1. The nature of authority -- how do people gain authority and MAINTAIN authority. What is the true nature of authority? How do people in Salem react when their authority is threatened? Be prepared to discuss specific characters and their actions, specifically Rev. Samuel Parris, Rev. John Hale, Deputy Gov. Danforth, John Proctor & Rebecca Nurse.
2. The underlying emotions of the residents of Salem and their motives were repressed before the play opens, yet the "crying out" of the girls sparked a metaphoric fire in Salem. Discuss the underlying issues that surface and serve as a motive for several Salem residents:
jealousy (Abigail's jealousy is OBVIOUS, but what of other jealousies--Ann Putnam's jealousy of Rebecca Nurse, for example); greed (what evidence does the audience see early in the play of the greed in Rev. Samuel Parris and Thomas Putnam); repressed judgment or resentment (why, for instance, does Proctor decline to come to church once Parris becomes Salem's minister?)
3. Dramatic irony occurs when the audience KNOWS the truth, but the characters in the drama presumably do not. For instance, one example of dramatic irony occurs when Rev. Hale questions the Proctors and asks John Proctor to recite his commandments (as proof of being an upright Puritan). John Proctor recites all his commandments except the one that says, "Thou shalt not commit adultery." It becomes ironic because the audience knows that Proctor has _______. Discuss SEVERAL other examples of dramamtic irony in Acts II and III that contribute to the suspense created in the play.
4. Situational irony is created when the visible appearance is different from the actual reality OR when the outcome is the opposite of what is expected or anticipated. Why do god-fearing Puritans, dedicated to a theocracy, ironically fall victim to the "witch fever" that occurred in Salem in 1692? In the case of the Salem witch trials, those who are accused can choose to plead their innocence or confess their guilt--ironically, what happens to those to maintain their innocence? In what way is this situational irony? In what way is the justice of the court ironic as well? How are the roles of the girls (who, until 1692, were expected to be seen but not heard?) ironic?
4. Compare and contrast Rev. Samuel Parris and Rev. John Hale--their backgrounds, interests, reputations, and their involvement in the witchcraft that surrounds Salem in 1692. Which reverend is more greatly changed by the events? How is he changed? What of the other man?
5. Discuss the greater setting of the play, the location of Salem village (on the edge of the wilderness) and the date, (1692) and the closely confined openings of each act. How does both the setting (literally the placement of Salem village on the edge of the wilderness and time period (1692 rather than 1620, when the first band of Pilgrims arrived in Boston Harbor on the Mayflower) influence their actions? Discuss the initial opening of the drama in Reverend Parris's upper bedroom (Betty's bedroom), the small living room of John and Elizabeth Proctor, the courtroom, and finally the jail in which Proctor (and others) are kept How is the mind-set of the citizens of Salem evident in the opening of each act?
How does the close of each act reflect the hysteria and upheaval in Salem?
6. In what way is the direct characterization given by Arthur Miller for several of the major players reflected in their words and actions? Specifically, consider the his characterization of Abigail Williams, John Proctor, Mary Warren, Deputy Govenor Danforth, and Rev. Samuel Parris.
7. Although Arthur Miller's play appeared during the mid-twentieth century, it deals with human nature and various situations that existed in
the seventeenth century and that are still acknowledged in the twenty-first century: peer presssure, bullying, power struggles, scape-goating, and greed as a motivating force. Compare at least three of the issues that are most relevant still today with their counterparts in The Crucible and identify the characteristics of human nature (and give examples) that have remained constant, even after 200-plus years.
Monday, November 29, 2010
Thursday, November 18, 2010
Make up Work OR Extra Credit Opportunity
Due to time constraints, we will not read DOUBT. The final essay will be over THE CRUCIBLE.
If you failed to do a portion of a presentation and you need to do make-up work OR if you want to do extra credit work, read DOUBT, by Michael Shanley and answer each of the following quesions THOROUGHLY. To receive credit, these must be handed in by the last day of class (NOT the day of the final exam.)
1. The subtitle of "Doubt" is "A Parable." Parables are very simple stories in which
a character must face a choice and accept the consequences of that decision. In other words, a parable is a brief, realistic story that illustrates a moral or ethical choice. In some parables, the main character, or protagonist, makes the right choice, and in others, he or she takes the wrong path. Parables are metaphors; they make their point indirectly.
2. Father Flynn argues that skepticism can provide a sense of community that is every bit as nourishing as faith. Indeed, he ends his first sermon by saying, “Doubt can be a bond as powerful and sustaining as certainty.” Do you agree or disagree? Support your answer with examples from the play and/or personal experience.
3. "Doubt" begins with a parable. In the course of a sermon (also called a homily), Father Flynn tells the story of a man who is lost at sea and clinging to the hope that he has set the correct course for home. What happens to the man? Father Flynn doesn’t say, and thus, the play begins on a note of doubt. In what way does the play END on a note of doubt as well?
4. In the “Preface,” Shanley criticizes the fact that “we are living in a culture of extreme advocacy, of confrontation, of judgment, and of verdict.” In what sense might the play itself be considered an attempt to remedy this cultural trend. Provide examples to support your stance.
5. The play’s preface ends with the statement that “The beginning of change is the moment of Doubt. It is the crucial moment when I renew my humanity or become a lie. Doubt requires more courage than conviction does.” Why would Shanley celebrate uncertainty? What does uncertainty give us that certainty cannot?
6. Why does Sister Aloysius favor fountain pens that must be dipped in ink rather than ballpoint pens? How are these two modes of writing symbolic? Why is penmanship important? What does it suggest?
7. What specific evidence does Sister Aloysius have to support her conviction that Father Flynn behaved inappropriately with Donald? How does Sister Aloyisius go about gathering her proof? What is her view on truth? Father Flynn reminds Sister Aloyisius that “even if you feel certainty, it is an emotion and not a fact.” What is your view on truth? Do you believe in absolute truth or relative truth?
8. Sister Aloyisius points out that the gardener “pruned this bush, which was the right thing to do, but he neglected to protect it from the frost.” How does this statement apply to sister Aloyisius’ own attempts to protect her students? Why is the action of pruning symbolic?
9. One of the principles of our legal system is that one is innocent until proven guilty. Does Sister Aloyisius abide by this? Should she? What is more dangerous in this situation: presuming innocence or presuming guilt?
If you failed to do a portion of a presentation and you need to do make-up work OR if you want to do extra credit work, read DOUBT, by Michael Shanley and answer each of the following quesions THOROUGHLY. To receive credit, these must be handed in by the last day of class (NOT the day of the final exam.)
1. The subtitle of "Doubt" is "A Parable." Parables are very simple stories in which
a character must face a choice and accept the consequences of that decision. In other words, a parable is a brief, realistic story that illustrates a moral or ethical choice. In some parables, the main character, or protagonist, makes the right choice, and in others, he or she takes the wrong path. Parables are metaphors; they make their point indirectly.
2. Father Flynn argues that skepticism can provide a sense of community that is every bit as nourishing as faith. Indeed, he ends his first sermon by saying, “Doubt can be a bond as powerful and sustaining as certainty.” Do you agree or disagree? Support your answer with examples from the play and/or personal experience.
3. "Doubt" begins with a parable. In the course of a sermon (also called a homily), Father Flynn tells the story of a man who is lost at sea and clinging to the hope that he has set the correct course for home. What happens to the man? Father Flynn doesn’t say, and thus, the play begins on a note of doubt. In what way does the play END on a note of doubt as well?
4. In the “Preface,” Shanley criticizes the fact that “we are living in a culture of extreme advocacy, of confrontation, of judgment, and of verdict.” In what sense might the play itself be considered an attempt to remedy this cultural trend. Provide examples to support your stance.
5. The play’s preface ends with the statement that “The beginning of change is the moment of Doubt. It is the crucial moment when I renew my humanity or become a lie. Doubt requires more courage than conviction does.” Why would Shanley celebrate uncertainty? What does uncertainty give us that certainty cannot?
6. Why does Sister Aloysius favor fountain pens that must be dipped in ink rather than ballpoint pens? How are these two modes of writing symbolic? Why is penmanship important? What does it suggest?
7. What specific evidence does Sister Aloysius have to support her conviction that Father Flynn behaved inappropriately with Donald? How does Sister Aloyisius go about gathering her proof? What is her view on truth? Father Flynn reminds Sister Aloyisius that “even if you feel certainty, it is an emotion and not a fact.” What is your view on truth? Do you believe in absolute truth or relative truth?
8. Sister Aloyisius points out that the gardener “pruned this bush, which was the right thing to do, but he neglected to protect it from the frost.” How does this statement apply to sister Aloyisius’ own attempts to protect her students? Why is the action of pruning symbolic?
9. One of the principles of our legal system is that one is innocent until proven guilty. Does Sister Aloyisius abide by this? Should she? What is more dangerous in this situation: presuming innocence or presuming guilt?
Tuesday, November 16, 2010
Crucible - Questions - both Obvious & Thoughtful
Study Questions relating to Literary elements of:
The Crucible
The most obvious of these we will not cover in class; we will discuss questions that deal with setting and its importance, irony, theme, human nature, and dramatic license. The final will cover those topics, perhaps more.
Act I
1. Where and when is the opening scene of the play set?
2. In his stage directions, what are some of the good and bad points that Miller observes about the Puritans?
3. Why is the Rev. Samuel Parris so distraught at the beginning of Act One? What unnerves him about the report Susanna Walcott brings from Doctor Griggs? What negative aspect of his own character does this reveal?
4. Why has Parris sent for Rev. Hale of Beverly?
5. What do we learn in the exposition of the play about the events in the forest?
6. When Abigail enters, she is described as “a strikingly beautiful girl . . . with an endless capacity for dissembling.” What does the phrase “an endless capacity for dissembling” suggest? What has been Abigail’s past connection with the Proctor family?
6. What innuendo does Rev. Parris make about Abigail’s character?
7. How does Abigail respond?
8. What do we learn from the conversation that Mercy, Abigail, and Mary Warren have while alone?
9. How do we see Abigail as the acknowledged leader of this group?
10. In his stage directions, Miller tells us that despite, or perhaps because of, his upright appearance, John Proctor feels he is a fraud because he knows he is a sinner. What does his conversation with Abigail tell us about the nature of his sin?
11. As Abby flirts with John Proctor, what is her opinion of Betty’s illness?
12. What information about Thomas Putnam does Arthur Miller tell us in his expository aside? What does Ann Putnam claim in the play about her dead babies?
13. What seems to be attitude of Giles Corey and the others gathered in the house?
14. Rebecca Nurse, who walks to Betty’s bed and quiets her with her presence, is a voice of reason and rationality. To what does she attribute Betty’s condition?
15. Why do Putnam and Proctor get into an argument?
16. How does Proctor’s subsequent comment on hellfire and damnation cause an outburst from Rev. Parris?
17. In this argument, the theme of authority explicitly arises. What are the two points of view?
18. In what way do Putnam and Parris find themselves aligned on this question?
19. How is Putnam’s materialistic ambition further revealed in his argument with Proctor?
20. According to the stage the directions, how does John Hale enter for the first time?
21. Why does Rebecca Nurse tell Parris that Hale should be sent home rather than allowed to see Betty?
22. Who is Tituba and of what does Abigail accuse her? Why has Abigail turned on Tituba and accused her of these things?
23. What does Putnam say that terrifies Tituba and causes her to say that she told the devil that she did not want to work for him?
24. What happens when John Hale interrogates Tituba? How does the atmosphere of the scene become hysterical at the end of the act?
25. Why does Tituba come up with the name Goody Good and Goody Osburn as the two women she saw consorting with the devil?
26. What is the meaning of crucible in the title of the play? What kind of play does this title lead you to expect?
27. Consider the stage directions that describe the physical setting of the play as the curtain rises on Act One. Together with the opening lies of dialogue, what atmosphere of mood does this setting create?
28. Summarize your impressions of the Rev. Samuel Parris in this act. What are his principal flaws or moral weaknesses?
29. One of Miller’s major subjects in the play is the nature of authority. Comment on how Samuel Parris, Thomas Putnam, John Hale, and Rebecca Nurse are linked with the idea of authority in Act One. At this stage, what seems to be the playwright’s opinion about each of these character’s claims to possessing authority?
30. In two long segments of this act, Miller establishes a dominant form for many of the subsequent scenes in the play: the question and answer of interrogation. The playwright implies that both interrogations in this act are flawed in their methods and results. Who questions whom in the interrogation scenes in this act? Why does each interrogation fail?
Act II
1. What duty has Mary Warren been performing in Salem?
2. What does Elizabeth Proctor report to her husband about the trials in Salem, and what does she urge John to do?
3. What gift does Mary Warren present to Elizabeth?
4. What are some of the ways in which John Hale questions Proctor and his wife about their religious faith? How do the Proctors answer each of the questions and allegations?
5. Compare and contrast the setting of this act with that of Act 1. How are the two settings different? How are they similar in atmosphere or mood?
6. One of Miller’s most powerful devices in the play is his use of irony. Irony is the contrast or discrepancy between expectation and reality. In verbal irony, a writer or speaker says one thing but really means the opposite. In situational irony, what actually happens in the opposite of what is expected or appropriate. In dramatic irony, the audience or the reader is aware of something important that a character does not know. Explain how each of the following is an example of verbal, situation, or dramatic irony.
A. John’s words to Elizabeth at the beginning of the act, “Pray now for a fair summer.”
B. Mary’s gift of a poppet to Elizabeth
C. Proctor’s reliance, early in the act, on the good offices of Ezekiel Cheever
D. The one Commandment out of ten that John Proctor can’t remember
E. Proctor’s statement toward the end of the act about Abigail, “Good. Then her saintliness is done with.”
F. Hale’s statement about Parris, “The man’s ordained, therefore the light of God is in him.”
7. Explain John Proctor’s allusion as he tells Hale, “Pontius Pilate! God will not let you wash your hands of this!”
8. The scenes in this act are calculated to produce a rising surge of suspense or tension revolving around Elizabeth’s safety. How does the introductory conversation between John and Elizabeth establish suspense? How does the scene with Mary increase the tension? What further increase in suspense results from Hale’s visit and the reasons for it? Where does the tension peak in this act?
9. John Hale is one of the most important characters in the play. Do you find any hints in this act that suggest he will develop into a dynamic character (one who changes under pressure of events and conflicts)?
10. In what way has Mary Warren changed and what changed her?
11. How would you describe the relationship of John and Elizabeth Proctor at the beginning of the scene?
12. Why can’t John probe what Abigail told him? Why does Elizabeth pick up on this?
13. Of what does John accuse Elizabeth?
14. As he is about to whip Mary Warren, John stops short. What was it she told him?
15. Who does Elizabeth think called out her name and why?
16. What does Elizabeth want John to do now?
17. Why is he reluctant to do so?
18. Why has the Rev. Hale come to their house?
19. As proof of witchcraft, Rev. Hale pints out that a number of people have already confessed to being witches. What is Proctor’s response?
20. Who stuck the pin in Abigail’s belly and why?
21. To what does Hale attribute the calamity that has befallen Salem?
22. Why does this hit home with Proctor?
23. What does Mary say Abby will do if Proctor goes into court to denounce her?
24. What is Proctor’s response?
25. Why is Mary afraid to say anything in court?
Act III
1. What is Mary Warren now prepared to tell the court?
2. What two facts about John Proctor does Ezekiel Cheever feel compelled to reveal to Danforth?
3. What compromise, or deal, does Danforth offer to Proctor? What is Proctor’s response?
4. At what pint does John Hale begin to show that he is less than satisfied with the court’s procedures?
5. What device do Abigail and the other girls use to drive Mary Warren over the brink of hysteria?
6. What happens to John Proctor at the end of the act? How does John Hale show his disapproval?
7. This act contains much irony. Explain how the following are ironic:
A. John Proctor’s confession
B. Proctor’s passionate outburst at the end of the act, together with the court’s interpretation of his remarks
C. Miller’s comment in the stage directions that Abigail, “out of her infinite charity, reaches out and draws the sobbing Mary to her
8. Although this act centers on the subjects of hypocrisy and hysteria in the court proceedings, we are also presented with several examples of courage and the assertion of integrity. Howa re the following characters linked with the subject of courage in this act: Mary Warren, John Proctor, Giles Corey, John Hale?
9. Why does Giles say that he “broke charity” with his wife?
10. How has Rev. Hale changed since we last saw him?
11. Why is Mary Warren’s testimony critical for Hale, Proctor, Nurse and Corey?
12. What does Mary Warren tell Governor Danforth?
13. Why does Proctor say that his wife must be pregnant is she has said so?
14. What happens to the ninety-one people who signed the petition in support of the accused?
15. What is the charge that Giles Corey makes against Putnam?
16. What is Giles Corey’s proof for his charge, and why will he not supply the proof to the court?
17. Why does Danforth find it hard to believe that Abigail could be pretending and, and in effect, be a murderer?
18. How does the questioning of Mary Warren differ from the questioning of Abigail? Why?
19. Why can’t Mary give a show of pretense when asked by the court?
20. When Abigail is questioned by Danforth, how does she respond?
21. In calling Abigail a whore, what charge and punishment does Proctor open himself for? Why has he made this confession?
22. What test is Elizabeth given, and how does he fail it? Why?
23. What causes Mary Warren to crack?
Act IV
1. What is the setting of this act? How much time has elapsed since the end of Act 3?
2. Immediately after his entrance Governor Danforth remarks on a “prodigious stench.” What is the apparent cause of the odor in the jail?
3. What does Samuel Parris report about Abigail Williams and Mercy Lewis? Why is Parris afraid for his personal safety? What is Danforth’s reaction?
4. Why is Danforth especially nervous about rumors concerning events in Andover? What are his reasons for receiving no pleas or pardons or for postponement of the executions?
5. According to John Hale, what is the present condition of the countryside?
6. According Elizabeth, how did Giles Corey die?
7. For what does Elizabeth ask John to forgive her?
8. Why does Proctor refuse to sign his confession?
9. At the end of the play, when Hale urges Elizabeth to make a last-minute appeal to her husband, how does he respond?
10. Why do you think Danforth is said to be alarmed at the news that Abigail and Mercy Lewis have fled? What inner conflict may this news rouse in him? How does this conflict affect the course of his decisions in this act?
11. In the critical scene between Elizabeth and John Proctor, we gain insight into John’s actions at the climax of the play. How are Elizabeth and John both tortured by guilt? Why does Elizabeth refuse to influence John’s decision?
12. What structural parallel in Act 2 is recalled by John’s tearing up of his confession near the end of this act?
13. Why is Parris upset?
14. Why is Proctor calling himself a fraud?
The Crucible
The most obvious of these we will not cover in class; we will discuss questions that deal with setting and its importance, irony, theme, human nature, and dramatic license. The final will cover those topics, perhaps more.
Act I
1. Where and when is the opening scene of the play set?
2. In his stage directions, what are some of the good and bad points that Miller observes about the Puritans?
3. Why is the Rev. Samuel Parris so distraught at the beginning of Act One? What unnerves him about the report Susanna Walcott brings from Doctor Griggs? What negative aspect of his own character does this reveal?
4. Why has Parris sent for Rev. Hale of Beverly?
5. What do we learn in the exposition of the play about the events in the forest?
6. When Abigail enters, she is described as “a strikingly beautiful girl . . . with an endless capacity for dissembling.” What does the phrase “an endless capacity for dissembling” suggest? What has been Abigail’s past connection with the Proctor family?
6. What innuendo does Rev. Parris make about Abigail’s character?
7. How does Abigail respond?
8. What do we learn from the conversation that Mercy, Abigail, and Mary Warren have while alone?
9. How do we see Abigail as the acknowledged leader of this group?
10. In his stage directions, Miller tells us that despite, or perhaps because of, his upright appearance, John Proctor feels he is a fraud because he knows he is a sinner. What does his conversation with Abigail tell us about the nature of his sin?
11. As Abby flirts with John Proctor, what is her opinion of Betty’s illness?
12. What information about Thomas Putnam does Arthur Miller tell us in his expository aside? What does Ann Putnam claim in the play about her dead babies?
13. What seems to be attitude of Giles Corey and the others gathered in the house?
14. Rebecca Nurse, who walks to Betty’s bed and quiets her with her presence, is a voice of reason and rationality. To what does she attribute Betty’s condition?
15. Why do Putnam and Proctor get into an argument?
16. How does Proctor’s subsequent comment on hellfire and damnation cause an outburst from Rev. Parris?
17. In this argument, the theme of authority explicitly arises. What are the two points of view?
18. In what way do Putnam and Parris find themselves aligned on this question?
19. How is Putnam’s materialistic ambition further revealed in his argument with Proctor?
20. According to the stage the directions, how does John Hale enter for the first time?
21. Why does Rebecca Nurse tell Parris that Hale should be sent home rather than allowed to see Betty?
22. Who is Tituba and of what does Abigail accuse her? Why has Abigail turned on Tituba and accused her of these things?
23. What does Putnam say that terrifies Tituba and causes her to say that she told the devil that she did not want to work for him?
24. What happens when John Hale interrogates Tituba? How does the atmosphere of the scene become hysterical at the end of the act?
25. Why does Tituba come up with the name Goody Good and Goody Osburn as the two women she saw consorting with the devil?
26. What is the meaning of crucible in the title of the play? What kind of play does this title lead you to expect?
27. Consider the stage directions that describe the physical setting of the play as the curtain rises on Act One. Together with the opening lies of dialogue, what atmosphere of mood does this setting create?
28. Summarize your impressions of the Rev. Samuel Parris in this act. What are his principal flaws or moral weaknesses?
29. One of Miller’s major subjects in the play is the nature of authority. Comment on how Samuel Parris, Thomas Putnam, John Hale, and Rebecca Nurse are linked with the idea of authority in Act One. At this stage, what seems to be the playwright’s opinion about each of these character’s claims to possessing authority?
30. In two long segments of this act, Miller establishes a dominant form for many of the subsequent scenes in the play: the question and answer of interrogation. The playwright implies that both interrogations in this act are flawed in their methods and results. Who questions whom in the interrogation scenes in this act? Why does each interrogation fail?
Act II
1. What duty has Mary Warren been performing in Salem?
2. What does Elizabeth Proctor report to her husband about the trials in Salem, and what does she urge John to do?
3. What gift does Mary Warren present to Elizabeth?
4. What are some of the ways in which John Hale questions Proctor and his wife about their religious faith? How do the Proctors answer each of the questions and allegations?
5. Compare and contrast the setting of this act with that of Act 1. How are the two settings different? How are they similar in atmosphere or mood?
6. One of Miller’s most powerful devices in the play is his use of irony. Irony is the contrast or discrepancy between expectation and reality. In verbal irony, a writer or speaker says one thing but really means the opposite. In situational irony, what actually happens in the opposite of what is expected or appropriate. In dramatic irony, the audience or the reader is aware of something important that a character does not know. Explain how each of the following is an example of verbal, situation, or dramatic irony.
A. John’s words to Elizabeth at the beginning of the act, “Pray now for a fair summer.”
B. Mary’s gift of a poppet to Elizabeth
C. Proctor’s reliance, early in the act, on the good offices of Ezekiel Cheever
D. The one Commandment out of ten that John Proctor can’t remember
E. Proctor’s statement toward the end of the act about Abigail, “Good. Then her saintliness is done with.”
F. Hale’s statement about Parris, “The man’s ordained, therefore the light of God is in him.”
7. Explain John Proctor’s allusion as he tells Hale, “Pontius Pilate! God will not let you wash your hands of this!”
8. The scenes in this act are calculated to produce a rising surge of suspense or tension revolving around Elizabeth’s safety. How does the introductory conversation between John and Elizabeth establish suspense? How does the scene with Mary increase the tension? What further increase in suspense results from Hale’s visit and the reasons for it? Where does the tension peak in this act?
9. John Hale is one of the most important characters in the play. Do you find any hints in this act that suggest he will develop into a dynamic character (one who changes under pressure of events and conflicts)?
10. In what way has Mary Warren changed and what changed her?
11. How would you describe the relationship of John and Elizabeth Proctor at the beginning of the scene?
12. Why can’t John probe what Abigail told him? Why does Elizabeth pick up on this?
13. Of what does John accuse Elizabeth?
14. As he is about to whip Mary Warren, John stops short. What was it she told him?
15. Who does Elizabeth think called out her name and why?
16. What does Elizabeth want John to do now?
17. Why is he reluctant to do so?
18. Why has the Rev. Hale come to their house?
19. As proof of witchcraft, Rev. Hale pints out that a number of people have already confessed to being witches. What is Proctor’s response?
20. Who stuck the pin in Abigail’s belly and why?
21. To what does Hale attribute the calamity that has befallen Salem?
22. Why does this hit home with Proctor?
23. What does Mary say Abby will do if Proctor goes into court to denounce her?
24. What is Proctor’s response?
25. Why is Mary afraid to say anything in court?
Act III
1. What is Mary Warren now prepared to tell the court?
2. What two facts about John Proctor does Ezekiel Cheever feel compelled to reveal to Danforth?
3. What compromise, or deal, does Danforth offer to Proctor? What is Proctor’s response?
4. At what pint does John Hale begin to show that he is less than satisfied with the court’s procedures?
5. What device do Abigail and the other girls use to drive Mary Warren over the brink of hysteria?
6. What happens to John Proctor at the end of the act? How does John Hale show his disapproval?
7. This act contains much irony. Explain how the following are ironic:
A. John Proctor’s confession
B. Proctor’s passionate outburst at the end of the act, together with the court’s interpretation of his remarks
C. Miller’s comment in the stage directions that Abigail, “out of her infinite charity, reaches out and draws the sobbing Mary to her
8. Although this act centers on the subjects of hypocrisy and hysteria in the court proceedings, we are also presented with several examples of courage and the assertion of integrity. Howa re the following characters linked with the subject of courage in this act: Mary Warren, John Proctor, Giles Corey, John Hale?
9. Why does Giles say that he “broke charity” with his wife?
10. How has Rev. Hale changed since we last saw him?
11. Why is Mary Warren’s testimony critical for Hale, Proctor, Nurse and Corey?
12. What does Mary Warren tell Governor Danforth?
13. Why does Proctor say that his wife must be pregnant is she has said so?
14. What happens to the ninety-one people who signed the petition in support of the accused?
15. What is the charge that Giles Corey makes against Putnam?
16. What is Giles Corey’s proof for his charge, and why will he not supply the proof to the court?
17. Why does Danforth find it hard to believe that Abigail could be pretending and, and in effect, be a murderer?
18. How does the questioning of Mary Warren differ from the questioning of Abigail? Why?
19. Why can’t Mary give a show of pretense when asked by the court?
20. When Abigail is questioned by Danforth, how does she respond?
21. In calling Abigail a whore, what charge and punishment does Proctor open himself for? Why has he made this confession?
22. What test is Elizabeth given, and how does he fail it? Why?
23. What causes Mary Warren to crack?
Act IV
1. What is the setting of this act? How much time has elapsed since the end of Act 3?
2. Immediately after his entrance Governor Danforth remarks on a “prodigious stench.” What is the apparent cause of the odor in the jail?
3. What does Samuel Parris report about Abigail Williams and Mercy Lewis? Why is Parris afraid for his personal safety? What is Danforth’s reaction?
4. Why is Danforth especially nervous about rumors concerning events in Andover? What are his reasons for receiving no pleas or pardons or for postponement of the executions?
5. According to John Hale, what is the present condition of the countryside?
6. According Elizabeth, how did Giles Corey die?
7. For what does Elizabeth ask John to forgive her?
8. Why does Proctor refuse to sign his confession?
9. At the end of the play, when Hale urges Elizabeth to make a last-minute appeal to her husband, how does he respond?
10. Why do you think Danforth is said to be alarmed at the news that Abigail and Mercy Lewis have fled? What inner conflict may this news rouse in him? How does this conflict affect the course of his decisions in this act?
11. In the critical scene between Elizabeth and John Proctor, we gain insight into John’s actions at the climax of the play. How are Elizabeth and John both tortured by guilt? Why does Elizabeth refuse to influence John’s decision?
12. What structural parallel in Act 2 is recalled by John’s tearing up of his confession near the end of this act?
13. Why is Parris upset?
14. Why is Proctor calling himself a fraud?
Monday, November 15, 2010
THE CRUCIBLE by Arthur Miller - a Study Guide for MSC 1102 Aiken
Important Points/Notes:
Witch hunt
Setting—both time and place –
• Miller focuses on this in the information he provides in the play; read this carefully for the atmosphere surrounding the homes & the lives of the people of Salem
• How do the citizens of Salem compare and contrast to the Puritans who first settled New England?
• Note the setting of each act of The Crucible—both the introduction and the conclusion—how does the setting in each act reflect the small, narrow-minded world of the characters
Dramatic License—what is it, how is it used, why is it used
• What significant changes did Arthur Miller make in his play?
Unknown family conflicts – BEFORE the play opens
What are the suggested “hidden” factors that may have led to controversy in Salem?
• Greed
• Jealousy
Who was George Burroughs? What does he have to do with the events in the play?
What is guilt by association? Guilt by accusation?
Why did a 20th century playwright choose to focus on the village of Salem for his play?
SUGGESTED WEBSITES:
For serious information in an entertaining format, go to: http://www.nationalgeographic.com/salem/
At this interactive website, one gains important information on the atmosphere surrounding the town of Salem as well as a simulation of what happened when one was accused of witchcraft.
For a video on the Salem Witch trials, check out:
http://videos.howstuffworks.com/history/salem-witch-trials-videos-playlist.htm#video-29529
For an explanation of the real cause of the witch hunt, refer to:
http://history.howstuffworks.com/american-history/drugged-salem-witchtrial3.htm
There are additional websites available . . . just do a little futzing on the internet
Witch hunt
Setting—both time and place –
• Miller focuses on this in the information he provides in the play; read this carefully for the atmosphere surrounding the homes & the lives of the people of Salem
• How do the citizens of Salem compare and contrast to the Puritans who first settled New England?
• Note the setting of each act of The Crucible—both the introduction and the conclusion—how does the setting in each act reflect the small, narrow-minded world of the characters
Dramatic License—what is it, how is it used, why is it used
• What significant changes did Arthur Miller make in his play?
Unknown family conflicts – BEFORE the play opens
What are the suggested “hidden” factors that may have led to controversy in Salem?
• Greed
• Jealousy
Who was George Burroughs? What does he have to do with the events in the play?
What is guilt by association? Guilt by accusation?
Why did a 20th century playwright choose to focus on the village of Salem for his play?
SUGGESTED WEBSITES:
For serious information in an entertaining format, go to: http://www.nationalgeographic.com/salem/
At this interactive website, one gains important information on the atmosphere surrounding the town of Salem as well as a simulation of what happened when one was accused of witchcraft.
For a video on the Salem Witch trials, check out:
http://videos.howstuffworks.com/history/salem-witch-trials-videos-playlist.htm#video-29529
For an explanation of the real cause of the witch hunt, refer to:
http://history.howstuffworks.com/american-history/drugged-salem-witchtrial3.htm
There are additional websites available . . . just do a little futzing on the internet
Monday, November 1, 2010
Poetry Analysis Rubric
Poetry Analysis Rubric
Each of the following elements of poetry analysis will be rated as:
A = Outstanding/Excellent
B = Well Done
C = Adequate
D/F = Incomplete
Title: what does it mean? Suggest? What does it lend to the poem
Opening slide (image) along with appearances suggests the tone or meaning of the poem
Poem is given, read, and vocabulary explained
Literal Meaning—based on denotative words, what is the poem about, at least superficially?
Give initial reaction and reason for this reaction.
Who is the speaker? How is this discerned?
What is the setting of the poem—or are there any other key points readers need to know?
What is the TONE of the poem? What words suggest the tone?
What other connotative words are there? Do they have a positive or negative impact on the audience/reader?
Are there any metaphors? What do they represent?
What is the style of the poem?
Are the images in the power point explained or are they appropriate to the poem?
Where does the shift in the poem? Is the shift in tone, action in the poem or other?
What does the poem seem to be saying about man or life in the poem—that is, what is the theme of the poem?
Each of the following elements of poetry analysis will be rated as:
A = Outstanding/Excellent
B = Well Done
C = Adequate
D/F = Incomplete
Title: what does it mean? Suggest? What does it lend to the poem
Opening slide (image) along with appearances suggests the tone or meaning of the poem
Poem is given, read, and vocabulary explained
Literal Meaning—based on denotative words, what is the poem about, at least superficially?
Give initial reaction and reason for this reaction.
Who is the speaker? How is this discerned?
What is the setting of the poem—or are there any other key points readers need to know?
What is the TONE of the poem? What words suggest the tone?
What other connotative words are there? Do they have a positive or negative impact on the audience/reader?
Are there any metaphors? What do they represent?
What is the style of the poem?
Are the images in the power point explained or are they appropriate to the poem?
Where does the shift in the poem? Is the shift in tone, action in the poem or other?
What does the poem seem to be saying about man or life in the poem—that is, what is the theme of the poem?
Thursday, October 21, 2010
NOTHING GOLD CAN STAY
NOTHING GOLD CAN STAY by Robert Frost
Nature's first green is gold,
Her hardest hue to hold.
Her early leaf's a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay.
Nature's first green is gold,
Her hardest hue to hold.
Her early leaf's a flower;
But only so an hour.
Then leaf subsides to leaf.
So Eden sank to grief,
So dawn goes down to day.
Nothing gold can stay.
Poetry Analysis Worksheet
Poetry Analysis Worksheet
What does the title mean?
Take a look at the title and reflect on what it means.
2. Put it in your own words
Read the poem two or three times. You will see something different each time you read the poem. Write a brief paraphrase of the poem. Highlight or list some of the words (nouns, verbs, phrases) that are important to understanding the poem.
3. What do you think the poem means?
Now think about the meaning of the poem, not just the obvious meaning of each word but what they mean beyond the literal. Do these words suggest something else?
Answer these questions and provide evidence—lines, words, phrases from the poem--for your answers:
• Who is the speaker of the poem? • What is he/she talking about?
• Why do you think the author wrote the poem?
• When is the poem happening and where is the poem happening?
• What is the poet’s attitude or tone in the poem?
• How does the poem shift from person to person or between different times or places?
Most poems tell us about a poet’s understanding of an experience so the beginning will be different then the end. The change or shift may be in feelings, language (slang to formal), or connotation (positive to negative). Explain how these shifts convey the poem’s message.
4. Poetic devices:
Identify different poetic devices and how they convey the poem’s message.
• Simile – comparison using like or as
• Metaphor – a direct comparison
• Personification – giving human qualities to nonhuman things
• Tone – what emotion does the speaker use as he talks
• Point of view – who is the telling the poem
• Imagery – creating pictures with words
• Alliteration – repeating the same letter
5. Theme
Identify the theme (central idea) of the poem. How does the theme convey the poem’s message?
6. Look at the title again
Now look at the title again. Do you now have a different interpretation of the title?
7. Begin preparing your analysis & your powerpoint
Copyright 2009 IRA/NCTE. All rights reserved.
ReadWriteThink materials may be reproduced for educational purposes.
What does the title mean?
Take a look at the title and reflect on what it means.
2. Put it in your own words
Read the poem two or three times. You will see something different each time you read the poem. Write a brief paraphrase of the poem. Highlight or list some of the words (nouns, verbs, phrases) that are important to understanding the poem.
3. What do you think the poem means?
Now think about the meaning of the poem, not just the obvious meaning of each word but what they mean beyond the literal. Do these words suggest something else?
Answer these questions and provide evidence—lines, words, phrases from the poem--for your answers:
• Who is the speaker of the poem? • What is he/she talking about?
• Why do you think the author wrote the poem?
• When is the poem happening and where is the poem happening?
• What is the poet’s attitude or tone in the poem?
• How does the poem shift from person to person or between different times or places?
Most poems tell us about a poet’s understanding of an experience so the beginning will be different then the end. The change or shift may be in feelings, language (slang to formal), or connotation (positive to negative). Explain how these shifts convey the poem’s message.
4. Poetic devices:
Identify different poetic devices and how they convey the poem’s message.
• Simile – comparison using like or as
• Metaphor – a direct comparison
• Personification – giving human qualities to nonhuman things
• Tone – what emotion does the speaker use as he talks
• Point of view – who is the telling the poem
• Imagery – creating pictures with words
• Alliteration – repeating the same letter
5. Theme
Identify the theme (central idea) of the poem. How does the theme convey the poem’s message?
6. Look at the title again
Now look at the title again. Do you now have a different interpretation of the title?
7. Begin preparing your analysis & your powerpoint
Copyright 2009 IRA/NCTE. All rights reserved.
ReadWriteThink materials may be reproduced for educational purposes.
Elements of Poetry - continued
Shift in poetry - A change that is often intentional
point of view, scenery, mood,...
Initial reaction
Title of the Poem
• Is the title's meaning obvious? For example, does it mention a single setting and action, such as W. S. Merwin's "The Drunk in the Furnace" or James A. Wright's "Autumn Begins in Martins Ferry, Ohio"?
• Does it imply multiple possibilities? For example, Jean Toomer's "Georgia Dusk," which refers to a time of day as well as to dark-skinned people.
• Does it strike a balance, as in Rita Dove's "Beulah and Thomas"?
• Is there an obvious antithesis, as with Robert Frost's "Fire and Ice"?
• Is there historical significance to the title? For example, Robert Lowell's "The Quaker Graveyard in Nantucket."
source (don’t go into shock): http://www.cliffsnotes.com/WileyCDA/LitNote/American-Poets-of-the-20th-Century-How-to-Analyze-Poetry-Title-of-the-Poem.id-11,pageNum-4.html
Style of the Poem
Into what category does the poem fit — for example, Carl Sandburg's imagism in "Fog" or Gwendolyn Brooks' epic "The Anniad"? Readers should apply definitions of the many categories to determine which describes the poem's length and style:
• Is it an epic, a long poem about a great person or national hero?
• Is it a lyric, a short, musical verse?
• Is it a narrative, a poem that tells a story?
• Is it a haiku, an intense, lyrical three-line verse of seventeen syllables?
• Is it confessional? For example, does it examine personal memories and experiences?
source (don’t go into shock): Read more: http://www.cliffsnotes.com/study_guide/literature/American-Poets-of-the-20th-Century-How-to-Analyze-Poetry-Style-of-the-Poem.id-11,pageNum-3.html#ixzz12zULqUUE
Tone
Paraphrase
Literal vs. Figurative Meaning
Paradox
point of view, scenery, mood,...
Initial reaction
Title of the Poem
• Is the title's meaning obvious? For example, does it mention a single setting and action, such as W. S. Merwin's "The Drunk in the Furnace" or James A. Wright's "Autumn Begins in Martins Ferry, Ohio"?
• Does it imply multiple possibilities? For example, Jean Toomer's "Georgia Dusk," which refers to a time of day as well as to dark-skinned people.
• Does it strike a balance, as in Rita Dove's "Beulah and Thomas"?
• Is there an obvious antithesis, as with Robert Frost's "Fire and Ice"?
• Is there historical significance to the title? For example, Robert Lowell's "The Quaker Graveyard in Nantucket."
source (don’t go into shock): http://www.cliffsnotes.com/WileyCDA/LitNote/American-Poets-of-the-20th-Century-How-to-Analyze-Poetry-Title-of-the-Poem.id-11,pageNum-4.html
Style of the Poem
Into what category does the poem fit — for example, Carl Sandburg's imagism in "Fog" or Gwendolyn Brooks' epic "The Anniad"? Readers should apply definitions of the many categories to determine which describes the poem's length and style:
• Is it an epic, a long poem about a great person or national hero?
• Is it a lyric, a short, musical verse?
• Is it a narrative, a poem that tells a story?
• Is it a haiku, an intense, lyrical three-line verse of seventeen syllables?
• Is it confessional? For example, does it examine personal memories and experiences?
source (don’t go into shock): Read more: http://www.cliffsnotes.com/study_guide/literature/American-Poets-of-the-20th-Century-How-to-Analyze-Poetry-Style-of-the-Poem.id-11,pageNum-3.html#ixzz12zULqUUE
Tone
Paraphrase
Literal vs. Figurative Meaning
Paradox
Wednesday, October 13, 2010
Assignments Over Poetry
ASSIGNMENT #2: for the first day of next week
READ:
Chapter 2: EMOTIONS - pages 19-38
Chapter 3: IMAGES - pages 39 - 70
ASSIGNMENT #3: for the second day of next week:
READ:
Chapter 5: SOUND - pages 109-128
Chapter 6: METAPHORS, SIMILES, & SYMBOLS - pages 145-176
READ:
Chapter 2: EMOTIONS - pages 19-38
Chapter 3: IMAGES - pages 39 - 70
ASSIGNMENT #3: for the second day of next week:
READ:
Chapter 5: SOUND - pages 109-128
Chapter 6: METAPHORS, SIMILES, & SYMBOLS - pages 145-176
Online Poetry: "The Raven" by Edgar Allan Poe
The Raven
by Edgar Allan Poe
Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore--
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
"'Tis some visiter," I muttered, "tapping at my chamber door--
Only this and nothing more."
Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;--vainly I had sought to borrow
From my books surcease of sorrow--sorrow for the lost Lenore--
For the rare and radiant maiden whom the angels name Lenore--
Nameless here for evermore.
And the silken sad uncertain rustling of each purple curtain
Thrilled me--filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
"'Tis some visiter entreating entrance at my chamber door--
Some late visiter entreating entrance at my chamber door;
This it is and nothing more."
Presently my soul grew stronger; hesitating then no longer,
"Sir," said I, "or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you"--here I opened wide the door--
Darkness there and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortals ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, "Lenore?"
This I whispered, and an echo murmured back the word, "Lenore!"--
Merely this and nothing more.
Back into the chamber turning, all my sour within me burning,
Soon again I heard a tapping something louder than before.
"Surely," said I, "surely that is something at my window lattice;
Let me see, then, what thereat is and this mystery explore--
Let my heart be still a moment and this mystery explore;--
'Tis the wind and nothing more.
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he,
But, with mien of lord or lady, perched above my chamber door--
Perched upon a bust of Pallas just above my chamber door--
Perched, and sat, and nothing more.
Then the ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
"Though thy crest be shorn and shaven, thou," I said, "art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore--
Tell me what thy lordly name is on the Night's Plutonian shore!"
Quoth the Raven, "Nevermore."
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning--little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door--
Bird or beast upon the sculptured bust above his chamber door,
With such name as "Nevermore."
But the Raven, sitting lonely on that placid bust, spoke only
That one word, as if its soul in that one word he did outpour
Nothing farther then he uttered; not a feather then he fluttered--
Till I scarcely more than muttered: "Other friends have flown before--
On the morrow he will leave me, as my Hopes have flown before."
Then the bird said "Nevermore."
Startled at the stillness broken by reply so aptly spoken,
"Doubtless," said I, "what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore--
Till the dirges of his Hope that melancholy burden bore
Of 'Never--nevermore.'"
But the Raven still beguiling all my sad soul into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore--
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking "Nevermore."
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
"Wretch," I cried, "thy God hath lent thee--by these angels he hath sent thee
Respite--respite and nepenthe from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!"
Quoth the Raven, "Nevermore."
"Prophet!" said I, "thing of evil!--prophet still, if bird or devil!--
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate, yet all undaunted, on this desert land enchanted--
On this home by Horror haunted--tell me truly, I implore--
Is there--is there balm in Gilead?--tell me--tell me, I implore!"
Quoth the Raven, "Nevermore."
"Prophet!" said I, "thing of evil!--prophet still, if bird or devil!
By that Heaven that bends above us--by that God we both adore--
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore--
Clasp a rare and radiant maiden whom the angels name Lenore."
Quoth the Raven, "Nevermore."
"Be that our sign of parting, bird or fiend!" I shrieked, upstarting--
"Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul has spoken!
Leave my loneliness unbroken!--quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!"
Quoth the Raven, "Nevermore."
And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming
And the lamp-light o'er him streaming throws his shadows on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted--nevermore!
by Edgar Allan Poe
Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore--
While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
"'Tis some visiter," I muttered, "tapping at my chamber door--
Only this and nothing more."
Ah, distinctly I remember it was in the bleak December,
And each separate dying ember wrought its ghost upon the floor.
Eagerly I wished the morrow;--vainly I had sought to borrow
From my books surcease of sorrow--sorrow for the lost Lenore--
For the rare and radiant maiden whom the angels name Lenore--
Nameless here for evermore.
And the silken sad uncertain rustling of each purple curtain
Thrilled me--filled me with fantastic terrors never felt before;
So that now, to still the beating of my heart, I stood repeating
"'Tis some visiter entreating entrance at my chamber door--
Some late visiter entreating entrance at my chamber door;
This it is and nothing more."
Presently my soul grew stronger; hesitating then no longer,
"Sir," said I, "or Madam, truly your forgiveness I implore;
But the fact is I was napping, and so gently you came rapping,
And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you"--here I opened wide the door--
Darkness there and nothing more.
Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortals ever dared to dream before;
But the silence was unbroken, and the stillness gave no token,
And the only word there spoken was the whispered word, "Lenore?"
This I whispered, and an echo murmured back the word, "Lenore!"--
Merely this and nothing more.
Back into the chamber turning, all my sour within me burning,
Soon again I heard a tapping something louder than before.
"Surely," said I, "surely that is something at my window lattice;
Let me see, then, what thereat is and this mystery explore--
Let my heart be still a moment and this mystery explore;--
'Tis the wind and nothing more.
Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore.
Not the least obeisance made he; not a minute stopped or stayed he,
But, with mien of lord or lady, perched above my chamber door--
Perched upon a bust of Pallas just above my chamber door--
Perched, and sat, and nothing more.
Then the ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
"Though thy crest be shorn and shaven, thou," I said, "art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore--
Tell me what thy lordly name is on the Night's Plutonian shore!"
Quoth the Raven, "Nevermore."
Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning--little relevancy bore;
For we cannot help agreeing that no living human being
Ever yet was blessed with seeing bird above his chamber door--
Bird or beast upon the sculptured bust above his chamber door,
With such name as "Nevermore."
But the Raven, sitting lonely on that placid bust, spoke only
That one word, as if its soul in that one word he did outpour
Nothing farther then he uttered; not a feather then he fluttered--
Till I scarcely more than muttered: "Other friends have flown before--
On the morrow he will leave me, as my Hopes have flown before."
Then the bird said "Nevermore."
Startled at the stillness broken by reply so aptly spoken,
"Doubtless," said I, "what it utters is its only stock and store,
Caught from some unhappy master whom unmerciful Disaster
Followed fast and followed faster till his songs one burden bore--
Till the dirges of his Hope that melancholy burden bore
Of 'Never--nevermore.'"
But the Raven still beguiling all my sad soul into smiling,
Straight I wheeled a cushioned seat in front of bird and bust and door;
Then, upon the velvet sinking, I betook myself to linking
Fancy unto fancy, thinking what this ominous bird of yore--
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
Meant in croaking "Nevermore."
This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom's core;
This and more I sat divining, with my head at ease reclining
On the cushion's velvet lining that the lamp-light gloated o'er,
But whose velvet violet lining with the lamp-light gloating o'er
She shall press, ah, nevermore!
Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
"Wretch," I cried, "thy God hath lent thee--by these angels he hath sent thee
Respite--respite and nepenthe from thy memories of Lenore!
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!"
Quoth the Raven, "Nevermore."
"Prophet!" said I, "thing of evil!--prophet still, if bird or devil!--
Whether Tempter sent, or whether tempest tossed thee here ashore,
Desolate, yet all undaunted, on this desert land enchanted--
On this home by Horror haunted--tell me truly, I implore--
Is there--is there balm in Gilead?--tell me--tell me, I implore!"
Quoth the Raven, "Nevermore."
"Prophet!" said I, "thing of evil!--prophet still, if bird or devil!
By that Heaven that bends above us--by that God we both adore--
Tell this soul with sorrow laden if, within the distant Aidenn,
It shall clasp a sainted maiden whom the angels name Lenore--
Clasp a rare and radiant maiden whom the angels name Lenore."
Quoth the Raven, "Nevermore."
"Be that our sign of parting, bird or fiend!" I shrieked, upstarting--
"Get thee back into the tempest and the Night's Plutonian shore!
Leave no black plume as a token of that lie thy soul has spoken!
Leave my loneliness unbroken!--quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!"
Quoth the Raven, "Nevermore."
And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
And his eyes have all the seeming of a demon's that is dreaming
And the lamp-light o'er him streaming throws his shadows on the floor;
And my soul from out that shadow that lies floating on the floor
Shall be lifted--nevermore!
FB, You Tube & Poetry
Believe it or NOT, I'm always looking for ways to make English a little less borning. I know some students don't care for poetry, but it seems that some of our modern media helps to make it a bit more accessible. I requested help from my friends on FB in finding poems that have been in movies, like the ones we've watched: Robin Williams in DEAD POETS SOCIETY, "Invictus," from the movie of the same name, and "Charge of the Light Brigade" from THE BLINDSIDE.
One of my former students sent me this link, which I will post on the sidebar. :
http://poetmom.blogspot.com/2007/06/poetry-in-movies.html
I would like to find more links to poetry on the web, on youtube, or related media that would help this class and other classes enjoy poetry.
Please see what you can find and email the link to me or bring it to class. I really would love to see what you can find!
One of my former students sent me this link, which I will post on the sidebar. :
http://poetmom.blogspot.com/2007/06/poetry-in-movies.html
I would like to find more links to poetry on the web, on youtube, or related media that would help this class and other classes enjoy poetry.
Please see what you can find and email the link to me or bring it to class. I really would love to see what you can find!
Tuesday, October 12, 2010
Initial Poetry Assignment
READ: the Introduction – ix-xii; be ready to discuss the following:
Read “To The Reader” in The Poetry Reader’s Toolkit – pages ix – xii
a. What does it mean that poetry has been “mystified”?
b. Why is reading poetry NOT like watching television?
c. Terms from these pages (Glossary in the back of the book):
i. Connotation
ii. Images
iii. Concrete & Abstract
iv. Rhyme
v. Rhythm
vi. Assonance
vii. Alliteration
viii. Metaphor
ix. Simile
x. Symbol
READ Chapter One; be ready to discuss the following questions:
1. What did the author’s father mean when he said, “That was poetry” in reference to a quarterback’s play?
2. What is the difference between literal meaning and metaphorical meaning?
3. How can listening to music be similar to reading and understanding poetry?
4. Explain why PATIENCE may be the most important key in understanding poetry?
5. What is meant by the “speaker” of the poem & why is this important?
Read “To The Reader” in The Poetry Reader’s Toolkit – pages ix – xii
a. What does it mean that poetry has been “mystified”?
b. Why is reading poetry NOT like watching television?
c. Terms from these pages (Glossary in the back of the book):
i. Connotation
ii. Images
iii. Concrete & Abstract
iv. Rhyme
v. Rhythm
vi. Assonance
vii. Alliteration
viii. Metaphor
ix. Simile
x. Symbol
READ Chapter One; be ready to discuss the following questions:
1. What did the author’s father mean when he said, “That was poetry” in reference to a quarterback’s play?
2. What is the difference between literal meaning and metaphorical meaning?
3. How can listening to music be similar to reading and understanding poetry?
4. Explain why PATIENCE may be the most important key in understanding poetry?
5. What is meant by the “speaker” of the poem & why is this important?
Monday, October 4, 2010
Essay Topics - # 3
The THings They Carried - Essay Topics #3 - DUE: THE FIRST DAY OF CLASS, the week of October 11, 2010; length: approximately 800 words. (About 3 pages, 12 pt. font, MLA format)
1. The Importance of Storytelling to the Men of Alpha Company.
Storytelling is vital to all of the characters in Tim O’Brien’s The Things They Carried. What stories are told by Mitch Sanders, Rat Kiley, Jimmy Cross, Tim O’Brien (the soldier/character)? What benefit comes to each man from telling stories? In what way are these men “saved” by their stories? Who is the one man who is unable to tell stories? What happens to him? What does this suggest about the power of storytelling?
2. Guilt as a Motivating Factor in the Lives of the Men of Alpha Company.
How does guilt enter the lives of Jimmy Cross, Tim O’Brien, Norman Bowker, Rat Kiley, Dave Jensen, Curt Lemon? Why is shame or guilt so difficult? In what way does guilt compel each man to make emotional, rather than logical decisions? How does storytelling help relieve some of the guilt?
3. The Things They Carried as a Metaphor of Life.
Discuss the concept of war as a metaphor for life; that is, in what way is all life a war? How are they comparable? How do the female characters remind the reader that this is a novel about facing the struggles and obstacles of life? What happens to innocence? Which episodes from the novel best illustrate human nature and stress which are a part of all human life?
4. “Truth” in The Things They Carried
The Greek philosopher and playwright Aeschylus said, “In war, truth is the first casualty.” Tim O’Brien’s novel, The Things They Carried is very much concerned with the truth of war. How does O’Brien distinguish between the “happening-truth” and the “story-truth”? Which is more important? Why? How does storytelling—the use of fiction—allow for a greater sense of truth than factual reporting might? What are the pervading truths of this novel? (Support with textual evidence.)
1. The Importance of Storytelling to the Men of Alpha Company.
Storytelling is vital to all of the characters in Tim O’Brien’s The Things They Carried. What stories are told by Mitch Sanders, Rat Kiley, Jimmy Cross, Tim O’Brien (the soldier/character)? What benefit comes to each man from telling stories? In what way are these men “saved” by their stories? Who is the one man who is unable to tell stories? What happens to him? What does this suggest about the power of storytelling?
2. Guilt as a Motivating Factor in the Lives of the Men of Alpha Company.
How does guilt enter the lives of Jimmy Cross, Tim O’Brien, Norman Bowker, Rat Kiley, Dave Jensen, Curt Lemon? Why is shame or guilt so difficult? In what way does guilt compel each man to make emotional, rather than logical decisions? How does storytelling help relieve some of the guilt?
3. The Things They Carried as a Metaphor of Life.
Discuss the concept of war as a metaphor for life; that is, in what way is all life a war? How are they comparable? How do the female characters remind the reader that this is a novel about facing the struggles and obstacles of life? What happens to innocence? Which episodes from the novel best illustrate human nature and stress which are a part of all human life?
4. “Truth” in The Things They Carried
The Greek philosopher and playwright Aeschylus said, “In war, truth is the first casualty.” Tim O’Brien’s novel, The Things They Carried is very much concerned with the truth of war. How does O’Brien distinguish between the “happening-truth” and the “story-truth”? Which is more important? Why? How does storytelling—the use of fiction—allow for a greater sense of truth than factual reporting might? What are the pervading truths of this novel? (Support with textual evidence.)
Wednesday, September 29, 2010
Abbreviations Explained
IVT - incorrect verb tense
* avoid use of "would" or "will" TRY to use active verbs in present tense
VPR - vague pronoun reference
BW - use a better word
WW - this is the wrong word - examples:
homonyms: since/sense/cents
their/there/they're
CS - comma splice
SF - sentence fragment
TR - there needs to be a TRANSITION between two sentences within a paragraph or between two paragraph
AGR - agreement errors can occur between subject & predicate, but in college papers, there are agreement errors between the pronoun and the word the pronoun stands for
NOTES:
Only ONE functional fragment per paper
Avoid homonym confusion
Avoid beginning sentences with conjunctions--examples: "But . . .," "And. . .;" "So . . ." "Because . . ."
Eliminate unnecessary words that confuse rather than clarify
Make the thesis statement clear, direct, explicit
Make sure every paragraph is directly related to that thesis
NO 2nd person, if at all possible
Avoid using the adverb "SO"
Avoid using simple vocabulary - examples: "great," "nice," "a lot"
* avoid use of "would" or "will" TRY to use active verbs in present tense
VPR - vague pronoun reference
BW - use a better word
WW - this is the wrong word - examples:
homonyms: since/sense/cents
their/there/they're
CS - comma splice
SF - sentence fragment
TR - there needs to be a TRANSITION between two sentences within a paragraph or between two paragraph
AGR - agreement errors can occur between subject & predicate, but in college papers, there are agreement errors between the pronoun and the word the pronoun stands for
NOTES:
Only ONE functional fragment per paper
Avoid homonym confusion
Avoid beginning sentences with conjunctions--examples: "But . . .," "And. . .;" "So . . ." "Because . . ."
Eliminate unnecessary words that confuse rather than clarify
Make the thesis statement clear, direct, explicit
Make sure every paragraph is directly related to that thesis
NO 2nd person, if at all possible
Avoid using the adverb "SO"
Avoid using simple vocabulary - examples: "great," "nice," "a lot"
Monday, September 13, 2010
MACON 1102 Themes & Groups
Importance of Storytelling: Charles - Sidony - Nick - Sam - Ankit - Hunter
The Role of Women: Quintisha - J'Mecia - Jeremiah - Sylatha - Alex - Raj
Truth & Memory: Desiree - David - Nicole - Eric - Amanda - Suzanne
Courage, Honor, Shame: Krystal - Kendra - Tyler - Neel - Jena - Jamal
Group Analyses to be presented on Sept. 20 & 22
The Role of Women: Quintisha - J'Mecia - Jeremiah - Sylatha - Alex - Raj
Truth & Memory: Desiree - David - Nicole - Eric - Amanda - Suzanne
Courage, Honor, Shame: Krystal - Kendra - Tyler - Neel - Jena - Jamal
Group Analyses to be presented on Sept. 20 & 22
Thursday, September 9, 2010
Major Themes or Motifs in THE THINGS THEY CARRIED
FOR WRC CLASS:
Honor and Shame as a motivating force - colors yellow & maroon
The Role of Women - colors red
The Importance of Storytelling - colors cream & bright blue
The Significance and Changing states of Truth & Memory - colors blue & purple
Honor and Shame as a motivating force - colors yellow & maroon
The Role of Women - colors red
The Importance of Storytelling - colors cream & bright blue
The Significance and Changing states of Truth & Memory - colors blue & purple
Wednesday, September 8, 2010
Character Analysis - Due the first day of class, the Week of Sept.27
The character analysis may be presented in any way the student chooses as long as all aspects of character are completed and it is clear that the student has analyzed the character thoroughly.
Students may:
*create a powerpoint
*write an analysis, as in an essay
*make a chart or table with all information complete
*list all aspects of character
*create an original presentation that provides all information
The character analysis is INDIVIDUAL; the themes or motifs are to be done in groups; the character analysis will be presented to me; the group work will be presented to the entire class.
Identify the character and define his personality –
• Identify each story in which the character appears
• Create an imagined (or not) back-story for this character—what was he like BEFORE Vietnam
• Cite pages on which there is direct characterization – what does the author “give” in terms of what he wants you to know outright about a character?
• Cite pages on which the character has significant action – what does he DO and what inference can you draw from his action (or reaction)
• Cite pages on which the character speaks – what does he say that in some significant way reveals his personality or character? What does it reveal—again draw inferences.
• Cite pages on which other characters speak of this character – what is said about this character & what does it mean? Can you draw a conclusion or inference based on what other people say about him? Explain.
• Create an imagined (or not) epilogue for this character—what happens to him after the war?
*NOTE: The back-story and the epilogue MUST be believable based on the information presented in the story; for example, it would be highly unlikely and not at all plausible for Azar to become a priest, based on his words, actions, and knowledge the reader gains during reading the book.
HOWEVER - I do not expect a long, involved story; instead, a couple of good paragraphs that summarizes what you imagine the character might have been or might have become would suffice.
Students may:
*create a powerpoint
*write an analysis, as in an essay
*make a chart or table with all information complete
*list all aspects of character
*create an original presentation that provides all information
The character analysis is INDIVIDUAL; the themes or motifs are to be done in groups; the character analysis will be presented to me; the group work will be presented to the entire class.
Identify the character and define his personality –
• Identify each story in which the character appears
• Create an imagined (or not) back-story for this character—what was he like BEFORE Vietnam
• Cite pages on which there is direct characterization – what does the author “give” in terms of what he wants you to know outright about a character?
• Cite pages on which the character has significant action – what does he DO and what inference can you draw from his action (or reaction)
• Cite pages on which the character speaks – what does he say that in some significant way reveals his personality or character? What does it reveal—again draw inferences.
• Cite pages on which other characters speak of this character – what is said about this character & what does it mean? Can you draw a conclusion or inference based on what other people say about him? Explain.
• Create an imagined (or not) epilogue for this character—what happens to him after the war?
*NOTE: The back-story and the epilogue MUST be believable based on the information presented in the story; for example, it would be highly unlikely and not at all plausible for Azar to become a priest, based on his words, actions, and knowledge the reader gains during reading the book.
HOWEVER - I do not expect a long, involved story; instead, a couple of good paragraphs that summarizes what you imagine the character might have been or might have become would suffice.
Monday, August 30, 2010
Questions for "How to Tell a True War Story"
In what way does Rat Kiley’s letter to Lemon’s sister represent a catharsis? What other action represents his catharsis?
What is the connection between the beginning of “How to Tell a True War Story” (Rat’s letter to Lemon’s sister) and the end of the story?
If a “true” war story is characterized by an “absolute and uncompromising allegiance to obscenity and evil,” why does O’Brien describe Lemon’s death—at least much of it—in terms of beauty?
Why does the author open with the line: “This is true.”
Explain the paradox of Rat Kiley, as he is described “with those big sad gentle killer eyes.”
Why is Mitch Sanders’ story of the men in the mountains important? How does it relate to the point O’Brien makes at the end of this story?
How can this be more of a “love” story than a “war” story?
What is the connection between the beginning of “How to Tell a True War Story” (Rat’s letter to Lemon’s sister) and the end of the story?
If a “true” war story is characterized by an “absolute and uncompromising allegiance to obscenity and evil,” why does O’Brien describe Lemon’s death—at least much of it—in terms of beauty?
Why does the author open with the line: “This is true.”
Explain the paradox of Rat Kiley, as he is described “with those big sad gentle killer eyes.”
Why is Mitch Sanders’ story of the men in the mountains important? How does it relate to the point O’Brien makes at the end of this story?
How can this be more of a “love” story than a “war” story?
Wednesday, August 25, 2010
PARADOX
Paradox – a situation in which 2 opposites exist at the same time.
LOOK for PARADOX in “How to Tell a True War Story”
Example: “War is nasty; war is fun. War is thrilling; war is drudgery.”
LOOK for PARADOX in “How to Tell a True War Story”
Example: “War is nasty; war is fun. War is thrilling; war is drudgery.”
Points of Concentration in The Things They Carried
REMINDER: Quiz the first day of next week over the entire novel, so be sure to READ.
Major Characters - Specifically:
Tim O'Brien (character/narrator needs to be distinguished from the author)
Jimmy Cross
Rat Kiley
Mitch Sanders
Henry Dobbins
Norman Bowker
Kiowa
Minor Characters - these "fill out" the novel and are involved with the revelations of the major characters the reader has:
Ted Lavendar
Curt Lemon
Mary Ann
Dave Jensen
Lee Strunk
Azar
Bobby Jorgenson
The Women--before, during, and after the war:
Martha
Mary Ann
Linda
Storytelling
Truth & Memory
The role/importance of women in the novel
Major Characters - Specifically:
Tim O'Brien (character/narrator needs to be distinguished from the author)
Jimmy Cross
Rat Kiley
Mitch Sanders
Henry Dobbins
Norman Bowker
Kiowa
Minor Characters - these "fill out" the novel and are involved with the revelations of the major characters the reader has:
Ted Lavendar
Curt Lemon
Mary Ann
Dave Jensen
Lee Strunk
Azar
Bobby Jorgenson
The Women--before, during, and after the war:
Martha
Mary Ann
Linda
Storytelling
Truth & Memory
The role/importance of women in the novel
Monday, August 23, 2010
Characters of Alpha Company
1. The author, Tim O'Brien takes personal experience and changes it for the sake of fiction, not unlike playwrights who take dramatic license to make a play more entertaining. In changing his experiences for the sake of fiction, O'Brien hopes to hold the readers' attention so as to better understand the emotions involved in the initial experience. In the story, "On the Rainy River" O'Brien's character had a gruesome (and deliberately symbolic) job during the summer, before he went to war. What was it? How might it be symbolic? If the character had done something else, would it have been as emotionally riveting to the reader? Explain
1. Note the dedication to the book. To whom has the author dedicated his book? Why? What do you believe it says about the author that he has dedicated his book to a company of fictional characters?
2. O'Brien (the narrator/character) reveals that he succumbed to pressure and fear of shame and that in so doing his brought to Vietnam. Do any of the other characters listed in the dedication respond to societal pressure or peer pressure in a similar way? Explain.
3. O'Brien speaks of his feelings of shame at the end of "Rainy River." How could his own feelings of embarrassment effect the manner in which he presents his companions of Alpha Company? Is he more or less sympathetic to them because of his own experience? Why? OR Why not?
4. In what way does Kiowa misinterpret Cross' reaction to Lavendar's death? How does Kiowa react to Lavendar's death? What is Norman Bowker's complaint to Kiowa?
5. What gesture does Martha make that suggests that she has experienced a traumatic experience that has changed her permanently?
6. Each man carries his basic gear and items which help him endure the Vietnamese tour of duty. What does Kiowa carry? Rat Kiley? What do their possessions reveal about each man?
7.
1. Note the dedication to the book. To whom has the author dedicated his book? Why? What do you believe it says about the author that he has dedicated his book to a company of fictional characters?
2. O'Brien (the narrator/character) reveals that he succumbed to pressure and fear of shame and that in so doing his brought to Vietnam. Do any of the other characters listed in the dedication respond to societal pressure or peer pressure in a similar way? Explain.
3. O'Brien speaks of his feelings of shame at the end of "Rainy River." How could his own feelings of embarrassment effect the manner in which he presents his companions of Alpha Company? Is he more or less sympathetic to them because of his own experience? Why? OR Why not?
4. In what way does Kiowa misinterpret Cross' reaction to Lavendar's death? How does Kiowa react to Lavendar's death? What is Norman Bowker's complaint to Kiowa?
5. What gesture does Martha make that suggests that she has experienced a traumatic experience that has changed her permanently?
6. Each man carries his basic gear and items which help him endure the Vietnamese tour of duty. What does Kiowa carry? Rat Kiley? What do their possessions reveal about each man?
7.
Wednesday, August 18, 2010
Writing About Literature
Writing about literature is different from most essays that are assigned and written in English 1101. For one thing, the focus of the paper is on the analysis of the story, poem or play that has been assigned. Therefore, it is written in third person; there should be no first ("I") or second person ("you"). There are other important differences outlined below.
CONTENT
1. Always mention the title and author of the work(s) you are discussing early in your essay. Titles of books should be underlined or italicized; stories should be in quotation marks.
2. Mention characters' names whenever possible. Be specific about character identification; that is, when you first refer to a character, add a simple appositive phrase to identify him or her. It does not have to be long nor interrupt the “flow” of your writing. Example:
In Tim O’Brien’s “The Things They Carried,” Kiowa, a soldier from Oklahoma, carries the New Testament and a hatchet, each representative of his mixed heritage.
3. Use illustrations, examples, and explanations to prove your assertions. Stick closely to the text of the work you are discussing. Read carefully and closely. Don't hesitate to quote briefly from the primary source for illustration -- a well-chosen quote can help to illustrate your point. However, be sure to use the quote as illustration -- not as the text of your essay.
4. Clearly state the central idea or thesis of your essay in the introduction. Be sure your essay has a thesis. Do NOT state your thesis by using writer-based phrases such as: The two poems I have chosen to write about are.... Rather, focus directly on your point: The snake is a potent symbol, often invoking fear, in Western mythology. Both Emily Dickinson and D. H. Lawrence invoke that fear in their poems, but with very different results.
5. Look up the definition of any word that you are not totally familiar with. Try to find the source of and understand any literary or historical allusion that the author uses.
6. Underline key passages, even key words, in the work you are studying, particularly those passages that have reference to your thesis. Be sure that any time you quote form an author's work, you quote exactly -- word for word and comma for comma.
7. In an essay about literature, it is most important to try to show your understanding of the work. Concentrate on writing a unified essay around a central thesis. Avoid going off on tangents. Stick to your main idea, develop it, prove it, deepen it by showing implications of your idea. Use class discussion as a springboard, but do not hesitate to go more deeply into the analysis. You may have been hesitant to speak in class, but do not be hesitant to incorporate your own thoughts and ideas into the paper.
8. Don't confuse the author with the narrator of the story or the voice of the poem.
WRITING CONVENTIONS – or How to write correctly about literature:
Double space all work, unless otherwise directed. Use a 12 point, non-italic, common font such as Times New Roman, Garamond, Courier, or Comic Sans. Center your title. Follow MLA Guidelines for essay set-up.
Titles of most long works, books, plays, newspapers, and magazines are italicized or underlined. Titles of poems, short stories, songs, articles, and titles that are parts of longer works are put inside "quotation marks." (EXCEPTION: the title of your own work should be neither underlined nor quoted).
When you first refer to authors, use their full names; afterwards refer to them by last names.
Use present tense verbs when writing about literature and maintain verb consistency.
Avoid using 2nd person “you.” In academic essays write in the 3rd person unless the assignment calls for 1st person.
Incorporate quoted material into your writing in one of 3 ways: (1) Interweave it into your own words: Poe’s use of the words “dark, “ ”dreary,” and “weary” suggests a somber mood (lines 11-13). (2) Introduce it with a “tag phrase” and comma: As Creon says, “The ship of state is safe” (I.8). (3) Introduce it with an explanatory sentence and colon: At the beginning of the play, Creon is concerned that the country is unified: “The ship of state is safe” (I.8).
Document poems by line number; document plays by Act, Scene, and Line; document short stories by page number.
When the quotation is followed by the parenthetical documentation, place periods and commas after the parenthesis. If the quote contains a question mark or exclamation point, it remains before the quotation marks, but a period (or comma) is still placed after the parenthesis.
Sammy asks, “Who is that customer?” (36).
Granny Weatherall says, “Nonsense” (177).
When the quotation marks are not followed by the parenthesis, then commas and periods go before the quotation mark.
Use single quotation marks to quote a quotation within a quotation.
Use slashes ( / ) to indicate the end of a line of poetry when you run the lines together in your own writing: “My young brother’s house is filled / I go there to sing / We have not spoken of you/ but our songs are sad” (lines 13-16).
Papers should be free of grammatical, mechanical, and punctuation errors: avoid comma splices, fragments, fused sentences; make sure subject/verb and noun/pronoun agree in number; use correct spelling; follow conventions of punctuation and capitalization (especially apostrophes).
CONTENT
1. Always mention the title and author of the work(s) you are discussing early in your essay. Titles of books should be underlined or italicized; stories should be in quotation marks.
2. Mention characters' names whenever possible. Be specific about character identification; that is, when you first refer to a character, add a simple appositive phrase to identify him or her. It does not have to be long nor interrupt the “flow” of your writing. Example:
In Tim O’Brien’s “The Things They Carried,” Kiowa, a soldier from Oklahoma, carries the New Testament and a hatchet, each representative of his mixed heritage.
3. Use illustrations, examples, and explanations to prove your assertions. Stick closely to the text of the work you are discussing. Read carefully and closely. Don't hesitate to quote briefly from the primary source for illustration -- a well-chosen quote can help to illustrate your point. However, be sure to use the quote as illustration -- not as the text of your essay.
4. Clearly state the central idea or thesis of your essay in the introduction. Be sure your essay has a thesis. Do NOT state your thesis by using writer-based phrases such as: The two poems I have chosen to write about are.... Rather, focus directly on your point: The snake is a potent symbol, often invoking fear, in Western mythology. Both Emily Dickinson and D. H. Lawrence invoke that fear in their poems, but with very different results.
5. Look up the definition of any word that you are not totally familiar with. Try to find the source of and understand any literary or historical allusion that the author uses.
6. Underline key passages, even key words, in the work you are studying, particularly those passages that have reference to your thesis. Be sure that any time you quote form an author's work, you quote exactly -- word for word and comma for comma.
7. In an essay about literature, it is most important to try to show your understanding of the work. Concentrate on writing a unified essay around a central thesis. Avoid going off on tangents. Stick to your main idea, develop it, prove it, deepen it by showing implications of your idea. Use class discussion as a springboard, but do not hesitate to go more deeply into the analysis. You may have been hesitant to speak in class, but do not be hesitant to incorporate your own thoughts and ideas into the paper.
8. Don't confuse the author with the narrator of the story or the voice of the poem.
WRITING CONVENTIONS – or How to write correctly about literature:
Double space all work, unless otherwise directed. Use a 12 point, non-italic, common font such as Times New Roman, Garamond, Courier, or Comic Sans. Center your title. Follow MLA Guidelines for essay set-up.
Titles of most long works, books, plays, newspapers, and magazines are italicized or underlined. Titles of poems, short stories, songs, articles, and titles that are parts of longer works are put inside "quotation marks." (EXCEPTION: the title of your own work should be neither underlined nor quoted).
When you first refer to authors, use their full names; afterwards refer to them by last names.
Use present tense verbs when writing about literature and maintain verb consistency.
Avoid using 2nd person “you.” In academic essays write in the 3rd person unless the assignment calls for 1st person.
Incorporate quoted material into your writing in one of 3 ways: (1) Interweave it into your own words: Poe’s use of the words “dark, “ ”dreary,” and “weary” suggests a somber mood (lines 11-13). (2) Introduce it with a “tag phrase” and comma: As Creon says, “The ship of state is safe” (I.8). (3) Introduce it with an explanatory sentence and colon: At the beginning of the play, Creon is concerned that the country is unified: “The ship of state is safe” (I.8).
Document poems by line number; document plays by Act, Scene, and Line; document short stories by page number.
When the quotation is followed by the parenthetical documentation, place periods and commas after the parenthesis. If the quote contains a question mark or exclamation point, it remains before the quotation marks, but a period (or comma) is still placed after the parenthesis.
Sammy asks, “Who is that customer?” (36).
Granny Weatherall says, “Nonsense” (177).
When the quotation marks are not followed by the parenthesis, then commas and periods go before the quotation mark.
Use single quotation marks to quote a quotation within a quotation.
Use slashes ( / ) to indicate the end of a line of poetry when you run the lines together in your own writing: “My young brother’s house is filled / I go there to sing / We have not spoken of you/ but our songs are sad” (lines 13-16).
Papers should be free of grammatical, mechanical, and punctuation errors: avoid comma splices, fragments, fused sentences; make sure subject/verb and noun/pronoun agree in number; use correct spelling; follow conventions of punctuation and capitalization (especially apostrophes).
Elements of Fiction
Plot
Customary outline:
introduction
rising action
climax
falling action
resolution/denouement
NOT ALL STORIES FOLLOW THE ABOVE ORDER--NOR ARE ALL NOVELS OR STORIES TOLD IN CHRONOLOGICAL ORDER Example: The Things They Carried
Conflict
5 most common:
Man vs. man - the simplest form of conflict; refer to the NFL, SEC or the like
Man vs. fate - one of the oldest conflict; consider the Iliad and the Oddessy
Man vs. nature/circumstance - Jack London's novels, stories or those in which the protagonist is set in a situation over which he has no control; example: "The Open Boat" by Stephen Crane
Man vs. society - sometimes coincides with man vs. man - as in Ibsen's Enemy of the People
Man vs. himself- Faulkner referred to it as "the heart in conflict with itself;" O'Brien called it "the heart under pressure"
Protagonist
Antagonist
Characterization:
Round Character
Flat Character
Stereotype
Static Character
Dynamic Character
DIRECT
INDIRECT – involves INFERENCE –based on author’s indirect information—what the character says, does, what is said about him AND your own knowledge and observation
Setting – time and place – the location
Irony
3 types:
Dramatic irony
Verbal irony
Irony of situation
Symbolism – a symbol is often an object, color, name, number or other device an author uses to suggest or represent MORE than it actually presents
Point of View
3rd person omniscient - the author/narrator (sometimes the same; sometimes NOT in THE THINGS THEY CARRIED) - is able to relate to the reader what the characters (specifically Jimmy Cross) is feeling and thinking
1st person - in the 2nd story, "Love," the narrator is part of the story and tells it from his perspective, using the personal pronoun "I"
PERSONA - a persona is a character the author creates and uses as a often his voice in the novel, but . . . he is NOT the author; Tim O'Brien, the author, creates the character of Tim O'Brien the soldier in Vietnam
CATHARSIS - a release of emotions on the part of characters OR the reader
THEME – is greater than the story itself – Theme reveals a truth about life—not just life in the story, but life in the real world, life in the present -- for instance . . . O'Brien uses war as a vehicle to say something about people in general. By placing his characters in the middle of a Vietnamese jungle, during the Vietnam conflict, he guarantees stress and pressure on each man; on one level, the novel deals with a group of innocent young men, facing daily conflict with the enemy (man vs. man), but on a deeper level, each man must deal with the pressure of war (or life) in his own way, successfully or unsuccessfully; it is a novel of initiation, but of more than that. It is a novel that questions what truth is, whether sacrifice for society is worth the sacrifice of self, and why storytelling is important.
Customary outline:
introduction
rising action
climax
falling action
resolution/denouement
NOT ALL STORIES FOLLOW THE ABOVE ORDER--NOR ARE ALL NOVELS OR STORIES TOLD IN CHRONOLOGICAL ORDER Example: The Things They Carried
Conflict
5 most common:
Man vs. man - the simplest form of conflict; refer to the NFL, SEC or the like
Man vs. fate - one of the oldest conflict; consider the Iliad and the Oddessy
Man vs. nature/circumstance - Jack London's novels, stories or those in which the protagonist is set in a situation over which he has no control; example: "The Open Boat" by Stephen Crane
Man vs. society - sometimes coincides with man vs. man - as in Ibsen's Enemy of the People
Man vs. himself- Faulkner referred to it as "the heart in conflict with itself;" O'Brien called it "the heart under pressure"
Protagonist
Antagonist
Characterization:
Round Character
Flat Character
Stereotype
Static Character
Dynamic Character
DIRECT
INDIRECT – involves INFERENCE –based on author’s indirect information—what the character says, does, what is said about him AND your own knowledge and observation
Setting – time and place – the location
Irony
3 types:
Dramatic irony
Verbal irony
Irony of situation
Symbolism – a symbol is often an object, color, name, number or other device an author uses to suggest or represent MORE than it actually presents
Point of View
3rd person omniscient - the author/narrator (sometimes the same; sometimes NOT in THE THINGS THEY CARRIED) - is able to relate to the reader what the characters (specifically Jimmy Cross) is feeling and thinking
1st person - in the 2nd story, "Love," the narrator is part of the story and tells it from his perspective, using the personal pronoun "I"
PERSONA - a persona is a character the author creates and uses as a often his voice in the novel, but . . . he is NOT the author; Tim O'Brien, the author, creates the character of Tim O'Brien the soldier in Vietnam
CATHARSIS - a release of emotions on the part of characters OR the reader
THEME – is greater than the story itself – Theme reveals a truth about life—not just life in the story, but life in the real world, life in the present -- for instance . . . O'Brien uses war as a vehicle to say something about people in general. By placing his characters in the middle of a Vietnamese jungle, during the Vietnam conflict, he guarantees stress and pressure on each man; on one level, the novel deals with a group of innocent young men, facing daily conflict with the enemy (man vs. man), but on a deeper level, each man must deal with the pressure of war (or life) in his own way, successfully or unsuccessfully; it is a novel of initiation, but of more than that. It is a novel that questions what truth is, whether sacrifice for society is worth the sacrifice of self, and why storytelling is important.
Sunday, August 15, 2010
1102 Syllabus & Policy Statement
Instructor: Mrs. Sharon Aiken, H/SS 248
Office phone: 478-471-2893
Office hours: M/W: 10 a.m.- noon and by appointment (I will be happy to work with you to arrange a convenient time for a conference. There are no office hours posted for T/Th because I will be at the WRC.)
Email: sharon.aiken@maconstate.edu
Best means of contact: email. I check and respond to my email regularly and expect you to do the same, as there may be class announcements. Please use your Macon State email when you contact me; otherwise, I may not open it. If you have not already established your email, and need assistance, please see the support personnel at the ARC (Academic Resource Center) in the library.
Required Texts and Materials:
A collegiate grammar text such as Lunsford, Andrea A. The St. Martin’s Handbook
O’Brien, Tim. The Things They Carried
Polonsky, Marc. The Poetry Reader’s Toolkit
Shanley, Patrick. Doubt
Miller, Arthur. The Crucible
Pocket folder, binder, or notebook of your choice to be submitted at the end of the semester with all drafts, revisions, quizzes, final drafts
Blue or black pens (NO hot pink, neon orange, lime green) for in-class writings; NO pencils
Class Description: This is a composition course that develops writing skills beyond the proficiency required by English 1101; English 1102 emphasizes interpretation and evaluation based on an introduction of fiction, drama, and poetry, and incorporates a variety of more advanced research methods. An oral communication component is also required.
Class Goals: By the end of the course, student s will:
Be able to research a work of literature using the Web and traditional library resources
Gain further experience using MLA citation methods
Be able to write a clear, in-class explication of a poem
Be able to write an effective analysis of a work of fiction and a work of drama
Gain further experience in using Web-based course assignments
Extend their communication skills to a brief oral presentation accompanied by technology
Increase their familiarity and use of the web as a tool for communication
Class Policies:
NOTE: You must have passed English 1101 with a “C” to be enrolled in this class.
1. You can miss two class days without penalty—unless an in-class essay has been assigned. Normally students fail the class after four absences. (If you have a medical condition and see that you will be missing a number of days, be prepared to present a doctor’s excuse. If a member of your immediate family has a health condition requiring your absence from class, remember: that is still an absence. English 1101 and 1102 have been known to cause sprains, eczema, pregnancy, dandruff, seizures, hospitalizations, broken bones, accidents, whooping cough, and even death. Students and their families are most susceptible one to two days before a paper deadline. Plan ahead and protect your loved ones.)
2. Please be on time. Again, if you drive a distance to get here, plan accordingly. There are times we are all tardy, but being in class, ready to work says a great deal about your serious attention to this class and does not go unnoticed.
3. Assignments are to be handed in on time, typed. There will be both in-class and out-of-class essays. Title all assignments and use MLA format, outlined in your handbook, on the Purdue OWL (Online Writing Lab), and the class blog. Also follow the conventions of writing about literature, found on the class blog.
4. Do NOT hand in a late assignment. There has been a problem in the past with students who wanted to email me their papers. If you know you will be absent when a paper is due, email the paper to me BEFOREHAND; I will accept those, without penalty. If a hard copy of the paper is not handed in on time, in class, the date that it is due, you may email a copy of the paper, with penalties: a) you will automatically forfeit a letter grade off the paper; b) that essay may not be graded until the end of the semester, which is when I grade all late work.
5. I will NOT accept a research paper via email.
6. FYI: If you use Ms Works or other word processing program out of class, save your paper as an .rtf (Rich Text Format) file. Your paper cannot be opened, cannot be read, cannot be printed if it is saved as a Microsoft Works document.
7. If you miss a daily assignment, you may NOT make it up; if you miss a major assignment, your grade will result in a zero. You MUST complete all major assignments to pass the class.
8. I give letter grades for essays; if you have a questions about a grade, drop by my office or make an appointment to see me after class; if you wish to challenge a grade, do so in writing, no sooner than a day after getting your paper back, and no later than three class days after I return that assignment. 9. If you plagiarize an assignment, that grade will result in a zero. If you cheat on a test, you will get a zero. Plagiarism occurs when a writer uses the ideas, wording, organization, etc., of another writer without proper citation, whether intentional or unintentional. This includes having someone “help” you write the paper, buying the paper online, or lifting ideas, sentences, and/or paragraphs from another text. Keep an electronic copy of all assignments and be prepared to send it to me immediately if asked. Please go to the MSC Library site for further information on avoiding plagiarism. Students should know that failing this course is the common penalty for plagiarism.
Note:
A plagiarism prevention service is used in the evaluation of written work submitted for this course. As directed by the instructor, students are expected to submit their assignments, or have their assignments submitted, through the service in order to meet the requirements for this course. The papers may be retained by the service for the sole purpose of checking for plagiarized content in future student submissions.
10. POLICY ON ACADEMIC MISCONDUCT: “As a Macon State College student and as a student in this class, you are responsible for reading, understanding, and abiding by the MSC Student Code of Conduct. The Student Code of Conduct is included in the MSC Student Handbook and is available online at: http://www.maconstate.edu/studentlife/studenthandbook.pdf”
11. POLICY ON DISABILITY ACCOMODATIONS: “Students seeking academic accommodations for a special need must contact the MSC Counseling and Career Center (478-471-2714) located on the second floor of the Student Life Center on the Macon Campus.”
12. If you have a D average based on the major assignments, no participation or daily grade average can bring that average up to a C. (Division Policy)
13. In all class policies, I expect common sense and courtesy. Turn your phones on “manner mode” if you must keep them on. Do not text when I am teaching, when we are engaged in peer review or class discussion, or when students give a presentation. I have a fairly thick hide, and I don’t like to embarrass students, but sit in the back, with a cap pulled down over your face, laptop open, with little eye contact with me, or little engagement with the class, and you may be asked to summarize the day’s class. Ignore someone giving a presentation or “surf” on the web during a presentation and you will be asked to leave the class & receive a zero for that day’s work. Work on assignments for other classes elsewhere. With 168 hours in a week, this class asks only two and a half hours of your undivided attention.
14. Please do not distract others who are working or paying attention in this class. I respect your right to fail this class, but not your right to infringe upon others who may want to pass. No one needs to be distracted—I can usually provide enough distraction for everyone, including myself.
15. It is the policy of this department that I keep your initial drafts, revisions, and final drafts for at least one semester. Therefore, should you want these returned, please see me at the end of Spring Semester 2011.
16. The final exam in English will be a two-hour, in-class essay over Doubt.
Please refer to the hard copy of your syllabus for a list of graded assignments and important dates.
Tentative Schedule:
Week 1- 08/16: Syllabus reviewed; class blog available; elements of fiction
Week 2 – 08/23: First of two quizzes over The Things They Carried; students should have read: “On the Rainy River,” “The Things They Carried,” “Love,” “Spin,” “Enemies,” “Friends,” “How to Tell a True War Story,” and “The Dentist;” the first story to be discussed in class will be “On the Rainy River,” followed by the remainder of the stories, respectively.
Week 3 – 08/30: Second quiz over remainder of The Things They Carried; continued discussion over initial set of stories; beginning work on the Character Connection; in-class cooperative learning; Essay #1 in-class
Week 4 – 09/07: In-class, cooperative learning/discussion
Week 5 – 09/13: Revision of Essay #1 Due; in-class, cooperative learning/discussion
Week 6 – 09/20: Character Connection Due; in-class, cooperative learning/discussion
Week 7 – 09/27: In-class, cooperative learning/discussion; Complete Character Connections; Essay #3 – over entire novel – In-class
Week 8 – 10/04: Introduction of Poetry
Week 9 – 10/11: Student Presentations DUE
Week 10 – 10/18: Student Presentations DUE
Week 11 – 10/25: Essay #4: In-class explication of poem
Week 12 – 11/01: Quiz over The Crucible; in-class, cooperative learning/discussion
Week 13 – 11/08: In-class, cooperative learning/discussion
Week 14 – 11/15: Critical Research Essay over The Crucible DUE
Week 15 – 11/22: Begin study of Doubt
Week 16 – 11/29: Complete study of Doubt
Week 17 – 12/06: Week of FINAL EXAMS – refer to MSC schedule for date & time
Office phone: 478-471-2893
Office hours: M/W: 10 a.m.- noon and by appointment (I will be happy to work with you to arrange a convenient time for a conference. There are no office hours posted for T/Th because I will be at the WRC.)
Email: sharon.aiken@maconstate.edu
Best means of contact: email. I check and respond to my email regularly and expect you to do the same, as there may be class announcements. Please use your Macon State email when you contact me; otherwise, I may not open it. If you have not already established your email, and need assistance, please see the support personnel at the ARC (Academic Resource Center) in the library.
Required Texts and Materials:
A collegiate grammar text such as Lunsford, Andrea A. The St. Martin’s Handbook
O’Brien, Tim. The Things They Carried
Polonsky, Marc. The Poetry Reader’s Toolkit
Shanley, Patrick. Doubt
Miller, Arthur. The Crucible
Pocket folder, binder, or notebook of your choice to be submitted at the end of the semester with all drafts, revisions, quizzes, final drafts
Blue or black pens (NO hot pink, neon orange, lime green) for in-class writings; NO pencils
Class Description: This is a composition course that develops writing skills beyond the proficiency required by English 1101; English 1102 emphasizes interpretation and evaluation based on an introduction of fiction, drama, and poetry, and incorporates a variety of more advanced research methods. An oral communication component is also required.
Class Goals: By the end of the course, student s will:
Be able to research a work of literature using the Web and traditional library resources
Gain further experience using MLA citation methods
Be able to write a clear, in-class explication of a poem
Be able to write an effective analysis of a work of fiction and a work of drama
Gain further experience in using Web-based course assignments
Extend their communication skills to a brief oral presentation accompanied by technology
Increase their familiarity and use of the web as a tool for communication
Class Policies:
NOTE: You must have passed English 1101 with a “C” to be enrolled in this class.
1. You can miss two class days without penalty—unless an in-class essay has been assigned. Normally students fail the class after four absences. (If you have a medical condition and see that you will be missing a number of days, be prepared to present a doctor’s excuse. If a member of your immediate family has a health condition requiring your absence from class, remember: that is still an absence. English 1101 and 1102 have been known to cause sprains, eczema, pregnancy, dandruff, seizures, hospitalizations, broken bones, accidents, whooping cough, and even death. Students and their families are most susceptible one to two days before a paper deadline. Plan ahead and protect your loved ones.)
2. Please be on time. Again, if you drive a distance to get here, plan accordingly. There are times we are all tardy, but being in class, ready to work says a great deal about your serious attention to this class and does not go unnoticed.
3. Assignments are to be handed in on time, typed. There will be both in-class and out-of-class essays. Title all assignments and use MLA format, outlined in your handbook, on the Purdue OWL (Online Writing Lab), and the class blog. Also follow the conventions of writing about literature, found on the class blog.
4. Do NOT hand in a late assignment. There has been a problem in the past with students who wanted to email me their papers. If you know you will be absent when a paper is due, email the paper to me BEFOREHAND; I will accept those, without penalty. If a hard copy of the paper is not handed in on time, in class, the date that it is due, you may email a copy of the paper, with penalties: a) you will automatically forfeit a letter grade off the paper; b) that essay may not be graded until the end of the semester, which is when I grade all late work.
5. I will NOT accept a research paper via email.
6. FYI: If you use Ms Works or other word processing program out of class, save your paper as an .rtf (Rich Text Format) file. Your paper cannot be opened, cannot be read, cannot be printed if it is saved as a Microsoft Works document.
7. If you miss a daily assignment, you may NOT make it up; if you miss a major assignment, your grade will result in a zero. You MUST complete all major assignments to pass the class.
8. I give letter grades for essays; if you have a questions about a grade, drop by my office or make an appointment to see me after class; if you wish to challenge a grade, do so in writing, no sooner than a day after getting your paper back, and no later than three class days after I return that assignment. 9. If you plagiarize an assignment, that grade will result in a zero. If you cheat on a test, you will get a zero. Plagiarism occurs when a writer uses the ideas, wording, organization, etc., of another writer without proper citation, whether intentional or unintentional. This includes having someone “help” you write the paper, buying the paper online, or lifting ideas, sentences, and/or paragraphs from another text. Keep an electronic copy of all assignments and be prepared to send it to me immediately if asked. Please go to the MSC Library site for further information on avoiding plagiarism. Students should know that failing this course is the common penalty for plagiarism.
Note:
A plagiarism prevention service is used in the evaluation of written work submitted for this course. As directed by the instructor, students are expected to submit their assignments, or have their assignments submitted, through the service in order to meet the requirements for this course. The papers may be retained by the service for the sole purpose of checking for plagiarized content in future student submissions.
10. POLICY ON ACADEMIC MISCONDUCT: “As a Macon State College student and as a student in this class, you are responsible for reading, understanding, and abiding by the MSC Student Code of Conduct. The Student Code of Conduct is included in the MSC Student Handbook and is available online at: http://www.maconstate.edu/studentlife/studenthandbook.pdf”
11. POLICY ON DISABILITY ACCOMODATIONS: “Students seeking academic accommodations for a special need must contact the MSC Counseling and Career Center (478-471-2714) located on the second floor of the Student Life Center on the Macon Campus.”
12. If you have a D average based on the major assignments, no participation or daily grade average can bring that average up to a C. (Division Policy)
13. In all class policies, I expect common sense and courtesy. Turn your phones on “manner mode” if you must keep them on. Do not text when I am teaching, when we are engaged in peer review or class discussion, or when students give a presentation. I have a fairly thick hide, and I don’t like to embarrass students, but sit in the back, with a cap pulled down over your face, laptop open, with little eye contact with me, or little engagement with the class, and you may be asked to summarize the day’s class. Ignore someone giving a presentation or “surf” on the web during a presentation and you will be asked to leave the class & receive a zero for that day’s work. Work on assignments for other classes elsewhere. With 168 hours in a week, this class asks only two and a half hours of your undivided attention.
14. Please do not distract others who are working or paying attention in this class. I respect your right to fail this class, but not your right to infringe upon others who may want to pass. No one needs to be distracted—I can usually provide enough distraction for everyone, including myself.
15. It is the policy of this department that I keep your initial drafts, revisions, and final drafts for at least one semester. Therefore, should you want these returned, please see me at the end of Spring Semester 2011.
16. The final exam in English will be a two-hour, in-class essay over Doubt.
Please refer to the hard copy of your syllabus for a list of graded assignments and important dates.
Tentative Schedule:
Week 1- 08/16: Syllabus reviewed; class blog available; elements of fiction
Week 2 – 08/23: First of two quizzes over The Things They Carried; students should have read: “On the Rainy River,” “The Things They Carried,” “Love,” “Spin,” “Enemies,” “Friends,” “How to Tell a True War Story,” and “The Dentist;” the first story to be discussed in class will be “On the Rainy River,” followed by the remainder of the stories, respectively.
Week 3 – 08/30: Second quiz over remainder of The Things They Carried; continued discussion over initial set of stories; beginning work on the Character Connection; in-class cooperative learning; Essay #1 in-class
Week 4 – 09/07: In-class, cooperative learning/discussion
Week 5 – 09/13: Revision of Essay #1 Due; in-class, cooperative learning/discussion
Week 6 – 09/20: Character Connection Due; in-class, cooperative learning/discussion
Week 7 – 09/27: In-class, cooperative learning/discussion; Complete Character Connections; Essay #3 – over entire novel – In-class
Week 8 – 10/04: Introduction of Poetry
Week 9 – 10/11: Student Presentations DUE
Week 10 – 10/18: Student Presentations DUE
Week 11 – 10/25: Essay #4: In-class explication of poem
Week 12 – 11/01: Quiz over The Crucible; in-class, cooperative learning/discussion
Week 13 – 11/08: In-class, cooperative learning/discussion
Week 14 – 11/15: Critical Research Essay over The Crucible DUE
Week 15 – 11/22: Begin study of Doubt
Week 16 – 11/29: Complete study of Doubt
Week 17 – 12/06: Week of FINAL EXAMS – refer to MSC schedule for date & time
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