Stories of growth: Caribbean Women Writers (2) Olive Senior’s “Bright Thursday” 3-D 手翻書中的圖片 (中級) 若要在此投影片上重新產生圖片效果，請執行下列操作： 在 [常用] 索引標籤上，按一下 [投影片] 群組中的 [版面配置]，然後按一下 [空白]。 同樣是在 [常用] 索引標籤上，按一下 [繪圖] 群組中的 [圖案]，然後在 [矩形] 底下，按一下 [矩形] (左邊第一個選項)。 在投影片上，拖曳以繪製矩形。 選取矩形。在 [繪圖工具] 底下的 [格式] 索引標籤上，在 [大小] 群組中為 [高度] 方塊輸入 3.71，同時為 [寬度] 方塊輸入 2.57。 同時在 [繪圖工具] 底下的 [格式] 索引標籤上，按一下 [圖案樣式] 群組中的 [圖案外框]，然後按一下 [無外框]。 在 [常用] 索引標籤的 [剪貼簿] 群組中，按一下 [複製] 右方的箭號，然後按一下 [複製]。 選取第一個矩形。在 [繪圖工具] 底下的 [格式] 索引標籤上，按一下 [圖案樣式] 群組中的 [圖案填滿]，然後按一下 [圖片]。在 [插入圖片] 對話方塊中選取圖片，然後按一下 [插入]。 同時也在 [繪圖工具] 底下的 [格式] 索引標籤上，按一下 [圖案樣式] 群組中的 [圖案效果]，指向 [立體旋轉]，然後按一下 [立體旋轉選項]。在 [格式化圖案] 對話方塊中，按一下左窗格的 [立體旋轉]，並在 [立體旋轉] 窗格執行下列作業： 按一下 [預設] 旁的按鈕，然後按一下 [透視圖] 底下的 [右側對比透視圖]。 在 X 方塊中輸入 342.5°。 在 Y 方塊中輸入 57.2°。 在 Z 方塊中輸入 11°。 在 [透視圖] 方塊中輸入 25°。 選取第二個矩形。在 [繪圖工具] 底下的 [格式] 索引標籤上，按一下 [圖案樣式] 群組中的 [圖案填滿]，然後按一下 [圖片]。 在 [插入圖片] 對話方塊中，選取另一張圖片，然後按一下 [插入]。 在 [預設] 清單中，按一下 [透視圖] 底下的 [右側對比透視圖]。 在 X 方塊中輸入 300.6°。 在 Y 方塊中輸入 68.7°。 在 Z 方塊中輸入 329°。 在 [透視圖] 方塊中輸入 0°。 將這兩個矩形定位，使左下角接觸。 在 [常用] 索引標籤上，按一下 [繪圖] 群組中的 [圖案]，然後按一下 [矩形] 底下的 [矩形]。 選取矩形。在 [繪圖工具] 底下的 [格式] 索引標籤上，於 [大小] 群組中為 [高度] 方塊輸入 2.5，同時為 [寬度] 方塊輸入 3.25。 選取第三個矩形。在 [繪圖工具] 底下的 [格式] 索引標籤上，按一下 [圖案樣式] 群組中的 [圖案填滿]，然後按一下 [圖片]。在 [插入圖片] 對話方塊中選取圖片，然後按一下 [插入]。 同時也在 [繪圖工具] 底下的 [格式] 索引標籤上，按一下 [圖案樣式] 群組中的 [圖案效果]，指向 [立體旋轉]，然後按一下 [立體旋轉選項]。在 [設定圖片格式] 對話方塊中，按一下左窗格的 [立體旋轉]，並在 [立體旋轉] 窗格中執行下列作業： 在 X 方塊中輸入 303.1°。 在 [Y] 方塊中，輸入 313°。 在 [Z] 方塊中，輸入 78°。 在 [透視圖] 方塊中，輸入 100°。 選取第四個矩形。在 [繪圖工具] 底下的 [格式] 索引標籤上，按一下 [圖案樣式] 群組中的 [圖案填滿]，然後按一下 [圖片]。在 [插入圖片] 對話方塊中選取圖片，然後按一下 [插入]。 在 X 方塊中輸入 310.3°。 在 [Y] 方塊中，輸入 330°。 在 [Z] 方塊中，輸入 63°。 在 [透視圖] 方塊中，輸入 90°。 此外，在 [設定圖片格式] 對話方塊中，按一下左窗格中的 [陰影]，然後在 [陰影] 窗格中，執行下列動作： 按一下 [色彩], 旁的按鈕，然後按一下 [佈景主題色彩] 底下的 [黑色，文字 1]。 在 [透明度] 方塊中，輸入 47%。 在 [大小] 方塊中，輸入 102%。 在 [模糊] 方塊中輸入 16 pt。 在 [角度] 方塊中，輸入 160°。 在 [距離] 方塊中輸入 4 pt。 將第三和第四個矩形定位，使左邊角接觸第一和第二個矩形的左下角。 若要複製此投影片上的背景效果，請執行下列作業： 以滑鼠右鍵按一下投影片背景區域，然後按一下 [背景格式]。按一下 [背景格式] 對話方塊中左窗格的 [填滿]，選取 [填滿] 窗格中的 [漸層填滿]，然後執行下列作業： 在 [類型] 清單中，選取 [線性]。 按一下 [方向] 旁的按鈕，然後按一下 [線性向下] (左側第一列，第二個選項)。 按一下 [漸層停駐點] 底下的 [新增漸層停駐點] 或 [移除漸層停駐點]，直到四個停駐點顯示在滑桿中。 同時在 [漸層停駐點] 中，如下自訂漸層停駐點： 選取投影片中的第一個停駐點，然後執行下列作業： 在 [位置] 方塊中，輸入 0%。 按一下 [色彩] 旁的按鈕，然後按一下 [佈景主題色彩] 底下的 [白色, 背景 1, 較深 15%] (左側第三列，第一個選項)。 選取滑桿的下一個停駐點，然後執行下列動作： 在 [停駐點位置] 方塊中，輸入 56%。 按一下 [色彩] 旁的按鈕，然後按一下 [佈景主題色彩] 底下的 [白色, 背景 1, 較深 5%] (左側第二列，第一個選項)。 在 [停駐點位置] 方塊中，輸入 57%。 按一下 [色彩] 旁的按鈕，按一下 [其他色彩]，然後在 [色彩] 對話方塊的 [自訂] 索引標籤中輸入 [紅色] 的值：169，綠色：169，藍色： 169. 選取滑桿的最後一個停駐點，然後執行下列動作： 在 [停駐點位置] 方塊中，輸入 100%。 按一下 [色彩] 旁的按鈕，按一下 [其他色彩]，然後在 [色彩] 對話方塊的 [自訂] 索引標籤中輸入 [紅色] 的值：211，綠色：211，藍色： 211.

Olive Senior’s “Bright Thursday” Questions for All Do you have experience of living with your grandma or aunty in a house or place very different from your own? Do you know what claustrophobia and agoraphobia are?

Outline Olive Senior and the Caribbean Women Writers: Introduction. Youtube films: “You Think I Mad, Miss” “http://www.youtube.com/watch?v=qMuq8J9bErk Democratic Voice and “Missing” http://www.youtube.com/watch?v=cs1i_GcNGU0 Tree Reading Series Featured Reader 27 Jul 10 - Olive Senior http://www.youtube.com/watch?v=zaoX9I9LKmw “Bright Thursday” color scheme and education; the father’s (lack) of influence

Five Caribbean Women Writers Jean Rhys -Dominica (1890 – 1979) Michelle Cliff --Jamaica (1946~)  Olive Senior- Jamaica 1941 ~ Jamaica Kincaid – Antigua (1949~ ) Edwidge Danticat Haiti (1969~) Sugar Cane Alley Annie John 1985 Krik, Krak 1995

Colonial, Creole & Black Identities Antoinette vs. Tia (1830’s) / Christophine Wide Sargasso Sea (1966) Jose vs. Leopold (1930’s) /Madouze Sugar Cane Alley (1983) Clare vs. Zoe (1950’s) 1958-1962 West Indies Federation Abeng (1984) Laura “Bright Thursday” (1986)

Brazil 背風群島 向風群島

Caribbean Women Writers: Major Themes 1) Creole identity vs. Black identity 2) female Bildungsroman: stories of growth and development // the process of socialization as well as alienation racial and class issues (black, white and mulatto) + gender stereotypes and inequality 2) “Mother Country” vs mother land (relations to the Caribbean landscape) [English] education and mother-daughter relationship -- usually alienation the grandmother as an influential or positive figure

Working Miracles: Women’s Lives 3) Family Structure a. absent father (mother) child-shifting (adoptions –“Bright Thursdays” adopting to fill in an empty space for the grandparents 210) b. Single mothers as breadwinners (1/2 of the Caribbean households are headed by women) c. Outside children -- children born out of a father’s stable residential union; legitimacy is not an issue Olive Senior, Working Miracles: Women’s Lives in the English-Speaking Caribbean (Chapter 1)

Olive Senior: an Embodiment of Conflicts The daughter of peasant farmers, she grew up, after four, with well-off relatives whose lifestyle was the opposite of what she had known as a child.  tension between two different households, between rural and urban settings  “two Jamaicas” (source: http://www.nalis.gov.tt/Biography/bio_OLIVESENIOR_Jcanauthor.htm ) --> Children moving between two “households.”

“Bright Thursdays”--Genealogy Dolphie Watson Miss Christie Mina Bertram Myrtle Johnstone (white U.S.) (brown) (dark) Laura 2 sons (2 fathers) (Bertram’s Mistake; Bertram’s stray shot) A child’s perspective— a gradual process of alienation

WWS: The Ending: Questions How is the English house and “England” described by Grace first and then by Antoinette? What are the significances of the red dress in Part III? (109) Part I – Part III: What traces of Part I and II do we see in Part III? For instance, Tia’s & “his” roles; the fire scene in Part I and that in Antoinette’s dream in part III. Dreams (Is there a parallel between the parrot in the first fire and Antoinette in the second? The ending: An open or close ending? Is Antoinette mad? Can she escape from the narrative containment? Has she burned down the house?

Group Discussion Questions G1: Gender, Colorism and Social Climbing: Ms. Christie and Myrtle as Mothers (188-89): how do they differ and what do they share in common? How do look at each other? How is Myrtle compared with Mina? Bertram: What kind of person is he? G3: Laura’s Personality & Views of the Photographs: how do the two women educate Laura? Their influence on her personality, and the roles the photos play? G4: Laura’s Fear: Why is Laura agoraphobic? Her views of the cloud and digging potatoes? G2: Laura’s Desire & Growth: Why is “Bright Thursday” scary? What does she expects of her father, Bertram? What happens at the end?

“Bright Thursdays”--Questions 1. If we divide up the story into the beginning, middle and end, where is the “middle” part in which the action starts? Why does the story have a long introduction? What does the intro. show about Laura? Why does she feel alienated from her siblings? What is she afraid of? 2. What is the significance of the photographs, mirror, the mountains vs. the wide open space and the clouds, and Laura’s sense of space? 3. Why is Laura’s story not like ours visits of our grandparents?

Color System in the Caribbean Society Ms. Christie: “Dying to raise their color all of them” (199) The color triangle: white brown dark Ref. Behind Closed Doors: 'Colorism' in the Caribbean –Dominican Republic (“white” defined in terms of hair and nose)

“Bright Thursday”: Ms. Christie vs. Myrtle Intro. Pp. 194 - 207 Myrtle as a single mother in conformity with social values Myrtle’s view of Laura’s father—proud of being associated with him, not expecting him to do anything (p. 197) Myrtle’s dream of status improvement (197-98; 200) Myrtle vs. Ms. Christie – Myrtle all polite and Ms. Christie, condescending and implicitly critical (pp. 198-99;) Ms. Christie as a dutiful mother: arranging “good marriage” -202 -- calls Laura “my little adopted,” instead of granddaughter -- criticizes Myrtle’s attempt at whitening her family, but she herself has been doing it.

“Bright Thursday”: Laura in Two Households Laura in the two households at her mother’s: feeling well protected p. 200 at Ms. Christie’s: feeling displaced and scared p. 195; 196 Laura’s sense of space: dinner table 195-96; Home in the mountains vs. grandma’s 203

Contrasts between the two households Mountains vs. hills pp. 203 – 204  sense of insecurity as reflected in her views of the clouds (204) Meanings of the clouds?

Space and its Symbolic Meanings Spatial imagery psychological -- Laura’s sense of displacement Feeling alienated (because of the mother’s special treatment) even at home. “permanently” transported from mother’s house to father’s out of place or no space (photos on the bureau195) Social -- Laura’s sense of inferiority enclosed and protected(mother’s house in the mountains, hemmed in 203); empty space (the dining table 196; father’s house 203-04) fear of the open space, which is still constraining ( like a “blue bowl” 204-205) Fear of bright Thursday and the need to walk to school 206-207 (the bus) Need protection and safety from the earth (digging potatoes 207)

The Cloud and Agoraphobia geographic metaphor attached with social meanings: The Cloud = Christ’s judgment? A projection of social hierarchy from one social field (Ms. Christie’s household) to another (religion/Christ); Metonymic displacement of Christ to the Cloud which he is associated with. Laura’s fear of open space or agoraphobia – physical factor: moving to an area she is not familiar with psychological factor: sense of placelessness and inferiority Social factor – see definitions of agoraphobia

agoraphobia Agoraphobia is a condition where the sufferer becomes anxious in environments that are unfamiliar or where he or she perceives that they have little control. Triggers for this anxiety may include wide open spaces, crowds, or traveling (even short distances). Agoraphobia is often, but not always, compounded by a fear of social embarrassment, as the agoraphobic fears the onset of a panic attack and appearing distraught in public. This is also sometimes called 'Social Agoraphobia' which may be a type of social anxiety disorder also sometimes called social phobia. … Agoraphobia occurs about twice as commonly among women as it does in men.[4] The gender difference may be attributable to social-cultural factors that encourage, or permit, the greater expression of avoidant coping strategies by women. …. Branches of the social sciences, especially geography, have increasingly become interested in what may be thought of as a spatial phenomenon. One such approach links the development of agoraphobia with modernity. (source; see also panic attack)

Laura’s Development Bertram present only as a photo 208; few fathers around; dreaming about being rescued by her father, who will clear the clouds and bring nothing but bright Thursdays (208)

Ending: final revelation and initiation Color hierarchy represented by the opposition between the mother and Mina p. 210 A story of disillusionment—the breaking up of her hope and dreams—“bloody bastard” (211) Turned into an orphan + no more clouds = isolation and independence? Running for education …

References Behind Closed Doors: 'Colorism' in the Caribbean (case in Dominican Republican) 2007 Caribbean Dictionary: http://wiwords.com/ bankra A large hamper/basket carried by donkeys and mules. faas Nosy. Inquisitive. Showing excessive curiosity about the affairs of others.