Winegar Questions 1
Reading: Jessica Winegar, “The Humanity Game: Art, Islam, and the War on Terror,” Anthropological Quarterly 81.3 (2008), 652-81.
1. In your own words, what is the “dilemma” referred to in the opening sentence of the essay? How have “liberal American cultural elites” responded to this dilemma?
2. In Winegar’s view, what is problematic about using art to build a “bridge of understanding” between the West and the Middle East? Locate her critiques of using art in this way throughout the essay, and provide the page numbers where these critiques are found.
3. In terms of funding, who is responsible for propagating the kind of art that Winegar critiques? Make a list of the patrons cited in the article, along with page numbers.
Reading Questions: Goldbard 2
Reading: Arlene Goldbard, “Memory, Money, and Persistence: Theater of Social Change in Context,” Theater 31.3 (2001), 127-37.
1. What does Goldbard mean by “progressive theater”? In what sense is this kind of theater progressive?
2. Discuss the relationship between The Gathering and Reaganism. What is Reaganism, in Goldbard’s view, and how did The Gathering define itself in relation to that political context?
3. According to the author, why does theater for social change continue to exist, even in dire financial times?
4. Why does Goldbard believe that “theaters critical of the existing social order cannot depend . . . on contributed income from wealthy individuals” (131)?
5. On p. 133, Goldbard writes that “with Reagan’s inauguration in 1980, the tide abruptly receded.” What tide is she referring to, and why did it recede? Provide textual support for your answers.
6. Discuss the section of the essay that begins on p. 136, under the heading “The Forecast: Shades of Gray.” What is Goldbard forecasting here, and in what sense is the outlook gray?
7. Does Goldbard believe that theater can change the world? Provide textual support for your answer.
Reading Questions: Seabrook 3
Reading: John Seabrook, “The Price of the Ticket,” The New Yorker (August 10 and 17, 2009), 34-43
1. What does “appeal” mean, as it is used in the first two paragraphs?
2. In the essay, Seabrook sets up a contrast between “show business as usual” and a concert “experience.” What do you think he means? Provide textual support for your answer.
3. According to the text, why has the promotion of live music become “the main source of revenue for the popular-music industry”?
4. What does the author mean when he claims that “in trying to make a commodity out of the live experience you risk spoiling the experience altogether”?
5. What is the “new business model” referred to at the top of p. 40? What was the old business model?
6. In your own words, explain what the angry Springsteen fans accused Ticketmaster of doing on February 2, 2009.
7. What would be problematic about the Ticketmaster/Live Nation merger, according to critics of the merger? Provide textual support for your answer.
8. How do supporters of the proposed merger defend their point of view?
9. Why does the author begin his essay the way he does?
Essay 2: Three Sources
Readings:
-Goldbard, A. (2001). Memory, money, and persistence: theater of social change in context. Theater,
31(3), 127-137.
-Seabrook, J. (2009, August 10 and 17). The price of the ticket. The New Yorker, 34-43.
-Winegar, J. (2008). The humanity game: art, Islam, and the war on terror. Anthropological Quarterly,
81(3), 652-681.
Guidelines:
original title centered on the first page.Remember to include a References page, in APA style. Name,prof name Those page will not count toward the minimum 3 page requirement(exactly 3 pages). When grading your papers, I will be looking specifically for these things:
1) A thesis that responds directly to the essay question
2) Support for your thesis, including at least one quotation in each body paragraph
3) At least two body paragraphs in which you link one quotation from two authors
4) Good use of quotations, as discussed in class
5) Minimal sentence-level errors
6) Good paragraphing
Assignment:
In her essay “The Humanity Game,” Jessica Winegar argues that art is not beyond politics; the people who select works for presentation in museums and galleries often do so to promote a particular message that may not accurately reflect the context within which the works were created. Arlene Goldbard and John Seabrook probably would not deny that the arts can be used for political ends, yet both writers also suggest that we can experience art on an individual, emotional level where there does not seem to be any political message influencing us. Using examples from all three essays, address the following: Do you think that our response to art can transcend politics and messages, or is our response always conditioned by the political context within which we experience art?
Please engage equally with all three readings.
Essay 2: Three Sources
Readings:
-Goldbard, A. (2001). Memory, money, and persistence: theater of social change in context. Theater,
31(3), 127-137.
-Seabrook, J. (2009, August 10 and 17). The price of the ticket. The New Yorker, 34-43.
-Winegar, J. (2008). The humanity game: art, Islam, and the war on terror. Anthropological Quarterly,
81(3), 652-681.
Guidelines:
original title centered on the first page.Remember to include a References page, in APA style. Name,prof name Those page will not count toward the minimum 3 page requirement(exactly 3 pages). When grading your papers, I will be looking specifically for these things:
1) *A thesis that responds directly to the essay question
2) *Support for your thesis, including at least one quotation in each body paragraph
3) *At least two body paragraphs in which you link one quotation from two authors
4) Good use of quotations, as discussed in class
5) Minimal sentence-level errors
6) Good paragraphing
Assignment:
In her essay “The Humanity Game,” Jessica Winegar argues that art is not beyond politics; the people who select works for presentation in museums and galleries often do so to promote a particular message that may not accurately reflect the context within which the works were created. Arlene Goldbard and John Seabrook probably would not deny that the arts can be used for political ends, yet both writers also suggest that we can experience art on an individual, emotional level where there does not seem to be any political message influencing us. Using examples from all three essays, address the following: Do you think that our response to art can transcend politics and messages, or is our response always conditioned by the political context within which we experience art?
Please engage equally with all three readings.
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