Friday, May 27

1. Finish Blood Wedding
2. Turn in journals to turnitin.com
3. Prepare for quiz on context and content of plays
4. Topic proposal (10 questions can be handwritten or typed but formal proposal itself must be typed)

Thursday, May 26

Blood Wedding Act 2
Journal #7 (last journal of unit)
Discussion Questions

Wednesday, May 25

Read Act One of Blood Wedding.

Write a one page analytical paragraph (or two paragraphs) on a connection between the first page of Wild Duck and the first page of Blood Wedding. Bring this to class tomorrow.

Bring discussion questions to class.

and something that does actually connect to class...a flamenco dance based on the play Blood Wedding

Tuesday, May 24

Finish Wild Duck.

Comment on three journal entires of your peers (does not have to be the most recent but it should be from the tragedy unit). Copy and past those comments on to your blog.

Bring Blood Wedding to class.

Bring discussion questions and observation to class. You will be in smaller groups for tomorrow's discussion so it is a good chance to get all of your points if you are prepared.

Tragedy Calendar

A few reminders

*You need to stay current with your journal entries, they are an important element in preparing for class discussions. If we continue at the current rate of incompletion, I will pick a random date to score your journals.

*Remember that you need to take ownership of the discussions. I am going to post on esis your score for the last two discussion so that you can see if your score and mine are compatible. If you scored lower than an 8, I will leave a comment in esis telling you why.

*Everyday you need bring both discussion questions and keen observations

Monday: Act 3 + journal 6

Tuesday: Act 5 + 3 comments on other blogs

Wednesday: Blood Wedding Act 1 + journal 7

Thursday: Blood Wedding Act 2 + journal 8

Friday: Blood Wedding Act 3 + topic proposal

Outline of the following week:

Tuesday: Test on context/reading/articles + topic proposal due

Thursday, June 2: Outline due

Monday, June 6: Rough Draft due

Wednesday, June 8: Final Draft due

Last Unit: King Lear + annotations + create movie trailer

Friday, May 20

Act 2 + Journal #5 + 2 discussion questions and 1 insight to share

Preview of next week:

Monday: Act 3 + journal 6

Tuesday: Act 4 + journal 7

Wednesday: Act 5 + journal 8

Thursday: Blood Wedding Act 1 + journal 9

Friday: Blood Wedding Act 2 + journal 10

Outline of the following week:

Monday: Quiz on context + Blood Wedding Act 3 + journal 11

Tuesday: Topic proposal due

Thursday: Outline due

Monday: Rough Draft due + start King Lear

Wednesday: Final Draft due

Oedipus (May 17)

Read 211-234

+

Journal #2

+

2 discussion questions

And some sample journals that answer the question about how long they need to be. These are each great examples of what a journal entry can be. Each of the following are over 349 words. Use the number 330 as a guide for your journals.

Readers are attracted to moments of intensity in a writer's work. By what means and with what effect have writers in your study offered heightened emotional moments designed to arrest the reader's attention?

An emotional scene in Oedipus occurs near the end of the play, when Oedipus has gouged out his eyes and his daughters are being led away:
CREON. Come along, let go of the children.
OEDIPUS. No-- don't take them away from me, not now! No no no!
(1673-1674)
Sophocles creates this moment of heightened emotions in several ways. First of all, the structure of the sentences helps create the special moment. These sentences are written in prose, as opposed to the poem format that other parts of the play were written in. This makes it possible to more more realistic words and conversations in the passage, and as a result, more emotional messages. Next, the repetition of the word "no" three times in the phrase "no no no!" highlights the strong emotions being felt by Oedipus at this point. The effect of this moment of high emotional intensity is that it truly shows how tragic the story is and how much the great Oedipus has fallen.
In Wild Duck, a scene of great emotional intensity is when Hjalmar discovers that Hedvig is dead of a gunshot wound. He cries: "And I drover her from me like an animal! And she crept terrified into the loft and died out of love for me. (Sobbing.) Never to make it right again! Never to let her know--! (Clenching his fists and crying to heaven.) Oh you up there--if you do exist. Why have you done this to me?" (5.215) Ibsen creates the high emotional intensity by using the stage directions in order to show Hjalmar's anguish. He clenches his fists and cries to heaven, where he demands of God why he has done this to him, "why have you done this to me?" Ibsen's use of Hjalmar's questioning of God shows how distraught he has becoming. With the use of God, and the question of why he has done this, a reference is made to the idea that a higher power designs the course of our lives. This coincides with the idea that destiny or fate plays a large role.

Stylistic techniques (imagery, figurative language, sensory detail)

Blood Wedding contains an abundance of sensory detail and imagery.
There is a lot of imagery regarding a vineyard, grapes, and a knife. These are also symbolic, but since this is about imagery, figurative language, and sensory detail, the symbols won't be mentioned. The knifes are talked of by the Mother as these evil things. Images of the knives are painted by the mother when she states that knives "cut into a man's body. Something as small as a pistol or a knife can destroy a man who is like a bull" (7) This quote illustrates the power of the knife through imagery. The Mother has an obvious distaste for knifes which she articulates multiple times.
The mother also speaks most of the figurative language in the tragedy, especially when she says things such as "Your grandfather left a son on every corner. That i like - men that are men, wheat that is wheat" (8). She also says things such as "O have to choke back and hide under my shawl" (60). She does not need to really do these things, but the figurative language add to the text in a way that the really emphasize what the Mother is feeling. She also refers to her husband's cousins and says they are "as hard as rocks when they dance" (64). Her use of figurative language always articulates how she is really feeling. Even though the Father is trying to engage her in a conversation, she cares not what he has to say and articulates this through her blunt figurative language. Even to the end of the book, she uses figurative language to refer to her son as an "armful of withered flowers. My Son is now a dim voice behind the mountains" (99). His voice won't really come from behind mountains, but Lorca writes this because it articulates best how the Mother is feeling.
In conclusion, Lorca uses imagery and figurative language to articulate how characters are feeling. The Mother especially uses it because she has seen a lot of hardship in her life and has a lot of sorrow to express. Instead of just bluntly expressing her sorrow flat out, Lorca writes hers in figurative language. This adds to the imagery of the tragedy and the symbols.

Dear Diary,
Today was quite a troubling day for me, my friend. I feel as though writing it all down is the only way to really sort it all out.

I had all of my priest friends over for a little chat. They informed me that Thebes is literally dying right now. (Thanks for the heads up, guys.). My city, the city I solved the sphinx's riddle for, the city I am now king of, is going downhill. And fast! These guys were literally freaking out. They begged me to save them and the city. When I say begged, I mean REALLY begged. There was praying involved. While I could get used to that, it got me pretty riled up. So I promised them a solution. I am their mighty kind after all. Plus if everyone is dead, who will I rule?

Thankfully, I sent my faithful brother-in-law Creon to Delphi (Apollo the Prophet's Oracle), in hopes that he would bring us back something we could do to rid the beautiful city of Thebes of this hardship it is bearing. He brought back the news that we had to find and punish the murderer of Thebes' previous king, Laius. This came as quite a shock. But of course I am willing to do whatever it takes to save my city. The only issue is that we had no idea how to find this murderer. I asked the chorus of citizens that came out to sing about the problems in the story thus far to come forward with any information they had about the murder. They had none. Ignorant common folk. Then we thought we'd bring good old Tiresias about to tell us who the murderer was. It is said, although he is blind, that he sees with the sight of Apollo. Logically, if he did not know, no one else would.

Tiresias got there and we told him what we wanted. He was not too happy. He made it very clear that he knew the information that we wanted but that he was not going to reveal it. Sweet guy, really. Quite the charmer. This angered me greatly; so of course, I threatened him. I also thought that him and Creon were working together in a plot to overthrow me. That really peeved me. In response, he completely flew off the handle! He started hurling accusations all over the place. At first I did not understand him. Then it became clear that he was calling ME the murderer! What did he think he was playing at?

His speech became even more and more confusing. He was sort of insulting me. I did not like that much. Then I lost track of where he was going with the conversation. He started talking about my father. I have no idea who that is, so how did he? That guy. I tell you. He started talking about a man who was married to his mother and killed his father. What kind of person would do that? I think he must be losing his mind. Either that or just trying to confusing me. Either way, I kicked him out. I mean, I am a king. Was I supposed to just sit around and take the disrespect he was dishing out? I don't think so.

It did get me wondering though...who was this horrible man he was talking about? First he was talking about me...then he went to this guy. Could he have been saying these things about me? He couldn't have. I don't even know my parents. I love my wife Jocasta, there is no way she could be my mother. I don't know what to make of this. If Tiresias was making this all up just to confuse me, I shall have to punish him. If he was talking about someone else, why did he bring it up? There is no way everything he said was true though. That would be crazy.

By the beard of Zeus! Look at the time! I really must be going! Until next time, my beloved confidant.

Oedipus

Oedipus (May 16)

1. Finish reading and preparing to teach from your section (Greece, Introductions, or Sophocles)

2. Read page 188-210 and continue organic tabbing (look for patterns)

3. Journal #1 posted on your blog. You should consistently alternate between the categories of creative, analytic, and comparative at a ratio of 1:2:3. On your blog, include the prompt you are responding to and tag which category each falls in to (there is place to do this underneath your blog post that says "labels for this post"). Below is a list of prompts (you also have a green hard copy with the same list).

Creative:

• Conversations between characters and/or authors
• Letters the characters might have written
• Diary entries from any of the characters
• An informal personal essay on the topic: to journey
• Reactions to specific situations by characters
• A poem written by one of the characters, or a found poem on a character or the environment

Discussion on literary topics:

• Point of View/Characters: From whose point of view is the story told? Does this change? How reliable is the narrative voice? How well does the reader get to know the characters? How credible are they? How are they presented? How does the writer persuade us to like/sympathize with some characters and dislike others?
• Setting: This includes cultural as well as geographical and historical setting. What effect does the setting have on story, character, theme?
• Narrative structure: How has the plot (not the story) been constructed? Are their parts? Is the plot circular? Subplots? How important/effective is the ending? Has everything been revealed by the end or are there unanswered questions? Does this matter? What period of time has been covered? Is time important?
• Stylistic techniques (imagery, figurative language, sensory detail)
• Themes and ideas
• Notes from a brainstorm session on “outrageous links” between any two of the plays

Comparison

• Readers are attracted to moments of intensity in a writer’s work. By what means and with what effect have writers in your study offered heightened emotional moments designed to arrest the reader’s attention?
• Personal convictions and shared beliefs, the private and the public life, sometimes seem at odds in the modern world. How did you find your chosen works touched on this conflict, and with what effect?
• “Visual action can be as important on the stage as speech.” How far do you agree with this claim? In you answer you should refer to two or three plays you have studied.
• “Not rounding off, but opening out.” Comment upon the way the writers deal with the ending in relation to the whole. In your answer you should refer to two or three of the works you have studied.
• To what extent would you agree that plot should be valued more highly than style in the work. In you answer you should refer to two or three works you have studied.
• To what extent have you found it possible, in your consideration of literary works, to separate the individual from his or her public role? In you answer you should refer to any two or three works you have studied.
• Compare how writers in your study have explored the themes of judgment and punishment, or disguise and deceit, or love and friendship, and with what effect.
• “What is drama but life with the dull bits cut out?” To what extent do you find this statement applicable in at least two plays you have studied?
• A dramatist often creates a gap between what the audience knows and what the characters know. With reference to at least two plays, discuss how and to what effect dramatists have used this technique.
• “Defiance becomes our duty in the face of injustice.” Referring to at least two works you have studied, explore the ways in which writers have attempted to persuade us to accept or challenge this view.
• A writer usually attempts to create a bond of trust between writer and reader. How and to what extent have at least two writers you have studied been able to elicit your trust?
• What are the questions that underlie at least two of the works that you have read and how have the authors sought to answer those questions?
• “Although doubt is not a pleasant condition, certainty is an absurd one.” In the light of this statement, explore the impressions of doubt and/or certainty conveyed in at least two works you have studied.

For Those Who Are Not Convinced

Another form of poetry for those not loving our class poets. Google defpoetry jams for some engaging spoken form poetry.

May 4 - May 13

Because IB testing is taking some of you from class, I will outline the plans for the week so you can pace yourselves accordingly. Please note that I reserve the right to alter plans, but I do plan on keeping as consistent as possible so those testing do not fall behind.

Wednesday:

IOPs - Emily, Kylee, Tania, Eddie, and John

After IOPs we will look at a sample commentary and, after reading a portion in a small group, score the commentary using the IB rubric. Discuss actual score.

Homework - You will receive someone else's commentary and type them a seven paragraph letter (one paragraph on strengths, one for each category on the rubric, and one on areas for improvement). You will need to print two copies. One will go to the author and one will remain with your poetry packet for points in the end.

Thursday:

IOPs - Taylor, Kyla, Sean

After IOPs you will work alone or with a partner to simultaneously annotate and create individualized steps for analysis with "Song of a Small Window".

Homework - Finish analysis/annotation and type and print two copies of the steps you created

Friday:

Focus on word choice with "The Mirror" by guessing the word used based on definitions. Finish analyzing the poem using someone else's steps.

Homework - you have two options - both are typed - you may create a fleshed out outline for "The Mirror" or you may jump right in and write the commentary for the poem

And a preview of next week:

Monday: 5 IOPs (Cara, Shannon, Matt, Elizabeth, Nikki) and "A Self-Portrait" + how to quote poetry (homework is to set the timer for 90 minutes and complete both the analysis and the commentary for "A Self-Portrait"

Tuesday: 3 IOPs (Kyla, Isabel, John) and "O Motherland, Dear Motherland" 15 minutes annotation + 15 minutes identifying purpose, concept organization, and not to overlooked techniques (homework is annotation plus paragraphs on title, speaker and tone, summary, purpose, and 3 on literary features - one on sound devices and form, one on imagery and diction, one on figurative language)

Wednesday: 6 IOPs (Megan, Davis, Ashley, Elizabeth, Anthony N., Anthony Q., John) and prep for commentary test (homework is to revisit two Shu Ting poems and make a list of 7 patterns and what assertions (what do those patterns reveal) you can make from those patterns for each poem)

Thursday: Shu Ting packet is due and commentary test (7:30 optional starting time)

Friday: check out plays and start tragedy unit (bring ID or copies of Oedipus, Wild Duck, Blood Wedding to class)

Shut Ting packet:

"Assembly Line" with analysis

2 typed outlines for "Assembly Line"

1 typed commentary for "Assembly Line"

1 rewritten and reworded rubric

1 letter from a peer on your commentary

1 letter from yourself to a peer on their commentary

"Song of a Small Window" annotated

Steps for analysis according to you

"The Mirror" with word choice analysis and sentences

Steps for analysis according to one of your peers

"The Mirror" with analysis

Commentary or outline for "The Mirror"

"A Self-Portrait" with limited time analysis

"A Self-Portrait" written commentary

"O Motherland" with full annotation and paragraphs on the back

Order to turn in - please have it stapled and ready to go when class starts on Thursday - remember you can show up as early as 7:30 to start your test - put name bold on top right - turn in to front desk

1. Assembly Line poem with full annotation (5 points)

Song of a Small Window with full annotation (back side of Assembly Line) (5)

2. The Mirror with annotations according to peer's steps (5)

A Self-Portrait with variable annotation (back side)

3. O Motherland, Dear Motherland with limited time annotation + notes on purpose, 3 concept organization, and techniques that should not be missed listed on front (5)

Seven paragraphs on the back. (5)

4. Outline number 1 (5)

5. Outline number 2 (5)

6. Commentary (5)

7. Reworded rubric (5)

8. Letter from a peer

9. Letter to a peer (5)

10. You analysis steps (5)

11. Word choice analysis (5)

12. A peer's analysis steps

13. Commentary or outline (5)

14. Commentary (10)

75 points

Monday, May 2 (revised from class)

Revised homework. Be sure to read.

Due on Tuesday are two fleshed out outlines for "Assembly Line" with different organizations. I would like these typed. You may work on them with others (i.e. google docs). Each should have a purpose statements, at least four complete topic sentences, and at least three pieces of support and analysis for each topic. Some suggestions for organization are by technique, by theme, by pattern, from top to bottom, or a combination.

Due on Wednesday is a typed commentary. We will peer edit these on that day. Below is a guide on a possible organization for a commentary paragraph. Don't wait until tomorrow night - start working on this tonight after your outlines.

Depending on the amount you take on in each paragraph you will probably have between 4 and 7 paragraphs.
1. "Patterns lead to exertions" - identify a pattern and then identify the effect of that pattern (1 to 2 sentence)
2. Context and/or summary - this is not necessarily summary, it simply orients the reader to 'the what' so that you can talk about 'the why'(can be included in the sentence with quote - no more than 1 sentence)
3. Quote (this may be one word or several words from different lines or an entire line or two)
4. Identify the pattern - if you said there was a simile, reveal exactly what two things are being compared (this can be included in the sentence with your quote or at the start of your analysis but probably won't be more than 1 sentence)
5. Analysis (probably 2 to 5 sentences)
Please note that for many patterns you may be quoting multiple examples. This means your paragraph might look like this:
1.2.3.4.3.4.5.
or
1.2.3.4.2.3.4.5
or
1.2.3.4.5.2.3.4.5.5. (you would need an additional 5 for this one to tie your two pieces together)
or
1.2.3.4.5.3.4.5.5
or
1.2.3.4.5.3.4.5.3.4.5.3.4.5.3.4.5.5
or
you get the idea
Pablo Neruda uses parallel structure in "XV" to convey a sense of security that exists in consistency and predictability. In a poem the deals with the inconsistency of relationships, this security and consistency offers the speaker a controlled point from which to describe the uncontrollable relationship around him. In the fourth stanza Neruda describes the silence of the woman he is addressing as "bright as a lamp, simple as a ring" (14). Parallel structure is created by repeating both the structure of the sentence as a simile and in an even more controlled and deliberately manipulated way, he repeats the parts of speech perfectly along with the phrase "as a" Similarly he directly addresses the woman with the repeated phrase, "I like for you to be still" at the start of three of the five stanzas. These repeated phrase that occur throughout the poem create a parallel structure that unites the whole of the text. By using parallel structure, both with repeated sentence structures as well as lines that repeat through the poem, Neruda shows absolute control over his language. Because the language is so controlled and contains such strict language patterns, it influences the content and makes our speaker appear to be in more control than he actually is. The speaker is a addressing a woman who has made decisions outside of his control. This, however, is overshadowed by the feeling of control created by the parallel structure. Our perception of the speaker is thus influenced and we perceive him as in desperate need of control, artificial though it may be, which provides the security for him that his relationship does not.

Issues with the above paragraph that would need to be addressed in revision:
1. Does not work from top of the poem to bottom
2. Does not deal with the content of the lines quoted