E / 8:30 / Meredith, Julia
F / 10:30 / Elizabeth, Rhett
E / 8:30 / Meredith, Julia
F / 10:30 / Elizabeth, Rhett
F / 8:30 -9:20 / Charlie, Elizabeth
E / 11:15 – 12:05 / Sarah L.
Remember to publish your second biography blog post by Monday April 16.
Here’s mine from my personal blog.
To help you focus each new post, consider this artist’s explanation of how he makes a photograph and why: “To me, again that’s the whole point of doing it is [
to just] not just to present a pretty picture but to present something that shows people something that maybe they haven’t seen or experienced and something really worthwhile.”
Adjusted for our writing these blogs, Mr. Burkett’s statement reads like this: The point is not to simply write a summary of my biography, but to present an insight readers may not have seen and that is also worthwhile for readers.
Here’s a link to the recent interview with Christopher Burkett. The video runs just over seven minutes, and I highly recommend it, if you have any interest in art, technology, nature, beauty, chemistry, patience, etc.
learning goal: what one piece of evidence most compelling supports your interpretation of Hamlet’s speech to R & G (2.2.278-292)?
review new blog deadline, and list of possible topics (bloggables)
work further on paragraph submitted Monday; enlist help of others; see teacher feedback; current TRNTN score will not be recorded, but shows assessment without revision; as you revise, be sure to consult at least one classmate, and acknowledge that person in the footer of the new paragraph;
submit new version by Fri Feb 2, ideally before class starts
general suggestions: use passages, address question clearly, provide convincing/compelling support for your interpretation of Hamlet’s character in this scene; answer the question, “How do you know?” In other words, what have we seen or heard that makes sense of your interpretation? pretend you are directing a performance of this play and need to explain to the actor what mix of genuineness and acting fits Hamlet’s motivations in this speech.
several examples of students’ interpretations:
this speech is pure acting,
Hamlet’s antic disposition comes closer to his genuine self than many realize,
everything Hamlet says in this speech is both genuine and performance
Today’s exercise asks you to submit an original paragraph response* to this question:
How much of Hamlet’s speech to Rosencrantz & Guildenstern (2.2.278-292) is genuine, and how much of it is Hamlet acting for an audience that thinks him transformed, mad, or lunatic? Use a combination of references from inside and outside the speech to explain your interpretation. References from outside the speech can come from anywhere in the play up until the speech.
As for format, two suggestions: (1) consult my seems-madam paragraph for ways to include and cite excerpts from the play, and (2) unless you have another framework in mind, I recommend the 11-part paragraph structure. It has served me well over time.
Caution: the left-hand page in our text, the page opposite this speech, contains editors’ ideas and interpretations. Be careful to acknowledge these, if they influence your writing. Also, don’t accept these blindly, as R & G sometimes do with other people’s opinions.
Submissions are due by the end of this class. If you need more time, be sure to submit the paragraph by midnight Monday.
*Submit the paragraph to TURNITIN, using the prescribed template with pledge-header and acknowledgment-footer. Files without this template will be rejected. Class is not intended as a discussion session for this question. I expect you to think and write independently. Having said that, however, I warn you to clearly acknowledge the source(s) of ideas or details that would not have otherwise appeared in your paragraph. You are responsible for clearly communicating the source(s) of your ideas and details, if they originate somewhere other than your own mind.
by start of Wednesday’s class, please have read scenes 4 and 5 in Act One
I recommend doing so with “Shakespeare in Bits” (check your bearsmail for login info; bookmark, once you have successfully logged in)
learning goal: how (much) does father-daughter or sister-brother advice in the play differ from today’s advice between family members?
seems-madam performances (all due by today)
F-D, S-B exercise: take a card & find a partner, prepare the contemporary script, perform the scene
see your bearsmail for login info
“Even some of his commissions that were completed, or almost so–Genevra de’ Benci and the Mona Lisa, for example–were never delivered to clients. Leonardo clung to his favorite works, carried them with him when he moved, and returned to them when he had new ideas. He certainly did that with Saint Jerome, and he may have planned to do the same with the Adoration of the Magi, which he entrusted to Ginevra’s brother for safe keeping but never sold or gave away. He did not like to let go. That is why he would die with some his masterpieces still near his bedside. As frustrating as it is to us today, there was a poignant and inspiring aspect to Leonardo’s unwillingness to declare a painting done and relinquish it: he knew that there was always more he might learn, new techniques he might master, and further inspirations that might strike him. And he was right. ” (Walter Isaacson, Leonardo da Vinci, 2017, p.86-7; emphasis added)
From one of the model student writings below, what can you learn–for example, about quality writing, about the subject matter, or about yourself as a writer?
MODEL STUDENT WRITINGS
all images from leonardodavinci.net
except Saint Jerome, found at gettyimages.com
by the start of this class, submit a prospectus for your essay about David Auburn’s play
a prospectus, in a paragraph of two to four hundred words, explains what question or idea you’d like to pursue in an essay about the play
what do you want to say, why, and what value might it have for readers of your essay?