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Brit 3333

by: Emily Notetaker

Brit 3333 Engl 3084

Emily Notetaker

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Modern Criticism
Dr. Moreland
Class Notes
25 ?




Popular in Modern Criticism

Popular in English Department

This 2 page Class Notes was uploaded by Emily Notetaker on Friday August 5, 2016. The Class Notes belongs to Engl 3084 at Louisiana State University taught by Dr. Moreland in Fall 2016. Since its upload, it has received 13 views. For similar materials see Modern Criticism in English Department at Louisiana State University.


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Date Created: 08/05/16
Contemporary Accounts of the Rising Discussion Questions 26 Jan. Gerry Hunt & Diarmaid Ferriter Blood Upon the Rose (2010) 1. How does framing the story of the Easter Rising with Joseph Mary Plunkett and Grace Gifford’s relationship/marriage allow the reader to empathize with the rebel cause? 2. The book takes its title from one of Plunkett’s best-known poems (below). With this poem’s clear references to Christ in mind, how do you view the military action of the rebels? What seems to be Plunkett’s intent for what the Rising could accomplish? (remember, he was Director of Military Operations on the IRB military committee who planned the Rising, and the plan they followed was primarily his) I See His Blood Upon The Rose I see his blood upon the rose And in the stars the glory of his eyes, His body gleams amid eternal snows, His tears fall from the skies. I see his face in every flower; The thunder and the singing of the birds Are but his voice—and carven by his power Rocks are his written words. All pathways by his feet are worn, His strong heart stirs the ever-beating sea, His crown of thorns is twined with every thorn, His cross is every tree. 3. Compare the representation of the British soldiers on the top of page 10 with the racist depictions Irish and Africans in Punch. Does this depiction challenge derogatory stereotypes or simply perpetuate the binary representations of British/Irish nationality? 4. What roles do women in the CnB play in the Rising according to this retelling of the Rising? How does this reinforce traditional gender norms? Are there any ways these norms are challenged? 5. In comics, “closure” is the “space” between panels which the reader must fill in to make the discrete images into a continuous story (it’s the way we conceptually make a whole out of the parts; look at the Scott McCloud pdfs if you’re interested in more about theory/vocabulary of comics). Are there any places in the comic where it is hard for you to commit closure? Why is that? Are there places where it is incredibly easy to commit closure? Why? 6. Google a few photos of some of the locations depicted. Which iconic features of Dublin architecture does Hunt rely on to portray the city? Diarmaid Ferriter, from A Nation and Not a Rabble (2015) 7. How does Ferriter’s revisionist and nuanced treatment of the details leading up to the Rising highlight the lack of unity among the rebels? Do these details change the way you view the actors portrayed in the comic? 8. Eoin MacNeill wrote in February 1916 that rebellion was only justifiable if there was “deep and widespread popular discontent” and that “what we call our country is not a poetical abstraction … it is our duty to get our country on side and not be content with the vanity of thinking ourselves to be right and other Irish people to be wrong” (151). What characteristics of the secret IRB military council does this rebuke expose? 9. Who bore the majority of the damage and casualties during Easter week? How did both sides contribute to this problem? Look at Joe Good’s recollection on page 159. How does this recollection reveal how wrong the rebels were in estimating the Irish public’s reaction to their rebellion? 10.How does the failure of the Rising illustrate the idealist-republican interpretation of events that “The strength of Ireland is the spirituality of her ideal”? In what ways does this spiritual ideal take root in the aftermath of the Rising and the conversion of the participants into martyrs and heroes?


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