commissioned, as under the commissioned section of the table, it says "not applicable". I intend to find out whether that means it was never performed or if that means that it is a piece that is not meant to be performed. Find or write a synopsis for The Mai or Raferty's Hill. Will update the section on publications to reflect the publication of her most recent works.22:03, 21 November 2018 (UTC)22:03, 21 November 2018 (UTC) — Preceding unsigned comment added by Apaigeinabook (talk • contribs)

Marina Carr
Change introductory sentence. I would write something like: "Marina Carr, born November 17, 1964 is a prolific Irish playwright. She has written almost thirty plays, including By the Bog of Cats (1998) which was most recently revived at the Abbey Theater in 2014."

I intend to split the "Early life and Career" section into two subjects, respectively.

Early life

Marina Carr was born in Dublin, Ireland but she spent the majority of her childhood in Pallas Lake, County Offaly, adjacent the town of Tullamore. Carr grew up in a house filled with, writing, painting, and music. Her father, Hugh Carr, was a playwright and studied music under Frederick May. Her mother, Maura Eibhlín Breathneach, was the principal of the local school and wrote poetry in Irish. As a child, Marina and her siblings built a theatre in their shed, "we lay boards across the stacked turf, hung an old blue sheet for a curtain and tied a bicycle lamp to a rafter".[4] Carr recalls, "it was serious stuff, we even had a shop and invited all the local kids in; the plays were very violent!"[3].

Career

Carr attended University College Dublin, studying English and philosophy. She graduated in 1987, and subsequently received an honorary degree of Doctorate of Literature from her alma mater. She has held posts as writer-in-residence at the Abbey Theatre, and she has taught at Trinity College Dublin, Princeton University, and Villanova University. [5] Marina Carr is currently a member of Aosdána.Aosdana Her works have been translated into many languages (how many?)'Bold text', and have received much critical acclaim. She currently lectures in the English department at Dublin City University. Acclaim and Awards Carr's work has received numerous awards; The Mai won the Dublin Theatre Festival Best New Irish Play award (1994-1995), and Portia Coughlan (do titles of works need to be italicized?) won the nineteenth Susan Smith Blackburn Prize (1996-1997).

Other awards include The Irish Times Playwright award 1998, the E. M. Forster Award from the American Academy of Arts and Letters and the American/Ireland Fund Award, the Macaulay Fellowship and the Hennessy Award. Carr has been named a recipient of the Windham-Campbell Prize, administered by the Beinecke Rare Book & Manuscript Library at Yale University.[6][7] The award, which includes a financial prize of $165,000 (or €155,000), will be formally presented in September 2017.[6] She is the second Irish author to receive the prize, following playwright Abbie Spallen in 2016.[6] I intend to find a source that confirms that The Deer Surrender has not been commissioned, as under the commissioned section of the table, it says "not applicable". I intend to find out whether that means it was never performed or if that means that it is a piece that is not meant to be performed. Find or write a synopsis for The Mai or Raferty's Hill. Will update the section on publications to reflect the publication of her most recent works

Update: I searched the web high and low and found nothing as to when this play may have actually been physically produced. N/A in that sections seems pretty inoffensive since (and Marina Carr would agree to this) no one is clambering to revive it.

Productions notes about The Mai:

The original production of The Mai took place at, and was produced by, the Abbey Theater on October 5th,1994. It was directed by Brian Brady and designed by Kathy Strachan.

The lead roles were played by Olwen Fouere (The Mai), Derbhle Crotty (Millie), Joan O'Hara (Grandma Fraochlan) Owen Roe (Robert), Brid Ni Neachtain (Beck), Stella McCusker (Julie) and Maire Hastings (Agnes)[1]

A synopsis I wrote about the Mai

"The Mai is about a woman in her late 30s, whose husband (and absentee father to their children) returns from having abandoned them, wanted to give their relationship another chance. The play is divided into two acts. The setting for act one is the summer of 1979 (Robert's return from a long time away) and the setting for act two is a year late, as we check in on the state of the precarious relationships established in the first half of the play. Throughout the play, the eponymous The Mai grapples with struggling to keep her marriage alive despite Robert's frequent cheating and conceding to the opinions of her family and leaving him. In the end, she confesses to her daughter Millie, who has served as the narrorator of this peice, that she cannot imagine a life without Robert where she would be happy nor a life with him where they could co-exist peaceably together. " [2] Character List

The Mai, forty

Millie, 16 at the time where the story is being recounted and 30 as a narrator. She is onstage throughout.

Grandmother Froachlan, Millie's grandmother and The Mai's mother. She has seven children[3] and spent most of their childhood's pining for their father who is referred to throughout this play as the nine-fingered fisherman.

Robert, Millie's father and The Mai's husband. He comes back after having unceremoniously left The Mai. Characters in the play generally dislike him but tolerate him. The Mai is hopelessly devoted to him despite his rampant cheating, his mistress (in Act II) and his indifference and laziness at covering his tracks

Beck, 47. The Mai's older sister. Millie's aunt. She is going through a divorce and seemingly relieved to have separated from her husband but she feels her morality here as she feels too old to ever find happiness.

Connie, 38. The Mai's younger sister.

Julie, 75. The Mai's aunt and her late mother's sister. Grandmother Froachlan's daughter.

Agnes, 71. The Mai's aunt.

Ellen, deceased, The Mai's mother. Died after giving birth to The Mai.

The Mai is thematically in keeping with the main themes of Carr's other work.[4] These characters are all grappling with their roles as mothers and their roles as wives. It is clear that most of them prioritize their husbands over their children and if they didn't the end up regretting it like Beck, who after pouring herself into her marriage still had to watch it dissolve. Even Grandmother Froachlan, the matriarch of the family says that she would have gladly thrown all of her children into "the slopes of hell" [3]to be reunited with the nine-fingered fisherman. Throughout the play Carr weaves these characters relationships in and out of each other to the rhythm of nearby ecology. Millie takes particular interests in the folkore of Owl Lake. In discussing the martial failures alongside the professional triumphs of these women, Carr uses them as vessels to discuss the role of marriage in capitalism and its discriminating patriarchal practices towards unmarried women and single mothers. The Mai is said to have built a sturdy home for her and her children in the years that Robert was gone. This kind of upward mobility is revered by most around her apart from Robert who dismissed her success as having come directly from his generosity. The Mai immediately corrects him reminding him that she was a cellist in the college orchestra and that after he left her to raise their kids alone she was also teaching full-time. [2]Discourse on marriage and it's link to capital is apparent here as the characters talk about how when they lost their husbands they lost everything, referring to their current socio-economic status as spinsters.

Apaigeinabook (talk) 23:20, 7 December 2018 (UTC)@apaigeinabook Apaigeinabook (talk) 23:20, 7 December 2018 (UTC)@EmerOToole

Hi Paige,

This is looking good - well done.

I like your new structuring for the early life and career sections, as suggested here - but be careful to keep awards and prizes as its own section.

Yes, italics should be used for the titles of plays, according to this style guide: https://en.wikipedia.org/wiki/Wikipedia:Manual_of_Style/Text_formatting

The material on The Mai looks good, and you should move it, but I don't think you should include the character list, as this would make the section on The Mai too long compared to the other sections on her major works.

Please move this material so that I can have sense of final contributions today or tomorrow at the very latest, as I am almost ready to post grades for your class EmerOToole (talk) 20:56, 10 December 2018 (UTC)