ENG10 810 Lorraine Hansberry’s A Raisin in the Sun Paper

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阅读本作业需要阅读:1。完全阅读Lorraine Hansberry的剧作“阳光下的葡萄干”。2.阅读Hansberry诉李案的案件。3.在危机中观看Levittown(1957)4。阅读Gilmore的文章“不在我的后院。”撰写/回答问题1.问题1-5必须用250-300个单词回答; 而问题6-10必须以150-200个单词回答。请务必保持在此范围内,以获得尽可能多的积分。2.学生必须括号引用他们答案中使用的每个引用和释义。注意:如果不这样做,将降低该特定答案收到的成绩。3.不需要Works引用页面。4.除非需要回答问题,否则不要使用任何摘要(重新讲述故事)。问题1.为什么露丝在为特拉维斯提供资金时对沃尔特感到不满; 露丝的反应与莉娜如何关注沃尔特对金钱的关注有何关系?2.确定Asagia给Beneatha的礼物?然后在回答以下问题时考虑这些礼物:这些礼物是什么?为什么它们适合Beneatha的自我认同问题,但却不适合乔治已经定义的自我认同?3.为什么莉娜最初认为沃尔特是“对父亲记忆的耻辱”,沃尔特做了什么来改变她的想法?4.如果有三个词来描述Beneatha,那将是什么,并解释她说或支持这三个单词的内容。5. Beneatha的人生目标是什么,为什么Walter对他姐姐的目标性别歧视的态度呢?6.用你自己的术语来定义21世纪“不在我家后院”的含义。用你自己的话说,描述为什么Hansberry v.Lee没有解决限制性契约的问题。8.用你自己的话说,描述“白色飞行”.9。在你看来,“白色飞行”的结果是什么,这个结果是否会导致美国的种族主义?10.在种族,友谊和“睦邻”方面描述你的邻居.Blaque / ENG 10 810/2019年春/ RP#5 / Hansberry:阳光下的葡萄干2

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Dr. Blaque / ENG 10 810 / Spring 2019 Module V Activity Sheet / Drama Module Five Reading List (Fiction) The location of each reading/video listed below can be found in parenthesis marks after each individual listing. Proceed in the order in which the reading/video/activity appears ONLY, making sure you complete the entire activity sheet before completing the writing assignments 1. “A Crisis in Levittown” (D2L Video) 2. “Hansberry v. Lee Summary” (D2L Handout) 3. “Shelley v. Kraemer Summary” (D2L Handout) 4. Gilmore: “Not in My Backyard” (D2L Handout) 5. Elements of Drama” (D2L handout) 6. “Cultural and Historical Contexts: Lorraine Hansberry’s A Raisin in the Sun” pp. 1496-1506 (Norton) 7. Hansberry: “Authors on Their Work” pp. 1570-1573 (Norton) 8. Hansberry: “A Raisin in the Sun” pp. 1506-1570 (Norton) Assignments 1. KPL4-5 due to assignment box titled KPL4-5 on April 21, 2019 @ 11:30 pm Blaque / ENG 10 810 / Spring 2019 / Module V: Drama 1 Blaque / ENG 10 810 / Spring 2019 / Module VI: RP#5 Lorraine Hansberry’s A Raisin in the Sun Reading Required for this assignment: 1. Read, in its entirety, Lorraine Hansberry’s play, A Raisin in the Sun. 2. Read the Hansberry v. Lee court case. 3. Watch Levittown in Crisis (1957) 4. Read Gilmore’s article, “Not in My Backyard.” Writing/Answering the Questions 1. Questions 1-5 must be answered in 250-300 words; while questions 6-10 must be answered in 150-200 words. Be sure to stay within this range to earn as many points as possible. 2. Students must parenthetically cite EACH quotation and paraphrase used in their answers. Note: To not do so will decrease grade received for that specific answer. 3. A Works Cited page is NOT required. 4. Do not use any summarization (re-telling the story) unless it is needed to answer the question. Questions 1. Why does Ruth get upset with Walter when he gives Travis the money; and what how is Ruth’s reaction related to Lena’s concern that Walter is obsessed with money? 2. Identify the gifts that Asagia gives to Beneatha? Then consider those gifts when answering the following question: What are these gifts and why are they appropriate to Beneatha’s question for self-identity, yet inappropriate to George’s already defined self-identity? 3. Why does Lena initially believe Walter to be a “disgrace to his father’s memory” and what does Walter do to change her mind? 4. If there are three words to describe Beneatha, what would they be and explain what she says or does to support those three individual words. 5. What is Beneatha’s goal in life, and why is Walter’s attitude toward his sister’s goal sexist? 6. Define in your own terms what “Not in My Backyard” means in the 21st century. 7. In your own words, describe why Hansberry v. Lee does not solve the problem of restrictive covenants. 8. In your own words, describe “white flight.” 9. In your opinion, what was the result of “white flight” and does that result contribute to racism in America? 10. Describe your neighborhood in terms of race, friendship, and “neighborliness.” Blaque / ENG 10 810 / Spring 2019 / RP#5 / Hansberry: A Raisin in the Sun 1  Submission: 1. Note: This RP has no KPL. 2. For me to differentiate who you are and link that to a document, you are required to name your document as follows: yourlastname_RP5. As you save the document, the extension will add itself to your document. DO NOT TYPE IN THE EXTENTION or else the document will not be readable on D2L. 3. Just because D2L allows you to upload any type of document, again, D2L can only read two types: MSWord (.doc or .docx) and Acrobat Reader (.pdf). Please, stick to the protocols of D2L. 4. Once uploaded successfully, D2L will give you notification of such. I will not. 5. Upload your work to the assignment box titled “RP5” by April 25, 2019 @ 11:30 pm. Once the assignment box closes, it will not be reopened. Blaque / ENG 10 810 / Spring 2019 / RP#5 / Hansberry: A Raisin in the Sun 2 U.S. Supreme Court Hansberry v. Lee, 311 U.S. 32 (1940) No. 29 Argued October 25, 1940 / Decided November 12, 1940 311 U.S. 32 Hansberry v. Lee case brief summary 311 U.S. 32 (1940) CASE SYNOPSIS Petitioner African-Americans and others, sought certiorari review of a judgment from the Supreme Court of Illinois, which affirmed a decree in equity for respondents that had enjoined a violation of an agreement of lot-owners, which restricted the sale and use of lots in a particular area. CASE FACTS Respondents brought suit to enjoin a breach of an agreement restricting the use of an area of land. The agreement stipulated that for a specified period no part of the land should be sold, leased, or occupied by "any person of the colored race" and that the agreement should not be effective unless signed by the owners of 95 percent of the frontage. In response to petitioners' defense that the agreement had never become effective because owners of 95 percent of the frontage had not signed it, respondents pleaded that that issue was res judicata by the decree in an earlier suit. Petitioners responded that because they were not parties to that suit or bound by its decree, denial of their right to litigate would be a denial of their due process rights. DISCUSSION  The United States Supreme Court held that the decree in the earlier suit was not res judicata as to petitioners because in seeking to enforce the agreement in the previous case, plaintiffs were not representing petitioners, whose substantial interest was in resisting performance, and for a court to ascribe to either plaintiffs or defendants the performance of representing petitioners would deny petitioners their due process rights. CONCLUSION The Court reversed and held that the decree in the previous suit was not res judicata as to petitioners. This modest, two-story masonry residence built in St. Louis, Missouri in 1906 is associated with an African American family's struggle for justice that had a profound effect on American society. Because the J. D. Shelley family decided to fight for the right to live in the home of their choosing, the United States Supreme Court addressed the issue of restrictive racial covenants in housing in the landmark 1948 case of Shelley v. Kraemer. In 1930, J. D. Shelley, his wife, and their six children migrated to St. Louis from Mississippi to escape the pervasive racial oppression of the South. For a number of years, they lived with relatives and then in rental properties. In looking to buy a home, they found that many buildings in St. Louis were covered by racially restrictive covenants by which the building owners House agreed not to sell to anyone other than a Caucasian. The Shelley Photograph by Gerald L. Gilleard Shelleys directly challenged this discriminatory practice by purchasing such a building at 4600 Labadie Avenue from an owner who agreed not to enforce the racial covenant. Louis D. Kraemer, owner of another property on Labadie covered by restrictive covenants, sued in the St. Louis Circuit (State) Court to enforce the restrictive covenant and prevent the Shelleys from acquiring title to the building. The trial court ruled in the Shelleys' favor in November of 1945, but when Kraemer appealed, the Missouri Supreme Court, on December 9, 1946, reversed the trial court's decision and ordered that the racial covenant be enforced. The Shelleys then appealed to the United States Supreme Court. Shelley v. Kraemer Case On May 3, 1948, the United States Supreme Court rendered its landmark decision in Shelley v. Kraemer, holding, by a vote of 6 to 0 (with three judges not sitting), that racially restrictive covenants cannot be enforced by courts since this would constitute state action denying due process of law in violation of the 14th Amendment to the Constitution. Although the case did not outlaw covenants (only a state's enforcement of the practice), in Shelley v. Kraemer the Supreme Court reinforced strongly the 14th Amendment's guarantee of equal protection of the laws, which includes rights to acquire, enjoy, own, and dispose of property. The Shelley case was a heartening signal for African Americans that positive social change could be achieved through law and the courts. While the Shelley’s house is, today, a National Historic Landmark located at 4600 Labadie Avenue in St. Louis, Missouri, it is; however, is not open for public viewing. Published on The Root (http://www.theroot.com) Not in My Backyard By: Brian Gilmore Posted: March 11, 2009 at 6:16 AM It's been 50 years since 'A Raisin in the Sun' debuted on Broadway. And as we commemorate the iconic play, a look back at the housing integration case behind the art. Fifty years ago today, A Raisin in the Sun debuted, eventually becoming American theater‟s seminal statement on racism and the human condition. Named after words from a Langston Hughes poem, the play was made into a critically acclaimed film in 1961 and was later translated into 35 languages. The play was “a breakthrough for white America” and “a curtain raiser for the next phase of the civil rights movement,” Hansberry‟s biographer, Michael Anderson, told me in an e-mail recently. The play told the story of the Youngers, a black family seeking to escape the crowded slums of Chicago‟s South Side by buying a home in a white neighborhood. The play tracks their inner struggles and collective triumphs, which echoed the plight of blacks flooding into Northern cities like Chicago and Detroit seeking their fair share of America and giving birth to the black middle class. But even as the play continues to grow in stature, many Americans are unaware of the courageous story behind the art. Just like Pablo Picasso was moved to paint his classic muralsized painting “Guernica” after the Nazis savagely bombed the city of Guernica in Spain in 1937, Lorraine Hansberry penned A Raisin in the Sun because of real events, violent and noble. The true story that inspired the play occurred in 1937 when Lorraine Hansberry‟s father, the successful Chicago businessman Carl Hansberry, purchased a house restricted to whites by racial covenant in Chicago. When the family ignored the 1928 covenant that excluded blacks and bought a house there, the Hansberrys were thrust, the playwright said later, into a “hellishly hostile „white neighborhood‟” where “howling mobs surrounded” their home. Hansberry was nearly killed when a cement slab was hurled through a window. Conditions were so dangerous that Hansberry‟s mother, Nannie Perry Hansberry, patrolled the house at night with a “German luger” to protect her four children. Carl Hansberry joined forces with the NAACP to mount a legal challenge against the restrictive racial covenant, spending a small fortune in the process. A white homeowner, Anna M. Lee, complained that the Hansberrys violated the covenant. The case, known today as Hansberry v. Lee, weaved its way through the judicial system and eventually landed at the United States Supreme Court for review. Chicago alderman Earl Dickerson, a Chicago legal legend, along with a litany of outstanding black civil rights lawyers, represented the Hansberry family. The case is critically important to history for one specific reason: 14 years earlier, in 1926, the U.S. Supreme Court declared racial covenants legal in Corrigan v. Buckley. The Hansberry case offered a chance to reverse that decision. In the end, Carl Hansberry‟s persistence and courage paid off. On Nov. 12, 1940, the U.S. Supreme Court ruled in favor of Hansberry, invalidating the racial covenant. While the decision was decided on technical grounds and took no position on the legality of all racial covenants, the case proved to be the beginning of the end for the practice. Some other racially restricted areas in Chicago opened up to black homebuyers. Then, in 1948, the Supreme Court declared the enforcement of all racial covenants unconstitutional in the landmark U.S. Supreme Court case, Shelley v. Kraemer. Sadly, however, according to Lorraine Hansberry, her father‟s battle for justice led to an early death. Mr. Hansberry died in 1946 of a cerebral hemorrhage in Mexico. He was considering moving his family there as a result of the legal battle to take the home. In To Be Young, Gifted and Black, Hansberry described “the emotional turmoil” of the struggle which left him an “embittered exile in a foreign land…” The monument of the spirit of Carl Hansberry, his daughter Lorraine and the entire Hansberry family is A Raisin in the Sun, an enduring piece of art whose back story is especially important today as black communities face new and often difficult housing issues as neighborhoods gentrify or deteriorate. And whole generations of black wealth are going up in smoke because of the subprime mortgage crisis. Hansberry‟s play is about determination, the human spirit and a willingness to be courageous as we try to make ourselves at home in a sometimes hostile land. Brian Gilmore is an attorney and writer in Washington, D.C.  A Raisin in the Sun Hansberry v. Lee  Lorraine Hansberry  housing discrimination  Culture  Source URL: http://www.theroot.com/views/not-my-backyard Links: [1] http://www.theroot.com/users/briangilmore [2] http://en.wikipedia.org/wiki/A_Raisin_in_the_Sun [3] http://www.cswnet.com/~menamc/langston.htm [4] https://www.amazon.com/dp/B00003L9CK?tag=therootcom20&camp=0&creative=0&linkCode=as4&creativeASIN=B00003L9C K&adid=1QC0S53VNEQCYTXHPTE8& [5] http://www.pbs.org/treasuresoftheworld/a_nav/guernica_nav/main_guerfrm.html [6] http://en.wikipedia.org/wiki/Hansberry_v._Lee [7] http://www.brownat50.org/brownCases/PreBrownCases/CorriganvBuckley1926.html [8] http://en.wikipedia.org/wiki/Shelley_v._Kraemer [9] https://www.amazon.com/dp/0451159527?tag=therootcom20&camp=0&creative=0&linkCode=as4&creativeASIN=0451159527 &adid=1J3PM32JJBRSYFBQ74PR& [10] http://www.theroot.com/sites/default/files/hansberry.JPG [11] http://www.theroot.com/views/boom-bust-repeat [12] http://www.theroot.com/views/detroit-too-black-fail [13] http://www.theroot.com/views/old-housing-crisis Elements of Drama: An Overview  Audience The fact of a live audience also has an important impact on the way plays are created. The essential feature of an audience involves the fact that they have, at a single instant, a common experience; they have assembled for the explicit purpose of seeing a play. Drama not only plays before a live audience of real people who respond directly and immediately to it, but drama is also conceived by the author with the expectation of a specific response. However, while authors calculate for the effect of a community of watchers, rather than for the silent responses of readers, most plays are read, rather than seen. With that in mind, most plays written deal with topics that are timely; and therefore, when read or performed years or decades later, these dramatic projects can be considered as historical dramas.  Dialog The substance of a play is the dialog, as each word uttered by each character furthers the business of the play and contributes to the play’s effect as a whole. Therefore, a sense of decorum must be established by the characters, i.e., what each says is appropriate to the role and situation of the characters’ respective role in the play. In addition, the exposition of the play often depends on the dialog of all of the characters. Remember: the exposition establishes the relationships, tensions, and/or conflicts from which plot developments are derived later on in the play.  Plot Keeping in mind the data contained in the “7 Elements of Fiction” handout used earlier in this course, plots in dramatic plays also include: 1. Open Conflict: Open conflict plays are based upon a plot in which the hero may or may not succeed against all the odds that are presented in a suspenseful way. 2. Dramatic Thesis: The Dramatic Thesis plot consists of omens and foreshadowing of the protagonists’ destiny or doom, which are represented by a series of symbolic incidents and/or conditions that assume rational consequences. 3. Coincidence: Coincidental plots are reversals of the protagonist’s fortunes that climax with irony and confusion about what takes place. 4. Dramatic Irony: Dramatic Irony plots fulfill the protagonist’s plans of action in an unexpected way that is, more often than not, in opposition of what the reader/viewer expects.  Stagecraft The stagecraft of a dramatic play is important for its physical, definite limitations, in that they suggest, rather than directly depict the settings and actions in the play, i.e., by providing hints about the plot, the characters, and role of the props in the play. Whether the audience is live or reading, their ability to recognize the hints of the stage action is needed for a full understanding of the play, which is why the reading audience should always read the text that appears directly before the dialogue of the play begins. In this way, the reader can begin to Blaque / Elements of Drama 1 set the stage of the play in their mind prior to reading play, thereby assuring a better likelihood for their full understanding of the dialogue about to be read.  Character v. Characterization1 There is an important difference between character and characterization in literature, including drama and fiction, to which attention must be paid. 1. Character: The characters in a work of fiction, a work of drama, and even in film (screenplay), are defined simply as representation of people, places, or things that perform traditional human functions and activities in the literary work. Yes, “places” and “things” can be characters in literature, such as the living room couch in Charles Dickens’ Dombey and Son, or the phrase “the promised land,” in many works of Black Literature, which most often refers to the city of Chicago during the 1920s-1950s, but can also refer to Philadelphia, Pennsylvania in the eighteenth century, Atlanta in the 1990s, or Harlem from 1915-1950. 2. Characterization: The ways in which a character is presented--description, dialogue, dialect, and action—in a work of fiction or poem is characterization, which can come in many forms, and is used to generate an intellectual and/or emotional response from the reading or viewing audience. There are the generic forms, such as male or female, African American or Native Indian, young or old, enslaved or free, rich or poor, and the many forms that fall between each of these binaries. However, characterization is also more specific, and characters, based upon their individual or group roles in a work of fiction—what they say, do, think—are depicted into different categories to serve the purpose (theme) of the fictional work: a. Protagonist: the central character, but not necessarily a hero or a heroine b. Antagonist: the opponent or opposing body. An antagonist can be society, the law, an idea, or an institution. An antagonist can also be nature or a specific natural form, such as the weather or insects. Of course, an antagonist can be, and often is, a person in opposition to the protagonist. 1) Antihero/heroine: this character, whether male or female, is the protagonist, but is also the antithesis of a traditional hero, i.e., does not demonstrate traits of heroism in a traditional sense. A good example of this type of characterization is in Heathcliff in Emily Brontë’s novel, Wuthering Heights, who is a romantic heel. c. Persona: this character can be the alter-ego of the author, often appears in the first person narrative or lyric poetry, and serves the purpose of keeping the author of the work distinguished from the character(s) in the work, yet they are not necessarily separated. d. Round: a character that is three-dimensional, has depth, and is fully developed by the author, i.e., the character changes over time in the story. e. Flat: a character that is only developed enough to serve its purpose in the story and little to nothing else. This character is static, and always remains the same. Blaque / Elements of Drama 2 f. Foil: a character that is only secondary to the central character(s) of the story, and such a character’s job is to demonstrate the contrast between him or her and the central character, likely the protagonist.  Convention A play’s conventions are traditionally referred to as the specific techniques and actions used by the playwright or actor in a play, and as chosen by the playwright. In Black Drama, however, experimentation is all, in that the conventions used by Black playwrights can follow the conventions of Greek Tragedies, such as Rita Dove’s The Darker Side of Earth or Silas Jones’ American Medea, or be purely experimental, such as that seen in Amiri Baraka’s Dutchman, or Ben Caldwell’s All White Caste. In other words, in Black Drama, traditional conventions may or may not be present, as new conventions are often being created as the Black Drama is being written.  Genres It is important to note here that while most dramatic plays can be categorized into genres similar to those found on this list, sometimes Black Drama is hard to categorize, as the each play is as complex as the life and experience of the author living in a racialized society, which is reflected in the lives of the characters Black playwrights create. Therefore, genres may not always be a key point of discussion when writing about Black Drama, but rather, the focus is on the socio-historical aspect of the play within the context of race and class. 1. Tragedy/Comedy: First, the Tragedy/Comedy is not to be confused with the TragiComedy (see below). The Tragedy/Comedy genre is about 2000 years old benchmarked by Aristotle’s Poetics, written in Greece around 335 B.C. Primarily, this dramatic genre concerns the human experience as it interacts and conflicts with superhuman forces, specifically gods and fate. The human protagonists (demigods, kings, and heroes) almost always, if not each time, lose their fight with the supernatural antagonist, as their fight to win whatever conflict arises may make the protagonist appear noble in their efforts, but are far too extreme in magnitude, thereby either weakening or killing the protagonist. The objective of the Tragedy/Comedy is for the audience to be completely empathetic and emotionally tied to the protagonist from the beginning of the play until the protagonist is defeated, at which time the audience is relieved of the emotions shared with the protagonist. 2. Comedy: While this genre has many subgenres, it is traditionally conceived and understood as either High or Low comedy. a. High Comedy, while evoking the audience's "rolling on the floor" laughter, it also uses dialog associated with polite society, albeit, the dialog is satirical in style and targets everyday life with humorous criticism. b. Low Comedy, on the other hand, is dependent upon the physical actions of the characters in the play, is farcical, and the vulgarity of the jokes are much more intense than that used in High Comedy. 1) The Farce is an example of Low Comedy, as it also depends upon the physical actions of the characters, and therefore, any humorous dialog is supplanted by that because such "slap stick" needs no verbal/written translation. Blaque / Elements of Drama 3 3. Comedy of Character: This dramatic genre centers on exaggerated characters, i.e., the characteristics of the characters are written in ways that are unrealistic and over the top. Often, these are plays about domestic relationships, the goings-on within the household, and therefore, this genre usually adopts the current culture associated with the writer. 4. Comedy of Situation: This body of dramatic plays are based upon the plots, and therefore, the situations in which the characters find themselves. Since the age of television, as screenplays, these are known as "sitcoms." This genre revolves around a specific comedic circumstance that must be resolved by the characters in the play, and is often based upon a self-inflicted wounds (complication and conflicts). 5. Satire: This form of dramatic comedy is dependent on current events in society at the time the play is conceived, and the events to which the drama refers are exaggerated or altered for the sake of the joke. Often there is specific focus, such as politics, or a specific entity that is targets, such as a city or school; and impersonations of the people and places associated with the target are acted out by the characters or stagecraft. 6. Parody: While this dramatic genre is very close to Satire, it is used to poke fun at other cultures or art forms, thereby mimicking and exaggerating that which is poked. 7. Melodrama: This dramatic genre cannot be categorized as comedy or tragedy, but rather an integration of the two in a way unique to each specific melodramatic play. Nearly ignoring the tradition of cause and effect, Melodramas focus on the exaggeration of emotion, and are more concerned with the plot and action, which degrades the value of the characterization of the characters. Here, the use of spectacle is high, which includes myriad plot twists and special effects, and the good vs. evil characters need no introduction, as they are obvious. 8. Tragedy: While there are multiple subgenres associate with tragedy, this is a general reference. Dramatic Tragedy plays are classical Greek dramas that exploit the reversal of fortune of a royal figure and end with that character's defeat or downfall. The subgenres of a dramatic Tragedy have to do with what the protagonist knows, when the protagonist knows it, and whether or not the protagonist is even aware of it. For example, in Simple Tragedy, the protagonist never realizes what caused her or his defeat, while in a Complex Tragedy, there is a specific scene when the protagonist realizes what caused her or his defeat. 9. Tragi-Comedy: First, note that this is different than the Tragedy/Comedy (see above), as supernatural forces are not present. Rather, the title of the genre explains its description: a drama in which the action is both serious and funny, i.e., tragedy and comedy are blended together to tell a story. Overview of Black Drama Dramatic plays, whether performed on stage or not, usually reflect the daily dramas of everyday life. This is particularly true in African American literature. Black Drama not only focuses on the socio-political lives of African Americans, but also reveals and exams the socio-economic causes and effects on Blacks’ lives similarly to literary realism. When performed, Black drama is dependent upon not only the dialogue in the play, but also skill level of the actors and their Blaque / Elements of Drama 4 ability to bring to life that dialogue, while also using the stage props purposefully. Readers of dramatic plays, on the other hand, are dependent on their own imaginations to understand not only the feelings expressed in the characters’ dialogue, but also the timing of the action. Additionally, it is important to note here that while most dramatic plays can be categorized into genres similar to those found on this list (see above), sometimes Black Drama is hard to categorize, as the each play is as complex as the life and experience of the author living in a racialized society, which is reflected in the lives of the characters Black playwrights create. Therefore, genres may not always be a key point of discussion when writing about Black Drama, but rather, the focus is on the socio-historical aspect of the play within the context of race and class. 1 While this element is presented here as pertaining to drama, it is the same in not only fiction, but also poetry. Blaque / Elements of Drama 5
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Lorraine Hansberry’s A Raisin in the Sun
1. Why does Ruth get upset with Walter when he gives Travis the money; and what
how is Ruth’s reaction related to Lena’s concern that Walter is obsessed with
money?
Ruth gets upset when Walter gives Travis money for a number of reasons. Walter and
the family are poor. Ruth does not believe that the family can afford to use money recklessly
as would do those from the upper social class. Travis initially requests for fifty cents to take to
school. Perhaps as a result of his displeasure in Ruth denying Travis the fifty cents, Walter
gives him the fifty cents to take school and adds him another fifty cents to buy himself some
fruits “or take a taxicab to school or something” (Hansberry 22). This is an indication that
Walter is poor at planning and spending his money. It is surprising that he resorts to
borrowing fifty cents from Ruth to pay for cab shortly after giving Travis the money for no
particular reason. As such, Rush is concerned that Walter is not doing enough to manage his
money and that his spending habits could be affecting his financial status and inhibiting his
financial success.
Ruth’s reaction is related to Lena’s concern that Walter is obsessed with money. This
is clear from Walter’s plan to have Ruth convince his mother to give him money to invest in a
liquor store. Ruth is tired of Walter repeating the same storylines now and then about
potential investments at a time when she believes that he lacks the skills to manage a business
of his own. Lena is concerned that Walter is obsessed with her money and particularly with
the idea that his business plans will need the entire sum that the family is set to receive from
the insurance. The two women do not have faith in Walter as he does not seem to have control

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over his finances and his spending. Moreover, Lena is concerned that the investment could
end up costing the family its fortunes.
2. Identify the gifts that Asagia gives to Beneatha? Then consider those gifts when
answering the following question: What are these gifts and why are they
appropriate to Beneatha’s question for self-identity, yet inappropriate to George’s
already defined self-identity?
The gifts that Asagai gives to Beneatha include Nigerian cloth, “colorful robes”, a
headdress, and music records as well (Hansberry 37, 45). The primary reason for gifting
Beneatha these items is that he believes that they are meaningful to her and her self -identity.
Asagai is a very preservative young man who is proud of his African roots and is always
obsessed with going back to Nigeria. He believes that Beneatha should be proud of her
African roots and that she should abandon some of the practices that she has copied from the
Whites. For instance, Asagai considers Beneatha’s act of straightening her hair ...


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