Thursday, October 27, 2011

Hamlet Act 3

Scene 1
  1. Does Hamlet Love Ophelia? Explain your answer.
  2. Comment on Claudius aside, what does it reveal about his character? How would have the audience responded to the aside? 49-54
  3. What evidence is there to suggest that Claudius doubts Hamlets insanity? 160-183
  4. How does Claudius intend to deal with Hamlet?
  5. What do you think about the way Ophelia and Gertrude are being used? 35-48, 170-181

Scene 2
  1. Why does the 'dumb show' preceding the play bring no comment from Claudius?
  2. Comment on lines 240-245
  3. What is the function of the conversation between Hamlet and his childhood friends?
  4. Explain Hamlets attitude towards his mother as revealed in the soliloquy that ends the scene.
Scene 3

  1. In 3.3 36-98, Claudius tries to pray, and Hamlet has the opportunity to kill him.
  2. What motivates Claudius to pray? Do you think he is sincere? Explain. What does this scene reveal about Claudius? Give specific phrases and lines to support your ideas.
  3. Why is Hamlet unable to kill Claudius? What does this reveal about his character? Give evidence to support your response.
  4. What do you make of the fact that this is the only scene in which Claudius and Hamlet appear on stage alone? Why do you think Shakespeare does not have any other characters on stage at this moment in the play?
 

    Sunday, October 9, 2011

    Hamlet and Allusion

    1. Define Allusion.
    2. Allusion in the play
    3. In Hamlet, Aeneas’s tale Aeneas’ tale alludes to Hamlet’s life. What other function does the play within a play play? (no pun intended) Post your responses on the blog. When you post, make sure you read what is there in the comment stream. Try to write something new or give a new perspective to the ideas under discussion.
    4. Excellent examples of other literary techniques such as Anaphora and Apostrophe. A must see.
    5. No Fear Shakespeare website: http://nfs.sparknotes.com/hamlet/page_2.html

    Thursday, September 29, 2011

    Hamlet by William Shakespeare


    IOC OUTLINE: 
    INTRODUCTION: BRIEFLY, What is important about this passage? (Why was it chosen?) What key ideas does it capture (about characters, relationships, themes, etc.)? What is the context of the passage (where does it fit in the play?)

    BODY (PART 1): THE PASSAGE: Discuss what is important about this passage. Consider the following:
    a)      What does it reveal about character(s)?
    b)      What does it reveal about theme(s)?
    c)      Discuss the literature devices in the passage (Metaphors, allusions, personification, imagery, etc.)

    BODY (PART 2): THE CONTEXT: Discuss how your passage fits into the overall story. Consider the following:
    a)      How is it crucial to the flow of the plot?
    b)      “Character development.” How did the character(s) get to this point? What does the passage confirm, refute, etc. what you’ve witnessed so far with these characters?
    c)      Larger themes (big underlying ideas) of the story. For example, does it connect with the theme of jealousy? Revenge? Deception? Delusion? Love?
    d)      Language: Are there metaphors, symbols or images in your passage that “echo” earlier ones?

    CONCLUSION: Possibilities: What does it all add up to? ESSENTIALLY, why out of all the passages in the act did you think this one was picked? Perhaps choose a final quotation from the passage and explain how it sums up what's most important about the passage.

    What Literary techniques do I look for in my excerpt?
    • Different types of imagery: e.g. disease/heaven and earth/references to death
    • Tragic elements
    • Verse, free verse, prose
    • Foreshadowing
    • Use of double entendres/puns
    • Use of asides/soliloquies
    • Symbolism
    • Metaphors/similes /personification
    • Sounds/alliteration/ assonance/sibilance
    • Allusions, biblical or mythology
    • Use of minor characters
    • Contrasts
    • Entrances/exits
    • Characterization/relationship between characters/changes in character
    • Setting


    Read more: http://www.brighthub.com/education/k-12/articles/27057.aspx#ixzz1bbApvCjV

    Act 1 Scene Two

    This man Claudius. Sorry, King Claudius.

    Consider Claudius' monologue.Do you agree with King his reasoning? What do you think about his actions as revealed in this scene?

    Act1 scene 1.
    1. Define Setting.
    2. Consider the when and where (illustrate from the scene). What atmosphere is created by the setting of this scene.You can find a modern text version here
    3. What questions do you have at the end of this scene? Predict what will happen in the next scene. Post your questions and predictions as comments.

    Wednesday, September 14, 2011

    World Lit Assignment, then What?

    One year down. Now you are working on your World Literature Assignment. Congratulations for the Excellent Job done in keeping your Dialectical Journal and completing the novel Like Water for Chocolate. In the next week we shall devote 4 out of the 5 lessons for the study of Shakespeare's Hamlet and 1 lesson for you to work on the your World Literature Assignment.

    Remember that you can only use Houseboy  by Oyono for your World Lit 2 assignment. Good luck

    See a commentary for World Lit 2

    Friday, August 19, 2011

    Like Water for Chocolate

    Dialectical Journal
    As you read the novel, you will keep a dialectical journal. The purpose of the journal is to interact with the text while reading. It should be used to think about, digest, summarize, question, clarify, critique, and remember what is read. You should have 3-5 entries for each chapter. They will be evaluated on detail and thoughtfulness.
    Provide a direct quotation or paraphrase
    Page
    Respond, Analyze, and Evaluate












    Focus your entries on the following literary elements.
    * Characterization
    * Internal and external conflict
    * Symbolism and theme
    * Literary devices and strategies (for example, simile, metaphor, imagery, personification, repetition, etc.)
    * Any personal response



    Research on the Mexican Revolution 1910-1930

    1. What was the cause of the Mexican Revolution? -LT
    2. What was the outcome of the Mexican Revolution?- LT
    3. What did the following individuals contribute to the revolution?
      • Francisco Madero -MT
      • Porfirio Diaz-MT
      • General Venustiano Carranza-MD
      • Emiliano Zapata -MD
      • Francisco “Pancho” Villa-SH
      • President Lazaro Cardenas-SH
    You must reference your sources

    DISCUSSION
    1. Evidence and significance of Magical Realism in the novel -KD
    2. How does the historical setting compare with that of THOTS and DNM?-THF
    3. Comparison of Characters in LWFC and THOTS- ZK
    4. Comparison of themes in LWFC and THOTS- AS
    5. Comparison of style  in LWFC and THOTS-FS
    6. Comparison of themes in DNM and THOTS -AM
    7. Is there a rational explanation for Mama Elena actions in LWFC. Does She deserve any sympathy? SW
    8. Is LWFC a political allegory? Consider the socio-political context. FC


    Tuesday, June 14, 2011

    The House of the Spirits by Isabel Allende

    Respond to the following questions in your notebook. You are not only expected to respond to these questions but also take notes as we discuss the novel in class. It is critical to be up to date with the notebook. Note significant points, ideas, questions etc. These are invaluable when writing your World Lit Assignment.

    Chapter 1 Rosa the Beautiful and Chapter 2
    1. Write notes on using the following subheadings:
    •Politics and Religion ( Consider the role played by Rosa and Clara)
    •Power (What does Tres Marias represent?)
    2. Research on Machismo and Marianismo

    Chapter 3 Clara the Clairvoyant
    1.Barrabas dies when Clara gets married to Estaban. Consider the origin of Barrabas, the description of the dog and the relationship Clara had with it. What do you think the dog symbolizes? What is the significance of the dog dying just when Clara gets engaged to Estaban? pp.11, 98-98, 111-112, 119

    2.What does Ferula feel guilty about? Consider the narrators Comment on the effect achieved by the narrator’s description of what Ferula was doing when her mother died.

    3.‘There is no love in Clara’s and Estaban’s marriage, theirs is one of convenience’ Discuss this statement with illustrations from the chapter.

    Chapter 4 The Time of the Spirits
    1.A foil is a secondary character who contrasts with a major character; in this chapter, who would you say the Ferula and Nana are foils to? How? What is highlighted by the presence of these characters?

    2.Transito says that she wants a cooperative for ‘whores and fags…What do we need a patron for’. Comment on the role of Transito Soto plays in the novel.

    3.How is the narration of Old Pedro’s cure of the plague of ants and description of the death of Severo and Nivea del Valle humorous? How is the humour achieved?

    4.What is in a name? Why do you think Clara refuses to name her child after Estaban?

    5.How is the story of the fox and the hens an allegory? Consider Blanca and Pedro Tercero Garcia’s reaction to the story.

    6.Define the following: symbol, motif and allegory. Select three from the list below to complete.

    Politics
    Priests
    Rape of Pancha
    Fox and hens
    River Bank
    Doors/ Windows
    Tres Marias
    Earthquakes
    European influences


    •Scene and page number of each occurance of the symbol,allegory or motif:

    •Summary of how the symbol, allegory or motif functions or is used.

    •Brief analysis of the implications and meanings.What effect does it have? How does it work to achieve the authors purpose?

    Chapter 5: The Lovers
    1.What does Blanca and Pedro Tercero’s relationship symbolize?
    2.What do you think Ferula’s wigs represent?
    3.What is the significance of the earthquake, destruction of Tres Marias and Estaban’s broken bones?

    Comment on the following:
    4.‘My son, the holy church is on the right but Jesus Christ was always on the left.’

    5.‘I like this, patron in union there is strength as Father Jose Dulce Maria says. If the hens can overcome the fox, what about human beings?

    6.You can’t keep the world from changing, Estaban,’she said. ‘If it is not Pedro Tercero Garcia, someone else will bring new ideas to Tres Marias.’

    Chapter 6: Revenge

    1.The voice of Esteban Trueba begins and ends this chapter. Do you feel an ounce of sympathy towards Estaban? Why or Why not?
    2.Make notes of the following:
    •Estaban Garcia who is he? What is in a name? Characterize him. 220-221,237,241
    •Shrinking of Estaban and Pedro Garcia
    •Role of Count Jean de Satigny 212-213, 225, 228, 230-231.
    •Barrabas’ death pp. 112-113 is mentioned in this chapter 234. What is the relationship of his death to the incident referred to?

    3.Comment on the ending of the chapter.
    4.What is the relevance of the chapter title?


    Chapter 7: The Brothers

    1.How is the house changing? What is its transformation symbolic of pp243-244, 259-260.
    2.Compare and Contrast the two brothers. Does the author approve or disapprove of them? Give reasons for your answer.
    3.Do you have any sympathy for the following characters: Blanca,Nicholas, Jaime and Amanda? Why or why not?
    4.Comment on the allusion to Napoleon and Hitler.
    5.Write short notes on the following:
    • Covadonga
    • Poverty
    • Rejection of child
    • Jewelry Motif
    • Internal Conflict
    • Unrequited Love
    • Western Medicine


    Chapter 8 The Count

    1. Characterize Count Jean de Satigny. What effect does the his characterization have on you? What is the narrators attitude towards him? Use mood and tone words.
    2. Describe the atmosphere of Blanca's new home. Would you say that this home is spiritual? Why or why not?

    Chapter 9 Little Alba

    Write notes on the following quotations

    1.‘was the head of her Great-grandmother Nivea…in the coffin beside her favorite daughter.’ (336)



    2.‘mothe-eaten remnants of Barrabas’. (337)


    Key Passage Analysis

    Directions: Annotate the excerpt .Underline, circle, draw arrows, write notes in the margins and between lines that...
    •interpret images, word choice, and symbols
    •note contrasts, patterns and ambiguities
    •make connections to themes and other parts of the novel
    •Once you’ve completed annotations and outlines, you will then write an analysis on it



    3.Trueba remembered that he still owed him the reward for betraying Pedro Tercero Garcia, and he decided that this was a good occasion to repay the debt and in the process acquire a useful friend in the police. You never know, he thought; I may need him someday. He sat down on his heavy desk, took out a piece of paper bearing the Senate letterhead, composed the recommendation in the usual terms, and handed it to the young man who stood waiting before him.

    ‘ Here, son. I’m glad you’ve chosen that profession. If you want to go around armed, you might as well be a policeman. That way you have impunity. I’m going to phone General Hurtado, a friend of mine, to make sure they give you the scholarship. If you need anything just let me know.’

    ‘Thank you very much. patron.’
    ‘Don’t mention it, son. I like to help my people out.’

    He said goodbye to him with a friendly pat on the shoulder.

    ‘Why do they call you Estaban?’ he asked him in the doorway.
    ‘Because of you ,sir,’ the young man answered blushing.

    Trueba did not give it a second thought. Tenants often used their patron’s name for their children. It was a sign of respect. (330)



    Chapter 10 The Epoch of Decline

    Continue with Key Passage Analysis
    1.Reaching across the narrow space between them, she took her daughter’s hand and started telling her stories from the magic books of the enchanted trunks of her great uncle Marcos, which her poor memory had transformed into new tales. This was how Alba learned about a prince who slept a hundred years, damsels who fought dragons single handed, and a wolf lost in a forest who was disemboweled by a little girl for no reason whatsoever. When Alba asked to hear these bizarre stories again, Blanca couldn’t repeat them, for she had forgotten them. This led the little girl to write the stories down. She also began to record the things that struck her as important, just as her Grandmother Clara had before her. (347)

    2.His foreman was a man defeated by his own pessimistic views, and his news was mostly a series of misfortunes; the strawberries froze, the chickens caught the pip, the grapes rotted. Hus the countryside, which had been the source of his wealth, became a burden, and the Senator Trueba frequently had to withdraw money from his other business to prop up that insatiable land, which seemed to want to return to the days of oblivion, before he rescued it from misery.

    ‘I have to go straighten things out. They need the patron’s eye on them,’ he murmured.
    'Things are getting stormy in the countryside, patron,’ his foreman often warned him. ‘The peasants are up in arms. Everyday there are new demands. It seems as if they want to be patrones themselves. The best thing you can do is sell the property.’ (353)


    3. After I had Settled Rosa and Clara in my Mausoleum I felt better because I knew that sooner or later the three of us would be reunited there, along with our other loved ones, like my mother, Nana and even Ferula, who I hope has forgiven me. I never Imagined I was going to live as long as I have and that they’d have to wait so long for me. (358)


    Chapter 11 The Awakening
    1.Gap filling exercise. Note how the secondary characters from earlier chapters are brought into the later chapters of the novel, Estaban Garcia in Chapter 9 and Transito Soto in Chapter 10. Create two paragraphs after

    •Transito’s : ‘ I wonder who Clara is,’ I heard her murmer as she left. (362)

    Or

    •Estaban Garcia :‘ Garcia hesitated….He turned around, barked out a brief instruction, and the two policemnn led Alba by the arms to a van. (371)

    Or

    •Amanda: ‘ She tried to get up but stumbled and swayed, her brother jumped to catch her, holding her against his chest (385).

    Decide what point of view you will write the paragraph. Demonstrate the author’s style and the themes that are addressed in the novel. Remember that you are filling a gap about the secondary character.

    2.What is in a name? There are candidates and there is The Candidate, why do you think that the narrator does not refer to him by name. Characterize The Candidate.

    3. How does the title of this chapter reflect the content?


    Chapter 12 The Conspiracy
    1.How does the chapter title fit chapter content? Who conspires? What is the conspiracy? Why the conspiracy?

    2.Identify, illustrate and discuss the following literary devices:
    •Situational irony
    •Dramatic irony
    •Humour
    •Sarcasm

    3.Symbolism. Who are the following symbols associated with? Discuss what they symbolize.

    •Red rose
    •White handkerchief
    •Service pistol
    •Guitar


    4.Themes.
    •Politics
    •Acts of Charity
    •Forgiveness
    •Marriage
    •Power and status
    •Corruption

    5.Who is the Poet? What role does he play in the novel?
    Refer back to the poem at the beginning of the novel. What is the meaning of the poem? 

    The Movie!!
    What scenes are you looking forward to watching in the movie?
    How does the movie compare to the novel itself? What impressed or disappointed you ?
    Notes comparing the House of the Spirits Novel and the Movie
    House of the Spirits from Novel To Film

    Monday, June 13, 2011

    World Literature Assignment

    Part 1

    We shall be studying the following three texts:

    Death and the Maiden by Ariel Dorfman
    The House of the Spirits by Isabel Allende
    Like Water for Chocolate by Laura Esquivel

    You will then complete two World Literature Assignments.

    Information on World Literature Paper #1

    Details
    World Literature Assignment # 1
    Comparison paper

    Subject matter:
    Dorfman's Death and the Maiden, Esquivel's  Like Water for Chocolate, Allende's House of the Spirits
    This assignment consists of a comparative study of at least two world literature works studied in part 1 of the course (Allende,
    Dorfman, Esquivel). This is the only world literature assignment that can be based on an aspect of two or more world literature works. A candidate can compare two or three texts, however, experience suggests that most candidates write better assignments using two works.

    All works used for this assignment must be taken from part 1 of the school's language Al course.

    This assignment allows candidates to:
    • demonstrate the skills of presenting a comparative literary analysis
    • compare the literary aspects common to the works studied in part 1 of the course
    • explore possible links or relationships between the works in ways that show individual insight, personal engagement and an appreciation of the cultural similarities and/or differences relevant to the analysis.

    Assignment Requirements
    • Candidates must write their assignment(s) independently but with the supervision of a teacher.
    • Candidates must themselves select the aspects on which they wish to write, generate topics and formulate their own assignment titles.
    • Each assignment must be written in the language Al being studied.
    • Each assignment must be 1000—1500 words in length.
    • Each world literature work must be used in one assignment only.
    • At least two world literature works, studied in part I of the syllabus, must be included in assignment 1.





    THE ASSIGNMENTS
    WORLD LITERATURE ASSIGNMENT 1 (externally assessed) 10%
    1000-1500 words
    Comparative study of at least two Part 1 works.

    WORLD LITERATURE ASSIGNMENT 2 (externally assessed) 10%
    1000-1500 words; Based on work(s) not used in WL Assignment 1
    Options:
    Assignment 2a: Comparative Study (1 WL work and 1 Language A1 work chosen from any part of the syllabus)
    Assignment 2b: Imaginative or Creative Assignment (1 WL work, or 1 WL and 1 Language A1 work chosen from any part of the syllabus)
    Assignment 2c: Detailed Study (1 WL work only)

    Wednesday, March 30, 2011

    IOP PLANNER

    Agakhan Academy
    IB English HL  2010-2011
    Oral Presentation Planner:   Worksheet

    NAME OF WORK:

     Thesis statement: Identify the larger purpose or argument. What question are you trying to answer?
    In ‘Othello the Moor of Venice’, Shakespeare uses physical setting to punctuate the action of the plotline. It is through the setting that Othello’s contasting traits are juxtaposed


                                                            

    What is the context (time, place, event) in the text.

    Important Element
    LITERARY TERMINOLOGY
    How it SUPPORTS THESIS
    What is the context (time, place, event) in the text.
    Venice and  Cyprus
    Symbol of metropolis and the colonised
    Affects Othello’s personality
    Function of my presentation in the overall text.  Why is this important?
    Venice-Othello an officer, cultured
    Jealous and irrational. Private side of his life
    What is the significance of specific lines/phrases/symbols?


    Illustration 1: Connector- In order to understand how setting is significant


    Illustration 2: Connector- For instance, Iago tell Othello that the women of
    Rhetoric- logos

    Illustration 3: Connector


    Illustration 4: Connector


    Illustration 5: Connector Finally



    Additional IOP Ideas
    ·          Analogy Strategy:  In this activity, you could enact a personal experience that parallels in some way a scene from the reading.  Make sure that you think about the tone, the urgency of the situation, and the emotions conveyed in creating a parallel situation.  You will mime your parallel situation.  Then, explain the literary function of your analogy:  does it reinforce themes, foreshadowing, archetypes, tone, purpose (it should cover at least three of these areas)
    ·          Slide Show:  Create a series of “slides” to tell about the major scenes from the chapter.  You may add a caption to each of your slides analyzing the literary importance of each slide.  Be prepared to answer some questions about each of your slides concerning how and why you decided to depict the particular scene in the way you did.
    ·          Hotseating:  Role play a character and answer questions as if at a press conference about the character, their motivations, etc .  Write a script as the “inner self” of the character telling what that character might be really thinking, feeling, and wanting to say.   Make sure to emphasize the literary importance and significance of the revelations.
    ·          News Brief:  Conduct a news brief about what happened in this scene/chapter/book/character/situation.  You may choose to interview someone from the scene, the author or create an outside character.  Ensure to focus on the literary importance of the events: conflict, climax, rising action, resolution, theme, moral, characterization, etc..
    ·          Imagery:  Artistically represent an aspect of the work focusing on the literary elements:  pop up books, dioramas, portraits, still life, comic book, story map.  Ensure you include symbolism, significant details, and can explain the literary significance of the elements portrayed.
    ·          Dramatic Play:  “Enter into character” and act out a scene from a work.  However, you should incorporate acting out imagined conversations and interactions between/among characters depending on your interpretation of those characters’ thoughts and feelings going deeper into the meaning of characters actions, motives, thoughts etc. 
    ·          Missing Scenes:  Create a missing scene or missing scenes that you feel were implied by the story or could have happened that will have literary importance.  You will act these out for the class and be prepared to have supporting evidence from the text that shows these scenes might have logically occurred.  Be able to explain the literary significance of the scene, its purpose, why the author would want the scene/not want the scene, etc. 
    ·          Defining narrative development. Students will define the causal relationships between unfolding story events, as well as predict story outcomes based on knowledge of prototypical genre storylines.  This should not be a summary, but a deeper understanding of how the story was created, why it unfolded the way it did, and the significance of the events.
    ·          Elaborating on connections to other texts.  Students will reflect and elaborate on connections between the current text and similar images, characters, storylines, or themes from previous texts.
    ·          Positioning/stances.  Take the view of a minor (flat/static) character and create a round/dynamic character out of them explaining why they were portrayed the way they were (author’s purpose) and why you are portraying in this way (what you hope to reveal).  Students will define how they are being positioned to respond according to certain invited stances and negotiate or resist those stances.
    ·          Voices/language/discourses.  Students will identify characters’ uses of different voices and social languages in terms of the discourses and ideological stances operating in the text.   Analyze what the character’s language means in the context of the work, genre, social history, etc. 
    ·          Devise a WebQuest.   Go beyond simply providing tasks to exploit the use of Web-based tolls, address an issue or question, learn more about the characters, setting, plot, theme, etc using web-based resources Reflect on and extend the material you acquire from the web; assuming the perspective of a role-a song writer, detective, movie producer, scientist, city planner, etc., who must address a problem or issue or who must produce a final product. 
    ·          Archetypes.  Analyze the role of archetypes in work, the veracity of the archetypes, the purpose and how it relates to theme, genre, setting, mythic aspects etc.  You may focus on the initial initiation of the hero in preparation for the quest, linking the hero’s initiation to your own experiences of initiation in their own lives. 
    From Mrs. Beach IB English 11th Grade