Thoughts about Feedback Strategies - Mirror

The article from the list that I chose to read was "Be a Mirror." I feel that the idea of the article is both useful when it comes to giving feedback and something I'm already familiar with. In the creative writing class I took a few semesters ago with Professor Brown, he encouraged us to avoid giving feedback that incorporated our own opinions. "I liked it" or "I didn't like it." He wanted us to focus on giving feedback that assessed what the shared writing did or didn't do. So I always kept that in mind when giving feedback. It was also helpful advice since it meant that we could separate ourselves and our own preferences when it comes to genres of writing from the works that we were giving feedback on. So instead of listening to some slice of life writing and thinking "I didn't like it because it was boring and nothing happened," I could produce meaningful advice like "When you wrote blank it helped me understand the motives of blank." The best advice I can give about how to give feedback, is to try and understand what the person was trying to do, and share what helped achieve that and what didn't help, as opposed to telling them what you think they "should have" done. I'm fairly confident in my ability to give meaningful feedback without being harsh or hurting feelings.

Week 3 Analysis: Close reading of The Song of Ch'un-Hyang

I chose to do my close reading about the bottom paragraph on page 80 of "The Song of Ch'un-Hyang." The following passage encompasses the pain we see Ch'un-Hyang dealing with all throughout the story from parting from her husband, and despite all of her pain, she remains faithful in him and her marriage even when it gets her into trouble with the governor and brings bodily harm to herself. The sentence "The voice of the deserted girl was compulsively raised in sad moans and wails, and anybody who saw or heard her was wounded in his own heart" does several things to evoke different feelings. Referring to Ch'un-Hyang as "deserted girl" provokes feelings of sympathy, referring back to being separated from her husband and also even foreshadowing her position at the end of the story (80). She has spent a majority of the story in solitude, and to refer to her as a "deserted girl" truly captures the way she's consistently portrayed throughout the entirety of the story. In addition to the way she's referred to, the sentence further causes us to understand her misery and sympathize with her with the way it's written that her voice was "compulsively raised in sad moans and wails" (80). She's been silent and trying to sleep out of the desire that she might she her husband in her dreams. To say that her voice was raised "compulsively" shows how sporadic her ability to control her pain and sadness was, and it also illustrates just how powerful and hard it was for her to try and contain her feelings (80). She would express her sadness with nothing but "moans and wails" because she doesn't feel like speaking and "moans and wails" are both sounds that don't require thinking, but are perfectly capable of conveying emotion (80). And to mention that "anybody who saw or heard her was wounded in his own heart" shows that other people understood how much pain she was in (80). The specific word choice of wounding a heart emphasizes how painful it was to see or hear her, and in knowing how painful it was for other people we can only imagine exactly how painful it must have been for Ch'un-Hyang.

The next sentence in the paragraph also caught my attention. "Her longing for her husband took the taste from her food, and robbed her rest of sleep; yearning for him drew her skin tightly over her bones and made her weak" (80). Throughout the entire story, she's constantly had her husband in mind, and maintained her faith in marriage with him no matter the cost. This sentence specifies that her pain is in fact, because of how much she misses him, and it further expresses the pain she's dealing with as a result. She missed her husband so much to the point where food didn't even taste good; her sadness had actually desensitized her to an extent where she couldn't taste anything. She was also "robbed" of her sleep (80). To use the word "robbed" in this case creates this sense that she is truly being targeted and attacked by how much she misses her husband (80). She didn't "lose" sleep or become "unable to" sleep, she was "robbed" (80). This victimizes her and deprives her of sleep. Her skin tightens so much to the point where it "made her weak" as if it were choking her (80). She's become both physically weak, as we can see from her skin tightly wrapping over her bones, and mentally weak as seen from her constant crying and sleep deprivation.

"The Song of Ch'un-Hyang." The Norton Anthology World Literature, edited by Martin Puchner, third edition, vol. D, W. W. Norton, 2012, p. 80.

Reading Notes W3: The Song of Ch'un-Hyang, Part B

The Song of Ch'un-Hyang Pages 74-89

• Ch'un-Hyang is distraught over parting with her husband. She wants to go to sleep immediately so that she may see him in her dreams, but she also fears that if she sees him in her dreams, it means he is unfaithful. She wants to see him either way. (76)
• The boy couldn't sleep since he wanted to see his love (76)
• New governor of Namwon, Pyon Hak-to, heard there's a pretty girl named Ch'un-Hyan near Namwon, and he wants to see her. (77)
• The governor had all of the Kisaeng called, but he didn't get to see Ch'un-Hyang (78-9)
• The governor demanded all of his guards find Ch'un-Hyang or else they would be demoted (80)
• Ch'un-Hyang was still thinking about her husband when the guards found her (80-1)
• She welcome them and served them wine. She asked about the old governor and hoped for a letter from the young master. She offered to give them money on their way out (81)
• The guards pleaded for her to come with them and they told her the whole yamen is in trouble and everyone is likely to lose their job (81)
• Ch'un-Hyang reluctantly went with them (81)
• The governor told her she must dress properly from now on and attend on him in the yamen (82)
• She says she can't do so since she's married. (82)
• He says it's better to belong to your governor than be tied to a child. She says a wife cannot belong to two husbands. It's principle to her. (82)
• The treasurer says it's proper for her to obey him (82)
• The governor threatens her disobedience by saying that refusal to obey a governor meets the same punishment as treason, which is a capital offense. (83)
• "If the rape of a married woman is not a crime, what is?" - Ch'un-Hyang (83)
• The governor had an executioner beat Ch'un-Hyang (83)
• People were weeping as they watched Ch'un-Hyang be beaten, crying out with each stroke, words corresponding to that number (84-86)
• She was covered in blood and tears. "Do not treat a girl like this. Better kill me quickly, and when I am dead my soul will become a cuckoo like the bird of Chu, crying in the empty hills on moonlit nights and breaking the dreams of young master Yi after he has gone to sleep" (86)
• The governor asked if she will persist in her disobedience now that she's been beaten. She says "please let me die" and asks the governor if he understands an oath that binds till death (86)
• Governor said she's beyond reason and demanded she be sent to prison (86)
• Ch'un-Hyang's mother comes and hugs her daughter, asking the jailers and executioners why they beat her. (87).
• Ch'un-laments in the prison house. She asks what her crime was and claimed she wasn't a murderer and hasn't done any other crime. She says she just wants to see her husband. She claims that when night comes she will paint a portrait of her lord with her blood, hanging it as a scroll beside her door. She is chaste and faithful. She mentions other great historical figures like Confucius who were jailed despite their greatness. She hopes her husband will come as an officer and save her life. (87-89).
• She asks the moon if it sees "us" and asks it to lend her its light because she wants to see where her husband is and relieve her sorrows. (89).

Reading Notes W3: Moliere's Tartuffe, Part A

Moliere, "Tartuffe," Pages 144-197

• Damis, son of Orgon, doesn't like Tartuffe (145)
• Madame Pernelle, mother of Orgon, believes Tartuffe is someone who should be listened to (145)
• Dorine, Mariane's maid, says Tartuffe isn't a saint, just some beggar (146)
• Madame Pernelle believes Tartuffe's presence casts the devils out (148)
• Dorine says Orgon is just as fond of Tartuffe as his mother, and hasn't ruled the house as he used to since he's so intoxicated with Tartuffe. Dorine says it's obvious how bad Tartuffe is to everyone except Orgon and his mother (149).
• Damis wants Cleante, Orgon's brother in law, to talk to Orgon. Damis needs his father to agree with Mariane's (Orgon's daughter) marriage with Valere or else he won't be able to marry Valere's sister. He suspects opposition from Tartuffe (150).
• Orgon is talking with Cleante and Dorine but keeps inquiring about Tartuffe at every corner of the conversation. "Ah, and Tartuffe?" (150-151).
• Cleante is aware he might anger Orgon, but proceeds to start telling Tartuffe how Orgon has repaid in kindness (not in favor of Tartuffe). Orgon immediately begins to tell him he's wrong and defend Tartuffe. (151).
• Orgon gave money to Tartuffe and Tartuffe claimed it was too much and would only need half. Tartuffe puts on an act to seem humble and holy, Orgon falls for it. (152)
• He asks about Valere's marriage, Orgon avoids every question and ends the conversation with "good-bye." (156).
• Orgon is forcing his beliefs about Tartuffe onto his daughter to make her marry him. (156-157).
• Dorine and Orgon argue about Tartuffe and the marriage, Dorine tells Orgon Tartuffe is bound to be cheated on. (159).
• Orgon dares Dorine to keep talking, ready to lay a hand on her. She remains silent because of his threat. (160).
• She throws one last insult and runs, Orgon missing as he tries to hit her. (161).
• Mariane says she'll kill herself instead of being married to Tartuffe since she loves Valere. Dorine is angered at the thought and they briefly argue. Mariane is about to leave when Dorine decides to help her. (162-164).
• Mariane and Valere have a fight over the marriage. Valere heard the news and thought she loved Tartuffe, Mariane asked him what to do and he said for her to go through with the marriage. He began to believe she doesn't love him and she didn't deny it. They were both hiding their feelings and trying to act like they didn't care. Dorine got frustrated and spoke up to end their fight and bring them back together since she knows they both love each other. (164-167).
• Tartuffe hands a handkerchief to Dorine to cover herself. Trying to make himself sound pure. (169).
• Tartuffe tries to flatter Elmire, Orgon's wife, saying that her health is more important to him than his own. He declares his love for her. (170-172).
• Elmire says she won't tell Orgon a word that he said as long as he supports Mariane and Valere's marriage. (173)
• Elmire tells Damis there's no need to escalate things further, but Damis wants revenge. He tells Orgon everything when he enters the room. (174).
• Orgon confronts Tartuffe, who admits to what Damis said. Tartuffe claims he deserves every bit of anger that Orgon can express toward him. Orgon turns to Damis and calls him a traitor for trying to tarnish Tartuffe's name. Orgon continues to take Tartuffe's side and threatens to slap Damis if he continues speaking (175-6).
• Orgon says he will force Mariane to marry him to infuriate Damis at this point. He kicks Damis out and continues to defend Tartuffe. (176-7).
• Tartuffe begins to act as a victim about everything Damis said and the way he feels he is treated by people when they see him. He's receiving pity and sympathy from Orgon (177).
• Orgon decides to make Tartuffe his one and only heir. (178).
• Cleante confronts Tartuffe and tries to criticize all of his actions so far and his acceptance of Orgon's fortune. He asks why Tartuffe couldn't just simply refuse to be his heir if he's so high and mighty. Tartuffe leaves instead of answering. (180).
• Orgon is completely blind and refuses to listen to Mariane, Dorine, and Elmire. (180-81).
• Elmire tells Orgon to hide under the table while she speaks to Tartuffe so she can prove how he really is. (187).
• Elmire lies to Tartuffe, saying that she is now able to share her true feelings for Tartuffe since Orgon wants them to spend all of their time together. Tartuffe says he won't believe her until they have touched. He says it's okay if she sins since it's with him. He wants them to express their love right there on the spot. She insists that he step outside and look for Orgon first since she fears he is nearby and will catch them. Tartuffe doesn't see the point but does so anyways. (182-186).
• Orgon steps up and tells Tartuffe to leave and insults him for going after his wife. Tartuffe says the house belong to him and that Orgon needs to leave. "Those who harm me, they know not what they do." (187).
• Cleante calls out Orgon for his mistake. Saying that he can't say all holy men are deceivers. He says Orgon needs to just admit he was wrong and was being played the whole time. (188-9)
• Cleante tells the family not to count on their safety. He says Tartuffe has legal documents (from Orgon's strongbox) and the deed, and is more than capable of kicking them out. Madame Pernelle is also still in denial that Tartuffe isn't a good man. (190-1).
• Monsieur Loyal comes and tells Orgon and his family that they must vacate the premises now that Tartuffe seized the land and house as his. He insists he's being kind. He says he's giving Orgon time, and that he's just there to spend the night. Him and his ten men are there to stay the night. He says Orgon must give him the keys to the house, and insists they have a full night's sleep. Tomorrow they must be packed and ready to leave. (192-3).
• Orgon asks his mom if she can see the treachery now. She's shocked. Elmire says everyone will see Tartuffe's disloyalty once they show his plans and he will be denied their property. (194).
• Valere says Tartuffe gave the strongbox to the king and there's now an order for Orgon's arrest. Valere tries to help Orgon leave with a carriage and ten thousand in gold. (194-5).
• Tartuffe confronts Orgon and tells him he's having him arrested. Tartuffe still acts like a victim and as if he's the correct one between the two of them. "It's all for heaven's sake. (195).
• The Exempt tells Tartuffe that he's arresting him, not Orgon. The Exempt tells Orgon they have a king who sees into men's hearts and that hypocrites do not get far. The king didn't believe a thing Tartuffe said. He's aware that Tartuffe abused Orgon's friendship and faith among other things. The king wants to end Orgon's worries about aiding his old friend and pardon him. "He remembers good longer than the bad." (196-197).
• Orgon was going to begin saying bad things to Tartuffe, but Cleante told Orgon not to sink to his level. (197)
• They all agree to go visit the great king and thank him for his generosity. Then they will come back and prepare Mariane's marriage with Valere. (197).

Topic Brainstorm

My first project idea would be to write about Imoinda from Oroonoko since the relationship between her and Oroonoko was interesting to me. The writing prompt about choosing a female character to focus on would guide me well in writing a thorough paper about the subject.

My second idea is to do the first prompt about two different poems. I'm thinking I could write about a poem from Wordsworth and a poem from Keats since I'm a tiny bit familiar with their works. I might actually pick a poet I'm not aware of in order to make the assignment more interesting, especially if I liked their poetry more.

My third idea would be to write about Tartuffe by Moliere since I remember that play from a drama class that I've taken previously. I didn't analyze it vary thoroughly since it wasn't necessary, but it would be fun to go back and do since the ending of that play bothered me immensely to the point where I can't describe it with words. I would choose the prompt about how it reflects the period which it was written in and what it reveals about the cultural behavior contemporary to it.

A fourth idea would be to write about Melville's Bartleby the Scrivener since I had to write a paper about it last semester and admittedly didn't do that well since I was very busy with moving houses at the time and didn't get to read the material as closely as I needed to. For this one, I would most likely choose the prompt about exploring the relationship between the elements of the section and character development.

My Feedback Thoughts

With feedback, the most important thing I've learned is that you can't take it personally. Teachers and fellow students are trying to help, not offend. Maybe some people are less sensitive than others and might be extra harsh in comparison to others. Conversely, some people might be too sensitive and restrain themselves from giving back any useful feedback. Either way, until someone can learn to receive feedback without taking it personally, they won't be able to apply everything as best as possible. This extends beyond schoolwork too. In life, feedback is a resource to improve. You'll even get feedback about who you are about as a human being. Personally taking offense of it or not, what someone does with that resource is up to them.

Mentality aside, the most useful literal feedback I've received regarding schoolwork would be: Be mindful of clarity. Sometimes you might think you've explained an idea well, but if it isn't written in a way where a five year old with the English ability of an adult can understand it, anticipate potential criticisms about how clear your ideas are.

Week 2 Analysis: Literary Analysis of Poem 145 by Sor Juana Inés de la Cruz

Sor Juana Inés de la Cruz, Poem 145 (Page 262)

Reading through this poem, I interpreted the poem to be encouraging a hesitant eye when looking at art or anything else that would typically be deemed as beautiful. The painting is referred to throughout the poem as both a "snare" and a "trap" (lines 1 & 4). Keeping the note in mind at the start of the poem providing context, "She endeavors to expose the praises recorded in a portrait of the poetess by truth, which she calls passion," De la Cruz feels as though the painting of herself is deceitful. From her point of view, this painting of herself is a trap since it makes herself look more attractive than she feels she is. The "clever arguments of tone and hue" are details of the painting that were altered to make her look more attractive, and she considers it to be manipulative (line 3). She feels as though the painting ignores all of her life experiences and any hardships that shaped her into who she is as expressed in the lines "flattery has tried / to overlook the horrors of the years" (lines 5-6). She doesn't want to view herself in a way that lies to her and pretends as though her whole life is better than it was. Her tone throughout the poem is consistently one of refusal and criticism born from the initial doubts she had from seeing the painting. I believe the last two lines of the poem were her throwing out or destroying the painting for the insult it has inflicted upon her. If I take away the context that went into inspiring her to write this poem, the poem still has a theme of being hesitant when appreciating art since it might try to deceive you. With the way art is placed into a gallery and appreciated by society, there is an expectancy to appreciate famous pieces of art. It's as though once a piece of art is unanimously praised, it's effectively true and can potentially shape the views of those who didn't think the art was anything special yet were told that it was. This can lead to their senses being caught in the snare, and manipulated. And this indoctrination of ideas as to what makes art beautiful can destroy the subjectivity of art and any unique interpretations and appreciation of art.