ࡱ> PRO bjbjcTcT ..>>]L)))8au4)+H0GGGGGGG[IKpGGGpGGCXG41)h>E(GG0+HfE mL\mLPGmLG4GG+HmL : Open-Ended Questions Hills Like White Elephants 1. Looking back on the story, list the evidence that tells what kind of operation Jig is confronting. How risky is it physically and emotionally? 2. Are you surprised that this story was written by a man? Why or why not? 3. How do the hills in the story spotlight Jig's decision? How does Jig see the setting as symbolic of her choices? 4. How does the fact that Jig sees the setting symbolically get us to identify with her more readily than if the author had suggested the symbolism to us directly? Note the symbolism of the two different landscapes on either side of the Zaragosa train station, plus the possible symbolism of the curtain, as suggested in the commentary beside the story. 5. Hemingway once suggested that his purpose in such a story is to tell the reader as little as possible directly yet to reveal characters' motives and their conflict. How does this principle operate in this story? Where would you like to have more information (besides "he said" and "she said")? 6. Lewis Weeks, Jr., claimed in 1980 that "although subject, setting, point of view, characterization, dialog, irony, and compression all make 'Hills Like White Elephants' one of Hemingway's most brilliant short stories, the symbolism implicit in the title and developed in the story contributes more than any other single quality to the powerful impact." Agree with any part of this statement in detail, quoting relevant phrases from the story as needed. Multiple Choice Questions Hills Like White Elephants The opening description of the scenery serves primarily to appeal to potential tourists and travelers. appeal to readers love of vivid sensory detail. introduce the storys setting. suggest a symbolic reading of the story-showing two contrasting attitudes to life. hint at the hot climate. The eleven lines of dialogue starting at Its pretty hot and ending at No, you wouldnt have most likely are meant to introduce readers to Spanish vocabulary. suggest the waitresss deep interest in her two customers. suggest some tension between the American and the girl. show the girls fascination with the countryside. suggest the girls familiarity with exotic animals. The exchange beginning The man called Listen and ending at Yes, with water is most likely intended to show that the girl does not understand Spanish. demonstrate how the girl takes charge of the drink orders. prove that the man and the girl see eye to eye. indicate that the barwoman always repeats herself. give readers a feel for the Spanish flavor of the story. When the American says, Oh, cut it out, he is most likely showing resentment at the girls bitter attitude toward their life together. comic amusement in her taste of liquor. a tender suggestion that she use her knife to open the bottle. irony of her objection to the flavor of the drink. indifference to her appraisal of their life together. In the context of the entire passage, why does the American bring up the operation when he does? He is looking for something to talk about. He has been waiting for the girl to get into a more receptive mood. He has been trying to organize his thoughts. He doesnt want to distract her from viewing the landscape. He needed to have a drink first. Answer Key The correct answer is identified with a double asterick.** The distracter is identified with a single asterisk. * The opening description of the scenery serves primarily to appeal to potential tourists and travelers. appeal to readers love of vivid sensory detail. introduce the storys setting.* suggest a symbolic reading of the story-showing two contrasting attitudes to life.** hint at the hot climate. The eleven lines of dialogue starting at Its pretty hot and ending at No, you wouldnt have most likely are meant to introduce readers to Spanish vocabulary. suggest the waitresss deep interest in her two customers. suggest some tension between the American and the girl.** show the girls fascination with the countryside. * suggest the girls familiarity with exotic animals. The exchange beginning The man called Listen and ending at Yes, with water is most likely intended to show that the girl does not understand Spanish.** demonstrate how the girl takes charge of the drink orders. prove that the man and the girl see eye to eye. indicate that the barwoman always repeats herself. give readers a feel for the Spanish flavor of the story.* When the American says, Oh, cut it out, he is most likely showing resentment at the girls bitter attitude toward their life together.** comic amusement in her taste of liquor. a tender suggestion that she use her knife to open the bottle. irony of her objection to the flavor of the drink. indifference to her appraisal of their life together. In the context of the entire passage, why does the American bring up the operation when he does? He is looking for something to talk about. He has been waiting for the girl to get into a more receptive mood.** He has been trying to organize his thoughts.* He doesnt want to distract her from viewing the landscape. He needed to have a drink first.     Lima Name: ________________________________ AP Lit. & Comp.  3        Sb]^`aǻǻǻǻǻ❍}meaehujhuUhsh7x6CJOJQJaJhshP<9>*CJOJQJaJhshP<96CJOJQJaJhshP<9CJOJQJaJhshsCJOJQJaJhsCJOJQJaJhKCJOJQJaJhshKCJOJQJaJhsh|iCJOJQJaJhsh7xCJOJQJaJ&3      Z & Fgd|i & Fgd7xgdsh^hgd7x$a$gdsgdK$a$gd|i)BC"Z.^78| & FgdP<9 & FgdP<9h^hgdP<9 & Fgd|ih^hgd|i & Fgd|i & Fgd|igd|i & Fgd|i*]$h@wxygd7x$a$gd7xgdP<9 & FgdP<9 & FgdP<9h^hgdP<9 & FgdP<9y1D!"+^' & Fgd7x & Fgd7xh^hgd7x & F gd7xgd7x & F gd7x & F gd7x'P]:\]_`bcefhigdsgd7x & Fgd7x & F gd7xh^hgd7x & Fgd7xacdfgihsh7xCJOJQJaJhsjhuUhugd7x,1h/ =!"#$% ^ 002 0@P`p2( 0@P`p 0@P`p 0@P`p 0@P`p 0@P`p 0@P`p8XV~_HmH nH sH tH @`@ 7xNormalCJ_HaJmH sH tH DA D Default Paragraph FontRiR  Table Normal4 l4a (k (No List B^@B K0 Normal (Web)dd[$\$4U4 K0 Hyperlink >*ph4@4 sHeader  H$6/!6 s Header CharCJaJ4 24 sFooter  H$6/A6 s Footer CharCJaJPK![Content_Types].xmlj0Eжr(΢Iw},-j4 wP-t#bΙ{UTU^hd}㨫)*1P' ^W0)T9<l#$yi};~@(Hu* Dנz/0ǰ $ X3aZ,D0j~3߶b~i>3\`?/[G\!-Rk.sԻ..a濭?PK!֧6 _rels/.relsj0 }Q%v/C/}(h"O = C?hv=Ʌ%[xp{۵_Pѣ<1H0ORBdJE4b$q_6LR7`0̞O,En7Lib/SeеPK!kytheme/theme/themeManager.xml M @}w7c(EbˮCAǠҟ7՛K Y, e.|,H,lxɴIsQ}#Ր ֵ+!,^$j=GW)E+& 8PK!Ptheme/theme/theme1.xmlYOo6w toc'vuر-MniP@I}úama[إ4:lЯGRX^6؊>$ !)O^rC$y@/yH*񄴽)޵߻UDb`}"qۋJחX^)I`nEp)liV[]1M<OP6r=zgbIguSebORD۫qu gZo~ٺlAplxpT0+[}`jzAV2Fi@qv֬5\|ʜ̭NleXdsjcs7f W+Ն7`g ȘJj|h(KD- dXiJ؇(x$( :;˹! I_TS 1?E??ZBΪmU/?~xY'y5g&΋/ɋ>GMGeD3Vq%'#q$8K)fw9:ĵ x}rxwr:\TZaG*y8IjbRc|XŻǿI u3KGnD1NIBs RuK>V.EL+M2#'fi ~V vl{u8zH *:(W☕ ~JTe\O*tHGHY}KNP*ݾ˦TѼ9/#A7qZ$*c?qUnwN%Oi4 =3ڗP 1Pm \\9Mؓ2aD];Yt\[x]}Wr|]g- eW )6-rCSj id DЇAΜIqbJ#x꺃 6k#ASh&ʌt(Q%p%m&]caSl=X\P1Mh9MVdDAaVB[݈fJíP|8 քAV^f Hn- "d>znNJ ة>b&2vKyϼD:,AGm\nziÙ.uχYC6OMf3or$5NHT[XF64T,ќM0E)`#5XY`פ;%1U٥m;R>QD DcpU'&LE/pm%]8firS4d 7y\`JnίI R3U~7+׸#m qBiDi*L69mY&iHE=(K&N!V.KeLDĕ{D vEꦚdeNƟe(MN9ߜR6&3(a/DUz<{ˊYȳV)9Z[4^n5!J?Q3eBoCM m<.vpIYfZY_p[=al-Y}Nc͙ŋ4vfavl'SA8|*u{-ߟ0%M07%<ҍPK! ѐ'theme/theme/_rels/themeManager.xml.relsM 0wooӺ&݈Э5 6?$Q ,.aic21h:qm@RN;d`o7gK(M&$R(.1r'JЊT8V"AȻHu}|$b{P8g/]QAsم(#L[PK-![Content_Types].xmlPK-!֧6 +_rels/.relsPK-!kytheme/theme/themeManager.xmlPK-!Ptheme/theme/theme1.xmlPK-! ѐ' theme/theme/_rels/themeManager.xml.relsPK] . KKKKKNay'8@0(  B S  ?y4 < ]]__``bcefhi! Z`)-")Z^. 2 ^ i | * / ] i < > 18#DK+3^b',PQ]]__``bcefhi33333333333333333333333333333333333333333333 2ZZ. . | | x \]]__``bcefh3ZZ. . | | AY~8bZp]+n F2,. s6x8|,cy(20&tL4$O|!l7zb>e;;rYR.*paP ce}oq2Zvr dzP~h ^`hH.h ^`hH.h pLp^p`LhH.h @ @ ^@ `hH.h ^`hH.h L^`LhH.h ^`hH.h ^`hH.h PLP^P`LhH.^`o(. ^`hH. pLp^p`LhH. @ @ ^@ `hH. ^`hH. L^`LhH. ^`hH. ^`hH. PLP^P`LhH.88^8`o(. ^`hH.  L ^ `LhH.   ^ `hH. xx^x`hH. HLH^H`LhH. ^`hH. ^`hH. L^`LhH.h 88^8`o(hH. ^`hH.  L ^ `LhH.   ^ `hH. xx^x`hH. HLH^H`LhH. ^`hH. ^`hH. L^`LhH.^`o(. ^`hH. pLp^p`LhH. @ @ ^@ `hH. ^`hH. L^`LhH. ^`hH. ^`hH. PLP^P`LhH.^`o(. ^`hH. pLp^p`LhH. @ @ ^@ `hH. ^`hH. L^`LhH. ^`hH. ^`hH. PLP^P`LhH.^`o(. ^`hH. pLp^p`LhH. @ @ ^@ `hH. ^`hH. L^`LhH. ^`hH. ^`hH. PLP^P`LhH.h ^`hH.h ^`hH.h pLp^p`LhH.h @ @ ^@ `hH.h ^`hH.h L^`LhH.h ^`hH.h ^`hH.h PLP^P`LhH.88^8`o(. ^`hH.  L ^ `LhH.   ^ `hH. xx^x`hH. HLH^H`LhH. ^`hH. ^`hH. L^`LhH.h ^`hH.h ^`hH.h pLp^p`LhH.h @ @ ^@ `hH.h ^`hH.h L^`LhH.h ^`hH.h ^`hH.h PLP^P`LhH.h 88^8`o(hH. ^`hH.  L ^ `LhH.   ^ `hH. xx^x`hH. HLH^H`LhH. ^`hH. ^`hH. L^`LhH.h ^`hH.h ^`hH.h pLp^p`LhH.h @ @ ^@ `hH.h ^`hH.h L^`LhH.h ^`hH.h ^`hH.h PLP^P`LhH.h ^`hH.h ^`hH.h pLp^p`LhH.h @ @ ^@ `hH.h ^`hH.h L^`LhH.h ^`hH.h ^`hH.h PLP^P`LhH.^`o(. ^`hH. pLp^p`LhH. @ @ ^@ `hH. ^`hH. L^`LhH. ^`hH. ^`hH. PLP^P`LhH.88^8`o(. ^`hH.  L ^ `LhH.   ^ `hH. xx^x`hH. HLH^H`LhH. ^`hH. ^`hH. L^`LhH.h ^`hH.h ^`hH.h pLp^p`LhH.h @ @ ^@ `hH.h ^`hH.h L^`LhH.h ^`hH.h ^`hH.h PLP^P`LhH.h ^`hH.h ^`hH.h pLp^p`LhH.h @ @ ^@ `hH.h ^`hH.h L^`LhH.h ^`hH.h ^`hH.h PLP^P`LhH.20;;rYe}o!l7,. q2Zv+n bZAYcy(~*pax8dz>P ctL4                                                                                                                              P<97xK|iNus]_@@UnknownG* Times New Roman5Symbol3. * Arial7K@CambriaA BCambria Math"1h00 S $ S $!4SS2QHX ?|i2!xxOpen-Ended Questions Alief UserLCPSP            Oh+'0   @ L Xdlt|Open-Ended Questions  Alief User Normal.dotmLCPS2Microsoft Office Word@@1@1 S՜.+,0 hp   Alief ISD$ S Open-Ended Questions Title  !"#$%&'()*+,-./0123456789:;<=>@ABCDEFHIJKLMNQRoot Entry F41S1TableLWordDocument..SummaryInformation(?DocumentSummaryInformation8GCompObjy  F'Microsoft Office Word 97-2003 Document MSWordDocWord.Document.89q