LIFE AFTER THIS BLOG POST

I have been so engulfed in studying for finals, I almost forgot to do this!

The last few months have been crazy, minor scares of all sorts, endless piles of assignments, exams for days, and an ever increasing to do list. But doing something like this, where I can take time to refocus to remind myself what all this work is for, is definitely nice. I almost wrote my email/letter to myself as a journal entry. For me it is a much easier medium to write in, and I do a better job of getting my point across. So I focused on how I felt right now. The stresses and the craziness of it all, and most of all my fears and frustrations. And although while writing it I did have those small pangs of anxiety, I feel better now than I would have had I not did this. And on November 28, 2014 I will be receiving that email, hopefully things have changed in that year between writing and receiving.

Future Me

All Together Now!

Literature Analysis:
1984
The Things They Carried
The Great Gatsby

Essays:
Essay Assignment #1
Austen/Montaigne Essay
1987 AP Exam Essays
Beowulf Essay
Performative Utterances in Hamlet

Remembering Mandela

Former South African President Nelson Mandela died today at the age of 95. The champion of human rights, former prisoner, lawyer, and anti-apartheid leader left behind a legacy of compassion and triumph that forever changed history.


“What counts in life is not the mere fact that we have lived. It is what difference we have made to the lives of others that will determine the significance of the life we lead.” — Nelson Mandela

Practice Essay

I have to be completely honest, with all the other stuff I have for this long weekend, I still have not even started at the practice essay for our final. Even though I know it is for our own benefit.

Hopefully I can have it up soon.

Sorry for the delay,
Amara Sharp

Fox in Socks:Speed Round

I CAN READ:

FOX IN SOCKS

 

Fox in Socks

 

Please ignore the wind and cars passing by, I filmed this on Wednesday and outside was the quietest place at my house!

Anyways the final time was 3:40.8



THINKING OUTSIDE THE BOX

Blogger's Note:
Over the past 13 years of my primary and secondary education, I have noticed that if there are deep questions within the text, then it simply works best sometimes  to just answer those.

Pre Play:

• I originally believed that the title for this blog post was to be "Thinking Inside the Box" which I found incredibly ironic yet appropriate for this blog post concerning the play "No Exit" by Jean Paul Sartre, due to the fact that this play takes place in a single solitary room, and yet features existentialist thinking.
• Existentialism:  sense of disorientation and confusion in the face of an apparently meaningless or absurd world.
• Jean Paul Sartre-Only five feet tall (Finally taller than somebody!) Sartre.org seems to be a comprehensive website about his life and importance in the existentialist movement, also based on the spelling of several of the words including theater-theatre and how I seem to be reading the website in a British accent, this website is probably from England. And here is a large work from Stanford's Encyclopedia of Philosophy.

In Play Questions:

• Think about the play you have chosen as your hell...-My hell is a hospital waiting room. White and those crazy florescence lights. Sanitized and empty while chairs. All that you hear is the ticking of a clock and the steps of the Doctor echo on the cheap tile, but the door never opens to call out your name. And you are stuck waiting  for white feels like bad news in the pit of your stomach. For eternity, without end. Oh and the people you hate most of all, are sitting next to you.
•  Could hell be described as too much of anything without a break?-Yes, that could be one way of describing it. Too much of a good thing is usually a bad thing.
• How does Sartre create a sense of place through dialogue?-It is almost as if dialogue is both closed and roundabout. Just like the room. The dialogue, in my opinion, represents the existentialist view of disorientation and confusion which creates meaninglessness within the play. Which actually, reflects the idea of the closed setting of the play.
• Weird, version I printed out only has the tree questions (it was from Lisa's response to your post)

Plato and Sartre:
Plato-Escape the cave and your ignorance through knowledge and learning.
Sartre-Hell is the people around us, existentialist ideas including life is absurd.

(more to come)

ALLEGORY OF THE CAVE SONNET

A Quick Word About Sonnets:

To be quite Honest

I do not like Sonnets

O' look a Haiku!

 

ALLEGORY OF THE CAVE SONNET (English Styled Sonnet):

 

We reside within the caves of our demise

Ever dark, and forever lost

Our insular prison just a disguise
For the truth that we have lost

The world we know is not the truth
It is hidden beyond our eyes
yet while we search for the truth
It will replace the lies

There is hope beyond this dark cave
Hope for truth and life
But if we are ever to move beyond these graves
We must first end our strife

Learning is our only hope
But first we must we willing
Knowledge is how we cope
because the truth is fulfilling

Now we can leave the dark caves inside,
and step  into the light outside

-Yeah, this was bad and my rhyming schemes are desperate at best; but at least my Haiku is enjoyable! 



BRAIN WITH 10 LEGS, 10 HANDS, 40 FINGERS, 10 THUMBS...

The infamous back corner and I consisting of Whitney Houg, Rachel Nolan, Sarah Stevens, Breanna Timmons and I, decided to go against the grain this time and pick a book not assigned by Dr. Preston (with his permission of course!). We chose the book "Catch-22" by Joseph Heller and picked up our copies from the library last Friday. To be completely honest, each member of our group reads at different speeds and paces. Our main goal for this book is to simply finish by December 1, earlier would be better, but we are giving extra time until December 1 to account for busy schedules and college applications.  Knowing our group, we will probably arrange a coffee or smoothie run if needed to catch up and clarify parts of the book, although we will have to play that by ear.

Anyways, that is all we have planned so far! Check back soon for some "Catch-22" related posts.

Vocab: 3,4,6(4+5), 7

Vocab #3

apostate: abandonment of one's faith, political party, or cause
effusive: unrestrained in emotional expression
impasse: a road/passage, or situation having no exit or end
euphoria: a feeling of great happiness or well being
lugubrious: mournful or sad to a ridiculous degree
bravado: a show of courage, or defiant swaggering conduct
consensus: a general agreement
dichotomy: a diversion or contrast between two things
constrict: make narrower, restrict
gothic: language or type of style
punctilio: a fine point of conduct or a high or inducting standard of detail/performance
metamorphosis: a change of the form or nature of a thing
raconteur: a person who tells an anecdote in a skillful or amusing way
sine qua non: an essential, condition, absolutely necessary
quixotic: unrealistic and impractical: in an idealistic or overly romantic way
vendetta: bitter quarrel for somebody
non sequitur: a conclusion that does not logically follow the previous argument
mystique: a fascinating aura of mystery
quagmire: a soft boggy area of land that gives way under foot, a situation that is difficult to leave or get out of
parlous: full of danger or uncertainty
Vocab #6 (4&5)
obsequious: obedient or attentive to an excessive or servile degree
beatitude: supreme blessedness.
bête noire:  a detested person
bode: to be an omen of a particular outcome
dank: disagreeably damp, musty, and typically cold
ecumenical: worldwide or general in extent, influence, or application
fervid: intensely enthusiastic or passionate, esp. to an excessive degree
fetid: smelling extremely unpleasant
gargantuan: enormous
heyday: The period of greatest popularity, success, or power; prime
incubus: a nightmare
infrastructure: is basic physical and organizational structures needed for the operation of a society or enterprise
inveigle: persuade (someone) to do something by means of deception or flattery
kudos: fame and renown resulting from an act or achievement
lagniappe: something given or obtained gratuitously or by way of good measure
prolix: (of speech or writing) using or containing too many words; tediously lengthy
protégé: a person who is guided and supported by an older and more experienced or influential person
prototype: an early sample, model or release of a product built to test a concept or process or to act as a thing to be replicated or learned from.
sycophant: a person who acts obsequiously toward someone important in order to gain advantage.
tautology: needless repetition of an idea, statement, or word
truckle: To be servile or submissive.
accolade: An award or privilege granted for special honor.
acerbity: Sharp bitterness.
attrition: The action of weakening by attack or pressure.
bromide:  An unoriginal idea or remark.
chauvinist: A person displaying aggressive or exaggerated patriotism.
chronic: On going.
expound:  Present and explain systematically and in detail.
factionalism: Relating or belonging to a faction.
immaculate: Perfectly clean and tidy.
imprecation: A spoken curse.
palliate: To make less severe or unpleasant.
protocol: The official procedure or system of rules governing affairs of state or diplomatic occasions
resplendent: Attractive and impressive through being richly colorful or sumptuous.
stigmatize: Describe or regard as worthy of disgrace or great disapproval.
sub rosa: Happening or done in secret.
vainglory: Inordinate pride in oneself or one's achievements; excessively vain.
vestige: A trace of something that is disappearing or no longer exists.
volition: The faculty or power of using one's will.
Vocab #7
shenanigans: secret or dishonest activity
ricochet: rebound off a surface
schism: a divide/split between strongly opposed sections
eschew: to deliberately avoid using
plethora: a large or excessive amount
ebullient: cheerful and full of energy
garrulous: excessively talkative
harangue: a lengthy and aggressive speech
interdependence: relationship in which each member is mutually dependent on the others
capricious: give to sudden and unaccountable changes of mood or behavior
loquacious: tending to talk a great deal
ephemeral: lasting for a short time
inchoate: just begun and not so fully formed or developed
juxtapose: place or deal with closely together for contrasting effect
perspicacious: having a ready insight into and understanding of things
codswallop: nonsense
mungo: poor quality
sesquipedalian: a person having a tendency to use long words
wonky: askew, off center
dipthong: special sequence of vowel sounds

 

"Plato's Allegory of the Cave"

"Plato's Allegory of the Cave"

(notes on the text are on paper)

1. According to Socrates, what does the Allegory of the Cave represent?-The "Allegory of the Cave" represented, at least to Socrates, how what we perceive to be truth, isn't always the real truth. Just as Obi-Won-Kenobi (there goes my social life) told Luke Skywalker that, "Your eyes can deceive you don't trust them.", Socrates is telling Glaucon the same thing. Just as the released Prisoner in the cave is completely shocked and in denial when he learns his reality and perception thereof was incorrect, we can't just go on things by blind faith. We need to question, investigate, and change how we think so we can better understand the world around us and take off the blinders.
2. What are the key elements in the imagery used in the allegory?
-Key elements of imagery, are vast within this allegory. Besides being an extended metaphor (see question 1) the allegory can also be described as one big extended image. In order to really lay on the gravity and the sincerity of his work and idea, Plato goes to a new extreme and vividly describes the cave, the prisoners, and what goes on within.
 3. What are some things the allegory suggests about the process of enlightenment or education?-The allegory simply suggests that enlightenment and by extension education, is a never ending process to remove us from our archaic and shielded view from the cave, into a "whole new world" in which the strive for knowledge is abundant.
4. What do the imagery of "shackles" and the "cave" suggest about the perspective of the cave dwellers or prisoners?-The imagery of shackles and the cave itself suggest that the perspective of the cave prisoners is one that is warped and twisted. The prisoners are taught from birth to believe that these shadows are real things and that nothing exists outside of their focal point of the cave. Outside of the cave and chains, the "free" world represents an abundant amount of knowledge and enlightenment unobtainable to the prisoners because of their current situation. And after a prisoner is released, the chains and cave still keep them from the truth, because they can't see past their own beliefs and knowledge of what is true and what is not.
5. In society today or in your own life, what sorts of things shackle the mind?-Religion, education, school (private v. public v. charter v. homeschool v. university), family, culture, and a variety of other things shackle the mind and keep it within its own constraints and from a greater abundance of knowledge and truth.
6. Compare the perspective of the freed prisoner with the cave prisoners?-The freed prisoner is taken as a fool by the other cave prisoners who have never left the cave and their own viewpoints.
7. According to the allegory, lack of clarity or intellectual confusion can occur in two distinct ways or contexts. What are they?-Can we talk about this in class, I'm a bit confused!
8. According to the allegory, how do cave prisoners get free? What does this suggest about intellectual freedom?-I'm going to go outside the prompt on this one and perhaps suggest how I think we can all get free from intellectual cave prisons. First, people who are already out need to help those that aren't. People do best with a guide, so gently taking someone under your wing and showing them how to experience intellectual freedom. Second, just like getting over an addiction you have to admit there is a problem and be active in the attempt to fix it. Denying that there is a problem won't get you anywhere close to true intellectual freedom, rather it will only drive you away. When you already know something is missing or incomplete you are already halfway there on the path to freedom and success. Third, let your mind wander. Don't focus too intensely on just a few single things, you will only dig your self another hole to get trapped into. Dabble into this and that to discover new things, and perhaps find something you are truly passionate about. It doesn't have to be an incredibly intellectual journey, it just has to be a journey.
9. The allegory presupposes that there is a distinction between appearances and reality. Do you agree? Why or why not?-I actually agree that there are distinctions between what we see and perceive and what is actually the case. A plethora of scientists have done studies on this, and discovered that sometimes our eyes aren't getting the whole picture. Between our retinas, cones, rods, and so on getting the image and our brain processing it, there is a disconnect where things have a tendency to get lost. Isn't in always large or obvious details that we miss things, it is primarily in those little subtle details that we pass over where details and reality seem to disappear.  Our eyes deceive us, What is knowledge
 10. If Socrates is incorrect in his assumption that there is a distinction between reality and appearances, what are the two alternative metaphysical assumptions?
-Again I'm going to need help on this one.

WE HANG TOGETHER

So I went old school learning and decided that I would get more out of the reading if I were able to deface (highlight and write on) a printed copy of Dr. Preston's paper, because I struggle pulling anything of value out of a paper if I have to constantly switch web pages or go from reading to writing. So I'm bringing in a hard copy for class, and if I can figure it out I'll post a picture here!

A POETIC INQUIRY

BIG QUESTION

Sonnet 25
Let those who are in favour with their stars
Of public honour and proud titles boast,
Whilst I, whom fortune of such triumph bars
Unlook'd for joy in that I honour most.
Great princes' favourites their fair leaves spread
But as the marigold at the sun's eye,
And in themselves their pride lies buried,
For at a frown they in their glory die.
The painful warrior famoused for fight,
After a thousand victories once foiled,
Is from the book of honour razed quite,
And all the rest forgot for which he toiled:
   Then happy I, that love and am beloved,
     Where I may not remove nor be removed.

William Shakespeare

HAMLET REMIX

http://prezi.com/gcjboioaau6c/?utm_campaign=share&utm_medium=copy&rc=ex0share

Talking With Myself: Performative Utterances in Hamlet

I tend to write things out of order, if something seems off please mention it in the comments or talk to me at school! Oh and this is formatted more like a research paper than a AP Exam Essay.

Talking With Myself: Performative Utterances in Hamlet

The essence of speech and the possibilities of  rational thinking and decision making are critically important in the definition of what makes us human. Being able to make decisions and chart courses of action is a driving issue within William Shakespeare's 1599 quintessential ^1 tragedy "Hamlet", titled after the main character. Hamlet himself is a young man shrouded in grief, trouble, and deception. From the beginning of the play with Hamlet's first soliloquy in ACT I scene 2 to his final, what we now occasionally called performative utterances ^2 is a recurring motif throughout the play. In it, performative utterances styled through mystifying soliloquies are the very tool that Hamlet uses throughout the play to precede and inspire his actions. Furthermore performative utterances as explained in deBour's essay, do not exist solely in literature but transcend into our daily life.

What are performative utterances (basic definition)?
Based on Fredrik deBour's paper, "The Performative Utterance in Hamlet" performative utterances defined most simply are out loud promises acting as a self fulfilling prophecy. Hamlet does this on a number of occasions throughout the play and they serve a variety of purposes beyond the idea of a self fulfilling prophecy. First and foremost they do indeed act as a self fulfilling prophecy but beyond that they are a deep cry for action. Fredrik deBour calls Hamlet's utterances a way for Hamlet to spur a sense of action within himself, "Hamlet is trapped in a kind of cognitive paralysis...For much of the play Hamlet is able to speak but not to do." (deBour, pg 1) But beyond the self fulfilling prophecy of Hamlet's utterances, Hamlet's self talk also cues the reader and audience members on what is going on in his head. Throughout the play Hamlet acts differently depending on the people he is around or the situation in which he finds  himself in. For example while talking to his uncle King Claudius and his mother Queen Gertrude he is poise and incredibly collected despite being only a few months removed from his beloved father's death. And again while in Polonius' presence, Hamlet become incredibly witty and sarcastic as he openly mocks Polonius with out him understanding. But, when all the characters have left the room, Hamlet's demeanor changes instantly. At the end of ACT II Hamlet becomes increasingly lament calling himself a, "rogue and peasant slave...", and we begin to see his true colors. Instead of being a frail and pompous prince as one might suspect from his encounters with the king, queen, and other characters, through his soliloquies Hamlet is revealed to be a truly strong character well learned, observant and calculated, yet stricken with unimaginable grief and the burden of revenge.

Theoretical frameworks
In the simplist of definitions, Performative Utterances are loud promises acting as a self fulfilling prophecy. But to truly understand them and their impact on play's and Hamlet more specifically, an understanding of Theoretical Frameworks is essential. Performativity traces its roots back to J.L. Austin's work, "How to do Things With Words" according to Kira Hall of Yale University. Which leads us into the idea of the Speech Act Theory.           

Contextual Example & Action expresses priority-Gandhi
According to 20th century Indian non-violent civil disobedience leader Gandhi, "Action expresses priorities." But how does that relate to Hamlet? It does in a variety of ways. The entirety of the play surrounds Hamlet's decision to kill his uncle King Claudius and his struggles on how to best kill his uncle. Throughout the entire play Hamlet is caught in situations that leave him unable to take action. This leads him into his soliloquies and this entire idea of Performative Utterances. For example in the end of ACT II, Hamlet is stuck attempting to prove his uncle's guilt. While dealing with his emotions, Hamlet comes up with his plan to subtly expose Claudius, "The play's the thing, wherein I'll catch the conscious of the king!" (Shakespeare ACT II scene 2). This whole idea of a play within a play is one of the first examples of self fulfilling prophecies or Performative Utteranes within the play. In the very next scene at the beginning of ACT III we have another Performative Utterance by Hamlet, in the famous "To Be or Not To Be" soliloquy. Each performative utterances builds up upon itself until we get to the point at the end of the play in which Hamlet kills his uncle. And finally, his self made prophecies are fulfilled and his actions express his priorities.

How it effects other characters-cause and effect
The beauty of "Hamlet" and what it teaches us about revenge is that everyone is effected. By the end of the play the murder count hits seven people. What started as an act of revenge for "murder most foul," of the former King Hamlet, ended in a blood bath. But what caused this drastic turn of events is not just a cause of the deed itself, but also of Hamlet's inability to move to action. Say if Hamlet was able to kill Claudius within the first two ACTS five unnecessary deaths including Hamlet's own and Ophelia's would have been avoided. But in doing so we would be without a story and therefore without a tragedy. The longer Hamlet struggles with his own ideas and decisions and what eventually become Performative Utterances, the act of revenge becomes more and more complicated. Which causes Hamlet further and further grief, confusion, and trouble, as well as increasing trouble for the ones around him.

Self Overhearing vs. Performative Utterances
Furthermore, people may assume that self overhearing is the same literary device or have the same effects as performative utterances but they do have several defining characteristics that keep them distinct. Entrepreneur and writer Ben Casnocha  defines self overhearing, in a January 2009 article on his blog called "The Art of Self-Overhearing: Metacognition and Decision Making". In his article, using articles from Boston Globe journalist Jonah Lehrer, Ben Casnocha argues that self overhearing relates to metacognition, which is the ability to think about your own thinking. While Performative Utterances are loud promises acting as a self fulfilling prophecy. In less academic terms I think of it like this, Performative Utterances is what you say to your self when you need to get things done, while Self-Overhearing is conscious self talking.

How it relates in my everyday life and why it's important
How I make decisions, how I talk to myself, and the actions I take are things that are all related to each other. As seen in Hamlet how he addresses him self and the manner in which he does it, all give the audience clues into his mental state. Yet in my life it gives me and those around me clues on how I am going to react to certain situations. Although I don't go into drawn out soliloquies quoted in iambic pentameter, like every other person on this earth I talk to my self. And I think that is something Shakespeare is trying to get across in the play "Hamlet". One of the most famous quotes in the play says, "to thine own self be true,". How can you be more true to your own self than by knowing your actions. Being true to your self is more than just actions though, it also involves the entire thought process that comes before and the plethora of choices and decisions that no one else knows we must make. And for this, what better piece of literature to read than Hamlet?

Footnotes:
^1 (quintessential implying the highest level of perfection of or example of)
^2 performative utterances
Performativity
Ben Casnocha
The Art of Self-Overhearing: Metacognition and Decision Making

Music

Zac Brown Band

"Quiet Your Mind"

Performative Utterances in Hamlet

Just a quick update:

I was writing my essay and in order to keep it organized I kept dividing it into more and more paragraphs so I could cover the entire Franken-prompt. Anyways out of eight or nine planned paragraphs (I'm still in the writing portion of the last couple) I have a few done, but I want to present it as a whole completed piece. So the essay will be posted Monday afternoon, as I plan to use my early out to tie up some loose ends.

tools that change the way we think

tools that change the way we think

 

Internet, media, and technology change everything, from the way we live on a day to day basis right down to how we think. A lot of this has to do to the information that is coming to us. Prior to the internet the best way to get information was word of mouth, books, newspapers, and television. But even then we were still in the dark about most things. I'm not saying that technology has opened the blast doors on information, but it does allow us to see a lot more than we previously could (even if it is filtered to some degree).

 

But still, something that changes the way we think isn't always positive. Besides getting a plethora of new and perhaps relevant information, how much of the web is wasted on cats, Justin Bieber, and social media. It's ironic, because in an age where we can be even more active in the world and take stands for what we believe in, we instead get stuck in the narcissism of social media.  

Vocabulary #9

aficionado: enthusiast: somebody who is enthusiastic and knowledgeable about something
browbeat: intimidate (someone), typically into doing something, with stern or abusive words.
commensurate:corresponding in size or degree; in proportion
diaphanous: light, delicate, and translucent
emolument: a salary, fee, or profit from employment or office
foray: a sudden attack or incursion into enemy territory, esp. to obtain something; a raid.
genre: a category of artistic composition, as in music or literature, characterized by similarities in form, style, or subject matter.
homily: commentary that follows a reading of scripture
immure: enclose or confine (someone) against their will.
insouciant: showing a casual lack of concern; indifferent.
matrix: an environment or material in which something develops; a surrounding medium or structure.
obsequies:funeral rites
panache:flamboyant manner and reckless courage
persona:the image or personality that a person presents
philippic:a bitter attack or denunciation, esp. a verbal one
prurient:having or encouraging an excessive interest in sexual matters.
sacrosanct:(esp. of a principle, place, or routine) regarded as too important or valuable to be interfered with
systemic:of or relating to a system, esp. as opposed to a particular part.
tendentious:expressing or intending to promote a particular cause or point of view, esp. a controversial one.
vicissitude: a change of circumstances or fortune, typically one that is unwelcome or unpleasant.

The Performative Utterance in Hamlet (notes and response)

Commentary: Warning I am reading and then writing what I think so this may be slightly strange!
Also the text is "The Performative Utterance in Hamlet" by deBoer. All quotations are taken  from this text unless other wise stated within the text.

• Wow its 20 pages, how can this possibly be so long?
• Utterance: smallest unit of speech. Something said or emitted as a vocal sound. Performative: Lived experience. (for some reason spell check doesn't like the word performative) performing speech act: describes speech that constitutes an act of some kind. A speech that promises and action to itself.
• On page one of the essay deBoer states that "From the time of the revelation of his uncle's great crimefrom the mouth of the ghost, Hamlet's utterances betray little or no wavering in his understanding of his duty or his dedication to completing it. "But I have to disagree with this statement. Just in Hamlet's famous soliloquy "To Be or Not To Be" Hamlet says "And lose the name of action." (Shakespeare, ACT III scene i). Although a reader can argue that Hamlet is talking himself out of his suicide and saying he cannot go through with it, the text is ambiguous enough to make the statement that the action Hamlet is losing is the will to kill his uncle. Furthermore at the end of ACT III, after killing Polonius, Hamlet is again visited by the Ghost of his late father, who tells him to not forget his duty to revenge. (Shakespeare ACTIII scene iv). This alone is evidence enough for Hamlet wavering in his duty and resolve to serve up a dish of revenge.
• Seriously I make this long argument, but right after deBoer actually makes a similar point as mine to back up his previous statement and provide another outlook to the situation.
• I love the use of the phrase cognitive paralysis!
• "For much of the play Hamlet is able to speak but not to do." (deBoer, pg 1) I agree completely, his conscious, situation, and need for proof are evidence of this.
• Random point not associated with this essay, but is it just me or is Hamlet incredibly sassy?
• "Harold Bloomargues that Shakespeare's characters frequently develop through "self-overhearing."Shakespeare's characters, in this argument, overhear themselves speaking and in doing so gainself-knowledge. Bloom considers this self-overhearing the "royal road to individuation" (xvii)..." (deBoer, pg 3) I don't think this process is something just seen in Shakespeare's plays, but also in everyday life. Many people talk to themselves and find meaning through journaling, writing stories, or like Hamlet just good old self talk.
•  Austin's theory of performativity (pg 3) Kira Hall, Yale University & Colorado.edu (interesting article, and does a great job of explaining it)

THOUGHTS ON HAMLET (IN PROGRESS)

THOUGHTS ON HAMLET (IN PROGRESS)

Supplementary Material (aka what I've done so far):
What I know about Hamlet & Shakespeare
Love and Ophelia
To Be or Not to Be (Other Variations)
ACT II Recap
To Be or Not to Be (Our Group)
ACT III

I have mixed feeling on Hamlet. On one hand, it is the classic Shakespeare Tragedy (and we all know what that means) and is slightly predictable. But on the other hand, Hamlet is incredibly relatable. I mean, I'm not in the same emotional turmoil as Hamlet is in any sense but it is still incredibly relatable. Where Hamlet has to deal with the death of his beloved father, the faithlessness of his "harlot" mother, the plotting and schemes of King Claudius, and the advances of Ophelia; I simply deal with balancing college applications, scholarships, family responsibility, and then work. But Hamlet's indecisiveness and personal turmoil is something that almost ambitious teen faces. And seeing Hamlet's cool and balanced responses to his situation is inspiring.

Filter Bubbles (Notes and Reactions)

a)What new information did you learn from the video?
-I learned just how "censored" the internet really is. I'm a little hesitant to use the word censored, seeing as it has such a negative connotation, but to be honest that is what is really going on. With the internet we are constantly telling ourselves that we have complete access to information and that its all open for us to see with nothing hidden. So that video was a slap of reality.

b)How does this information make you think differently about what you see online?
-This video is really going to make me second guess how much information I am really going to find and how I research information. It also makes me more aware that trying to find different viewpoints is much more difficult than I thought it was. Which actually makes sense because when I try to write research papers I keep getting the same sources.

c)What questions does this video raise about the Internet in general? and
-This video really makes me think, how much of the Internet am I really missing out on? What potentially amazing websites, articles, and sources have I not found because my internet searches are hiding thing from me.

d)How can you improve the effectiveness of your searches?
-I use the website stumble upon, a lot during my internet time. It doesn't work for trying to find sources for a paper per say, but it does work well in finding cool, weird, or random information that I wouldn't have been able to find without it. But other than stumble upon, I think I am going to try to be more conscious about the words I use in a search (sometimes wording influences search outputs) as well as use multiple search engines, and spend more time searching.

What I Think About When I Think About ACT III

What I Think About When I Think About ACT III

Plays, "To Be or Not To Be", Hamlet acting out Texas Chainsaw massacre, and a whole lot of guilt.  Really, I do think about that stuff when I think about ACT III of Hamlet. At the end of ACT II we see Hamlet finally deciding on a course of action on proving King Claudius' guilt about the murder of King Hamlet Sr. and now in ACT III we actually get to see the play, and learn that King Claudius is horrible at hiding guilt (basically you want to play poker with him).

Besides the basics of the play within the play, we also see Hamlet murdering Polonius in a gruesome way and yet being comfortable with it.

Overall ACT III is an interesting insight into Hamlet's emotional state. He starts out in full emotional display as he considers suicide and death, yet remains calm and cool even after killing Polonius.

Hamlet: To Be or Not to BE

Here is the link for our group soliloquy!

Group Members:
Rachel
Sarah
Breanna

Literature Analysis #3

Literature Analysis #3

"The Great Gatsby"

F. Scott Fitzgerald
Book Version: Scribner Trade Paper Back Edition 2004

"He smiled understandingly-much more than understandingly. It was one of those rare smiles with a quality of eternal reassurance in it, that you may come across four or five times in life. It faced--or seemed to face--the whole external world for an instant, and then concentrated on you with an irresistible prejudice in your favor. It understood you just as far as you wanted to be understood, believed in you as you would like to believe in yourself."
-Chapter 3 (pg 48)

 

1. Briefly summarize the plot of the novel you read according to the elements of plot you've learned in past courses (exposition, inciting incident, etc.).  Explain how the narrative fulfills the author's purpose (based on your well-informed interpretation of same).

"The Great Gatsby" by Francis Scott Fitzgerald is told from the narrative of young Midwest WWI veteran Nick Carraway. Nick Carraway moves to New York with the idea in his head that he is going to become a bond salesman and finds himself (rather mysteriously I may add)  renting a modest house in the West Egg district of Long Island, New York, neighbors with the lavish party thrower Jay Gatsby.

2. Succinctly describe the theme of the novel. Avoid cliches.

The Shallowness and Emptiness of the Upper-class in the 1920's. Throughout the entire novel we get subtle glimpses of this idea as Fitzgerald describes event after event of the hypocrisy and shallowness of the upper class. Events such as Gatsby's Lavish parties to attract Daisy, "I believe that on the first night I went to Gatsby's house I was one of the few guests who had actually been invited. People were not invited-they went there...Once there they were introduced to somebody who knew Gatsby, and after that they conducted themselves according to the rules of behavior associated with an amusement park." (pg 41). Besides the overly extravagant parties and the gluttony by many of the primary and secondary characters just prior to the Great Depression, the affairs and hypocrisy of Gatsby, Daisy, Jordan, and Tom Buchanan, is something that seems to go unnoticed by Nick Carraway until after seeing their reactions to Gatsby's death. "They were careless people, Tom and Daisy [and Jordan]*--they smashed up things and creatures and then retreated back into their money of their vast carelessness, or whatever it was that kept them together, and let other people clean up the mess they had made." (* personal insert based on interpretation of the novel) (pg 179)

3. Describe the author's tone. Include a minimum of three excerpts that illustrate your point(s).

The novel is written from Nick Carraway's point of view and thus shifts as Carraway's opinion of the people he interacts with changes. At the beginning of the novel (the exposition) Carraway's opinion of his new Long Island life style is one of optimism, admiration and astonishment. "I must have stood for a few moments listening to the whip and snap of the curtains and the rugs and the two young women ballooned slowly to the floor. (pg 8)" As the novel continues, Carraway (through an allusion to the disillusion of 1920's America) becomes more and more wary of the strangeness of Gatsby's lifestyle, along with the lifestyles of Tom, Daisy, and Jordan. "He talked a lot about the past, and I gathered that he wanted to recover something, some idea of himself perhaps, that had gone into loving Daisy. His life had been confused and disordered since then, but if he could once return to a certain starting place and go over it all slowly, he could find out what that thing was." (pg 110) Finally after the climax of the novel, Fitzgerald's tone toward the subjects turns to disgust as the true extent of their lifestyles becomes full circle. But even further than disgust, is the sense in Fitzgerald's tone of what could have been. After Gatsby's death Carraway reflects on his surrounding and his time on Long Island and writes "Most of the big shore places were closed now and there were hardly any lights except the shadowy, moving glow of a ferryboat across the Sound. And as the moon rose higher the inessential houses began to melt away until gradually I became aware of the old island here that flowered once for Dutch sailors' eyes-a fresh, green breast of the new world. Its vanished trees, the trees that had made way for Gatsby's house, had once pandered in whispers to the last and greatest of all human dreams; for a transitory enchanted moment man must have held his breath in the presence of this continent, compelled into an aesthetic contemplation he neither understood nor desired, face to face for the last time in history with something commensurate to his capacity for wonder." (pg 180). Which in my opinion, is a fitting end for a novel that practically reflects on what could have been, not just for the characters, but for early 20th century American society and the dread of realization from Fitzgerald that it has all been lost.

4. Describe a minimum of ten literary elements/techniques you observed that strengthened your understanding of the author's purpose, the text's theme and/or your sense of the tone. For each, please include textual support to help illustrate the point for your readers. (Please include edition and page numbers for easy reference.)

Symbolism:
"Gatsby believed in the green light, the orgiastic future that year by year recedes before us. It eluded us then, but that's no matter--tomorrow we will run faster, stretch out our arms farther.... And one fine morning-- So we beat on, boats against the current, borne back ceaselessly into the past." (pg 180)

 

Tone:
"I must have stood for a few moments listening to the whip and snap of the curtains and the rugs and the two young women ballooned slowly to the floor. (pg 8)"

 

Setting:

 "It was a matter of chance that I should have rented a house in one of the strangest communities in North America. It was on that slender riotous island which extends itself due east of New York..." (pg4)
 

Allusion:
"But above the gray land and the spasms of bleak dust which drift endlessly over it, you perceive, after a moment, the eyes of Doctor T. J. Eckleburg. The eyes of Doctor T. J. Eckleburg are blue and gigantic-their irises are one yard high. They look out of no face, but, instead, from a pair of enormous yellow spectacles which pass over a nonexistent nose. Evidently some wild wag of an oculist set them there to fatten his practice in the borough of Queens, and then sank down himself into eternal blindness, or forgot them and moved away. But his eyes, dimmed a little by many paintless days, under sun and rain, brood on over the solemn dumping ground." (pg 23)

 

Flashback:
"His voice was solemn, as if the memory of a sudden extinction of a clan still haunted him...Then came the war, old sport. It was a great relief, and I tried very hard to die." (pg 65-66) 

 

Colloquialism:
The continued use of the phrase "Old Sport" by Gatsby to make him seem so distant and far away from everybody, but at the same time make him feel like  a close friend you have grown old with. It is an entertaining phrase used again and again in the novel and it serves as a tool for Gatsby to put up a persona or façade with, which is completely different from his humble beginnings.  

 

Foreshadowing:
 "In my younger and more vulnerable years my father gave me some advice that I've been turning over in my mind ever since. " 'Whenever you feel like criticizing any one...just remember that all the people in this world haven't had the advantages that you've had.'

 

Imagery:

 "When I came home to West Egg that night  I was afraid for a moment that my house was on fire. Two o'clock and the whole corner of the peninsula was blazing with light, which fell unreal on the shrubbery and made thin elongating glints on the roadside wires" (pg 81)

CHARACTERIZATION
1. Describe two examples of direct characterization and two examples of indirect characterization. 
Why does the author use both approaches, and to what end (i.e., what is your lasting impression of the character as a result)?

In my opinion Nick Carraway is the protagonist of the novel the "Great Gatsby" rather than Jay Gatsby himself. Most of the characterization of Carraway is done indirectly through characterization, reactions and interactions with other primary characters, and his own opinion of other characters that he gives us as the narrator. I didn't feel that in writing the "Great Gatsby" Fitzgerald focused on using direct characterization to describe and categorize Nick, but it is something that is done with the other primary characters such as Tom, Daisy, or Gatsby.

2. Does the author's syntax and/or diction change when s/he focuses on character?  How?  Example(s)?

I personally didn't recognize any change in syntax or diction when F. Scott Fitzgerald started to focus on character. Fitzgerald was known for using a lot of descriptive words in his writing the book the "Great Gatsby" is no exception. The only shifts were in dialogue, which can be attributed to a focus on character. Personally, every time I started to read dialogue from Daisy my inner voice shifted up a few decibels and I started talking in a stereotypical 1920's accent, because of what words Fitzgerald chose for Daisy's dialogues. Similar things happened to me for each character as I read, but this is actually something I do every time I read, regardless of the book or author.

3. Is the protagonist static or dynamic?  Flat or round?  Explain.

Nick Carraway is definitely a dynamic and round character within the novel. This is proven as Carraway changes his mind about Gatsby and the residents of East and West Egg, multiple times throughout the novel. Without this uncertainty from Carraway he wouldn't be considered a dynamic or round character, instead he would simply be a mary sue.

4. After reading the book did you come away feeling like you'd met a person or read a character?  Analyze one textual example that illustrates your reaction. 

I actually did feel that I had met several of the characters in the "Great Gatsby" after reading the novel. I think it was because of how relatable the characters were and how well Fitzgerald is able to describe them. If I had to pick one character that I felt I knew the best after this book, I would have to say Gatsby. I have already used this quote, but when I read it for the first time, it felt as if I had already known Gatsby for years.
"He smiled understandingly-much more than understandingly. It was one of those rare smiles with a quality of eternal reassurance in it, that you may come across four or five times in life. It faced--or seemed to face--the whole external world for an instant, and then concentrated on you with an irresistible prejudice in your favor. It understood you just as far as you wanted to be understood, believed in you as you would like to believe in yourself." (pg 48)



Vocabulary 1-8

Every once in a while, it helps to see all the vocabulary we have done so far!

AP English Literature:

Vocab Lists 1-8

abase: belittle somebody: to make somebody feel belittled or degraded
abdicate: resign position: to give up a high office formally or officially, especially the throne
abomination: anything greatly disliked
brusque: abrupt: abrupt, blunt, or curt in manner or speech
saboteur:  one that practices sabotage
debauchery: immoral behavior: unrestrained self-indulgent immoral behavior, or an instance of this
proliferate: increase greatly: to increase greatly in number
anachronism: chronological mistake: something from a different period of time
nomenclature: name system: a system of names assigned to objects or items in a particular science or art
expurgate: edit something by removing offensive parts: to remove words or passages considered offensive or unsuitable from a book before publication
bellicose: warlike: ready or inclined to quarrel, fight, or go to war
gauche: socially awkward: lacking grace or tact in social situations
rapacious: grasping: greedy and grasping, especially for money, and sometimes willing to use unscrupulous means to obtain what is desired
paradox: something absurd or contradictory: a statement, proposition, or situation that seems to be absurd or contradictory, but in fact is or may be true
conundrum: something confusing: something that is puzzling or confusing
anomaly: irregularity: something that deviates from the norm or from expectations
ephemeral: short-lived: lasting for only a short period of time and leaving no permanent trace
rancorous: Bitter, long-lasting resentment; deep-seated ill will
churlish: crass: characteristic of somebody with bad manners
precipitous: done rashly: done or acting too quickly and without enough thought
shenanigans: secret or dishonest activity
ricochet: rebound off a surface
schism: a divide/split between strongly opposed sections
eschew: to deliberately avoid using
plethora: a large or excessive amount
ebullient: cheerful and full of energy
garrulous: excessively talkative
harangue: a lengthy and aggressive speech
interdependence: relationship in which each member is mutually dependent on the others
capricious: give to sudden and unaccountable changes of mood or behavior
loquacious: tending to talk a great deal
ephemeral: lasting for a short time
inchoate: just begun and not so fully formed or developed
juxtapose: place or deal with closely together for contrasting effect
perspicacious: having a ready insight into and understanding of things
codswallop: nonsense
mungo: poor quality
sesquipedalian: a person having a tendency to use long words
wonky: askew, off center
diphthong: special sequence of vowel sounds
adumbrate: to foreshadow vaguely
apotheosis: elevation to divine status (perfect example/epitome)
ascetic: practicing strict self denial as a measure of personal or spiritual discipline
bauble: trinket, trifling object
beguile: to lead by deception or trickery
burgeon: to grow or expand rapidly
complement: something that fills up, completes, or makes perfect
contumacious: stubbornly disobedient, rebellious
curmudgeon: miser, (typically used to describe an old man) ill-tempered
didactic: intended to convey instruction and information as well as pleasure and entertainment. Designed or intended to teach.
disingenuous: lacking in brilliance (or candor) or lack of integrity
exculpate: to clear from fault or guilt
faux pas: blunder (social blunder)
fulminate: to utter, explode, or send out with denouncement
fustian: written or spoken with pretentiousness or pomposity
hauteur: arrogance
inhibit: to prohibit from doing something
jeremiad: a prolonged lamentation or complaint
opportunist: unprincipled resourceful person: somebody who takes advantage of something, especially somebody who does so in a devious, unscrupulous, or unprincipled way
unconscionable: not guided or controlled by conscience
accoutrements: An accessory item of equipment or dress. Often used in the plural.
apogee: the farthest or highest point
apropos: at an opportune time, by way of interjection or further comment : with regard to the present topic
bicker: To engage in a petty, bad-tempered quarrel; squabble
coalesce: to grow together or into one body
contretemps: an inopportune or embarrassing occurrence or situation
convolution: a rolled up or coiled condition
cull: remove somebody or something as worthless: to remove an inferior person or thing from a group
disparate: very different: describes people or things so completely unlike one another that they cannot be compared
dogmatic: expressing rigid opinions: prone to expressing strongly held beliefs and opinions
licentious: sexually immoral: pursuing desires aggressively and selfishly, unchecked by morality, especially in sexual matters
mete: to give out by measure
noxious: physically harmful: harmful to life or health, especially by being poisonous
polemic: an aggressive attack on or refutation of the opinions or principles of another
populous: full of residents or inhabitants, as a region; heavily populated
probity: adherence to the highest principles and ideals
repartee: a quick and witty reply
supervene: follow unexpectedly: to follow or come about unexpectedly, usually interrupting or changing what is going on
truncate: shorten something by removing part: to shorten something by cutting off or removing a part
unimpeachable: impossible to discredit: impossible to discredit or challenge
apostate: abandonment of one's faith, political party, or cause
effusive: unrestrained in emotional expression
impasse: a road/passage, or situation having no exit or end
euphoria: a feeling of great happiness or well being
lugubrious: mournful or sad to a ridiculous degree
bravado: a show of courage, or defiant swaggering conduct
consensus: a general agreement
dichotomy: a diversion or contrast between two things
constrict: make narrower, restrict
gothic: language or type of style
punctilio: a fine point of conduct or a high or inducting standard of detail/performance
metamorphosis: a change of the form or nature of a thing
raconteur: a person who tells an anecdote in a skillful or amusing way
sine qua non: an essential, condition, absolutely necessary
quixotic: unrealistic and impractical: in an idealistic or overly romantic way
vendetta: bitter quarrel for somebody
non sequitur: a conclusion that does not logically follow the previous argument
mystique: a fascinating aura of mystery
quagmire: a soft boggy area of land that gives way under foot, a situation that is difficult to leave or get out of
parlous: full of danger or uncertainty
obsequious: obedient or attentive to an excessive or servile degree
beatitude: supreme blessedness.
bete noire:  a detested person
bode: to be an omen of a particular outcome
dank: disagreeably damp, musty, and typically cold
ecumenical: worldwide or general in extent, influence, or application
fervid: intensely enthusiastic or passionate, esp. to an excessive degree
fetid: smelling extremely unpleasant
gargantuan: enormous
heyday: The period of greatest popularity, success, or power; prime
incubus: a nightmare
infrastructure: is basic physical and organizational structures needed for the operation of a society or enterprise
inveigle: persuade (someone) to do something by means of deception or flattery
kudos: fame and renown resulting from an act or achievement
lagniappe: something given or obtained gratuitously or by way of good measure
prolix: (of speech or writing) using or containing too many words; tediously lengthy
protégé: a person who is guided and supported by an older and more experienced or influential person
prototype: an early sample, model or release of a product built to test a concept or process or to act as a thing to be replicated or learned from.
sycophant: a person who acts obsequiously toward someone important in order to gain advantage.
tautology: needless repetition of an idea, statement, or word
truckle: To be servile or submissive.
accolade: An award or privilege granted for special honor.
acerbity: Sharp bitterness.
attrition: The action of weakening by attack or pressure.
bromide:  An unoriginal idea or remark.
chauvinist: A person displaying aggressive or exaggerated patriotism.
chronic: On going.
expound:  Present and explain systematically and in detail.
factionalism: Relating or belonging to a faction.
immaculate: Perfectly clean and tidy.
imprecation: A spoken curse.
palliate: To make less severe or unpleasant.
protocol: The official procedure or system of rules governing affairs of state or diplomatic occasions
resplendent: Attractive and impressive through being richly colorful or sumptuous.
stigmatize: Describe or regard as worthy of disgrace or great disapproval.
sub rosa: Happening or done in secret..
vainglory: Inordinate pride in oneself or one's achievements; excessively vain.
vestige: A trace of something that is disappearing or no longer exists.
volition: The faculty or power of using one's will.

 

Hamlet ACT II

Here is the link for our group's Hamlet ACT II Project!

Special thanks to:
Rachel Nolan
Sarah Stevens
Whitney Houg
Connor Albright
Breanna Timmons

To Be or Not to Be

Since we have to memorize this, here are three of my favorite interpretations of the famous soliloquy. Many of us back in Mrs. Byrne's Honors English learned "Macavity" by watching the video several times over. And maybe for something that is significantly longer, this approach will also work.

David Tennant:

 

 

Christopher Plummer:



 

Kenneth Branagh:

DEAR OPHELIA

DEAR OPHELIA,

First of all, don't act in a precipitous manner. For all we know your love for this "prince" could be ephemeral. I must warn you now, that what I am going to say next may seem abase, but it is not intended to do so.

When it came to your letter I was surprised by the brusque length of it. I assumed that love was something expressed in many words rather than just a short cry as you have done. But now I must look at the content of your letter. You mentioned that both your father and brother hate him, and don't worry too much on this fact this isn't an anomaly, most fathers and brothers are just trying to look out for their beloved daughter and sister. But I must mention, what are the manners of this prince that you claim to love. Is he an abomination? Or some sort of saboteur, that would only pretend to love you for the sport of it? Most members of royalty are rapacious, and should this union end on ill will he may hold rancorous feelings toward you. I don't mean to make this letter a conundrum, I myself am very confused at your situation. In fact to me your situation, seems quite like a paradox. And although now you may find my advice quite rude, I am actually trying to expurgate this letter.

But now on to the subject of your prince. Is he actually royalty? Or are you just calling him a prince, because you consider him your prince. If he truly indeed is a prince, that simple fact will greatly increase the difficulty of this situation. Because if he is a prince, and you are not of royal blood, he will have to abdicate his throne to marry you, or you two will be participating in a debauchery, which I cannot condone. Whatever you do don't proliferate your problems!

Maybe your love for him is ephemeral. Please don't be bellicose, towards me, or behave in a churlish manner. (although I find the use of the word churlish a type of anachronism)

Remember, if this doesn't work out, as I suspect it won't, don't be gauche. Find another suitable suitor soon.

Vocabulary #8

Vocabulary #8

abase: belittle somebody: to make somebody feel belittled or degraded
abdicate: resign position: to give up a high office formally or officially, especially the throne
abomination: anything greatly disliked
brusque: abrupt: abrupt, blunt, or curt in manner or speech
saboteur:  one that practices sabotage
debauchery: immoral behavior: unrestrained self-indulgent immoral behavior, or an instance of this
proliferate: increase greatly: to increase greatly in number
anachronism: chronological mistake: something from a different period of time
nomenclature: name system: a system of names assigned to objects or items in a particular science or art
expurgate: edit something by removing offensive parts: to remove words or passages considered offensive or unsuitable from a book before publication
bellicose: warlike: ready or inclined to quarrel, fight, or go to war
gauche: socially awkward: lacking grace or tact in social situations
rapacious: grasping: greedy and grasping, especially for money, and sometimes willing to use unscrupulous means to obtain what is desired
paradox: something absurd or contradictory: a statement, proposition, or situation that seems to be absurd or contradictory, but in fact is or may be true
conundrum: something confusing: something that is puzzling or confusing
anomaly: irregularity: something that deviates from the norm or from expectations
ephemeral: short-lived: lasting for only a short period of time and leaving no permanent trace
rancorous: Bitter, long-lasting resentment; deep-seated ill will
churlish: crass: characteristic of somebody with bad manners
precipitous: done rashly: done or acting too quickly and without enough thought

Vocabulary Practice:
I give really bad advice.

LITERARY FICTION & EMPATHY

 LITERARY FICTION & EMPATHY

 

Well, since today was my first day back at school I haven't read or watched any of the Hamlet videos yet so I can't relate to Hamlet, but I did read the article so I can still refer it back to my own experiences. Which was in fact quite informative. Anyways now for the actual assignment.

 

The article discussed the science behind a study in which scientists distributed different pieces of literature to their test subjects and asked them to read for three to five minutes. After the time was up, they took a standardized test asking them to pair emotions and feelings with body language and other social interactions. It was concluded that subjects that had read that literary fiction as opposed to popular fiction helped people better interact with people socially.

 

In my life I have actually found this to be true. Books such as "The Cather in the Rye" by Salinger, and "The Glass Castle" by Walls, have helped me not only connect to others better but also connect to my self. "The Glass Castle" and "The Catcher in the Rye" contain a gargantuan amount of personal reflection from the authors about their teen years and their struggles, and although we live different live I was able to connect with many of the situations or feelings. While at the same time I was also able to connect with others who had gone through other difficult situations and now I had a common ground with them by reading those novels. 

 

 

 



GREEN EGGS & HAMLET

GREEN EGGS & HAMLET-By Dr. William Seuss

a) What do you know about Hamlet, the "Melancholy Dane"? 
-That Hamlet is framed for his father's death, his uncle takes the throne, he is haunted by the ghost of his father in a really cool but freakily written scene. Eventually he has his famed "To be or not to be" speech and wonders, "whether tis nobler in the mind to suffer...". Then he takes back his throne, kills his uncle and marries his mother. Then dies. But I'm not completely sure on the mother thing, that might be Odysseus, the Greek Hero who bested the sphinx, or some other Greek legend that I'm stuck on. And so for this summary, I must thank Walt Disney and the Lion King but you know you can't really put death and incest in a children's movie so who knows.

b) What do you know about Shakespeare? 
-I don't know too much about William Shakespeare, but I do know that he lived from the middle of 16th to the early 17th century in England. He married a woman named Anne Hathaway when  he was relatively young and very soon after (as in less than nine months) they had their first child. Most of his plays were performed at the Globe Theatre before it burned down after his death. Playwriting back in the 16th and 17th century was (at least I consider) much more difficult than it is today. Writers had to create plays that could be short enough to finish on time before the sun went down at night, yet long enough to ensure that people would be willing to pay. Also many of the common people would come and watch the performances and if they were not good enough, the people would throw food, rocks, fecal matter, and whatever they had at the actors on stage. Therefore, Shakespeare's work had to be excellent. Much of his work is satire and comedic as many of the phrases have multiple connotations and involve innuendos.

c) Why do so many students involuntarily frown when they hear the name "Shakespeare"? 
-To be honest, Shakespeare is terrifying. The language is practically King James English, which most students don't get enough of a baseline in. The connotations make summaries and understanding freakishly difficult. And finally the sheer length of Shakespeare and his prestige make his works very intimidating, because we as students feel as if we have to pull some great meaning out of his works.

d) What can we do to make studying this play an amazing experience we'll never forget?
-Whatever you do, DO NOT go for an ordinary attempt by having us readout the play in groups or act it out. Send us on a scavenger hunt, make us play charades, or do something totally unexpected yet meaningful so we can finally understand Shakespeare.

Vocabulary #7

Vocabulary #7

shenanigans: secret or dishonest activity
ricochet: rebound off a surface
schism: a divide/split between strongly opposed sections
eschew: to deliberately avoid using
plethora: a large or excessive amount
ebullient: cheerful and full of energy
garrulous: excessively talkative
harangue: a lengthy and aggressive speech
interdependence: relationship in which each member is mutually dependent on the others
capricious: give to sudden and unaccountable changes of mood or behavior
loquacious: tending to talk a great deal
ephemeral: lasting for a short time
inchoate: just begun and not so fully formed or developed
juxtapose: place or deal with closely together for contrasting effect
perspicacious: having a ready insight into and understanding of things
codswallop: nonsense
mungo: poor quality
sesquipedalian: a person having a tendency to use long words
wonky: askew, off center
dipthong: special sequence of vowel sounds

SO MY MAIN POINT WAS

"Umm,"

Definitely not the best way to start out a post but I cant seem to remember what my thesis for my essay was on Chaucer's purpose and Characterization. I must admit that I am six days removed from the essay itself, because for the first time this week I was in class, so for this I am just going to have to list some points that I think I addressed and attempt to fix this when I remember my thesis.

• Chaucer's work represented the common people
• Much of the work satires well established institutions (both literal and metaphorical) such as the church, religion, marriage, and class divisions
• The novel/poem was written in a way that allowed all to read and understand
• Painted an accurate picture of life in Medieval Europe

If I Just Had More Time

To be completely that test was quite difficult and I definitely do not think my performance showed the how ready I was for it. I'm too good at remembering words off the top of my head. But I can't let that be my excuse. I noticed that as I worked on writing some of the words down, the words I remembered the quickest were the ones that I assigned to certain memories or situations that I had encountered or seen. So for my next vocabulary exam I am going to try that method and hopefully it works out.

But if I really did have some more time to study for that test I wish I would have first taken a quick nap to clear my head and then gone over the words daily by making flashcards or stories to enhance my understanding.

Literature Analysis #2

 Literature Analysis #2

"The Things They Carried"

Tim O'Brien

Book Edition: First Mariner Books Edition

"They carried all they could bear, and then some, including a silent awe for the terrible power of the things they carried."
-The Things They Carried (Pg 7) 

 



1. Briefly summarize the plot of the novel you read according to the elements of plot you've learned in past courses (exposition, inciting incident, etc.).  Explain how the narrative fulfills the author's purpose (based on your well-informed interpretation of same).

 

"The Things They Carried", by Tim O'Brien isn't written in a nice chronological fashion, rather the 22 chapters that it does have provide snapshots of soldier's experiences during the controversial Vietnam War and beyond which actually makes the book a collection of short stories. An interesting point of this book is that though it is fiction, Tim O'Brien actually wrote himself in as the protagonist. The short stories, or chapters, range on everything from events of the war to events decades later. In doing so O'Brien blurs the lines of his story. Events are out order, and some are quick flashbacks due to the book being a collection of short stories. Yet in doing so O'Brien does something incredibly unique with "The Things They Carried", he allows readers to see the events as his characters did; sudden, quick and often unexpected.

 

O'Brien's book isn't just a novel about the Vietnam War, it was written as an up close and personal experience into the lives of soldiers during all wars.

 2. Succinctly describe the theme of the novel. Avoid cliches.

 

The universal emotions and burdens which all humans share and carry. O'Brien's series of short stories is a testament to the emotions and burdens we all carry. Yes, the soldiers carried the necessities for battle and for war, but they also carried with them pieces of home. "To carry something was to hump it, as when Lieutenant Jimmy Cross humped his love for Martha up the hills and through the swamps" (pg 3)

 3. Describe the author's tone. Include a minimum of three excerpts that illustrate your point(s).

O'Brien is straightforward in his writing. He doesn't shave off details in the attempt to alleviate the harsh reality of the Vietnam War but neither does he beg for sympathy from his readers.

 4. Describe a minimum of ten literary elements/techniques you observed that strengthened your understanding of the author's purpose, the text's theme and/or your sense of the tone. For each, please include textual support to help illustrate the point for your readers. (Please include edition and page numbers for easy reference.)

 

Symbolism: War, and telling the stories of war. "A true war story is never moral. It does not instruct, nor encourage virtue, nor suggest models of proper human behavior, nor restrain men from doing the things men have always done" (Pg 68)

 

Juxtaposition: The monks and the church. "One afternoon, somewhere west of the Batangan Peninsula, we came across an abandoned pagoda. Or almost abandoned, because a pair of monks lived there..." (Pg 119)

 

Setting: “They carried the sky. The whole atmosphere, they carried it, the humidity, the monsoons, the stink of fungus and decay, all of it, they carried gravity.”  

 

Allusion: The whole novel itself is an allusion to the Vietnam War, and how it really created a second "Lost Generation". A war time draft occurred and young men in the prime of their college years were forced to march, kill, and die in the jungles and swamps of Vietnam, for a purpose that seemed to allude them. That's the allusion this book is hinting at.

 

Flashback: “When a man died, there had to be blame. Jimmy Cross understood this. You could blame the war, You could blame the idiots who made the war. You could blame Kiowa for going to it. You could blame the rain. You could blame the river. You could blame the field, the mud, the climate. You could blame the enemy. You could blame the mortar rounds. You could blame people who were too lazy to read a newspaper, who were bored by the daily body counts, who switched channels at the mention of politics. You could blame whole nations. You could blame God. You could blame the munitions makers or Karl Marx or a trick of fate of an old man in Omaha who forgot to vote.”  

 

Foreshadowing: “I survived, but it's not a happy ending.”   This book is strange when it comes to foreshadowing. Since most of the book is out of sequential order, and jumps from past to present, we often hear about the outcome of important events long before they happen, such as the death of Kiowa, and other characters.

 

Imagery: You don't know. When I'm out there at night I feel close to my own body, I can feel my blood moving, my skin and fingernails, everything, it's like I'm full of electricity and I'm glowing in the dark - I'm on fire almost - I'm burning away into nothing - but it doesn't matter because I know exactly who I am.”  

 

 

CHARACTERIZATION

1. Describe two examples of direct characterization and two examples of indirect characterization.  Why does the author use both approaches, and to what end (i.e., what is your lasting impression of the character as a result)?

For the Protagonist Tim O'Brien, much of the characterization is indirect.

2. Does the author's syntax and/or diction change when s/he focuses on character?  How?  Example(s)?

I didn't feel as much changed in the points of syntax or diction when O'Brien switched his focus from character to narration. If anything his focus on character lessened some of the syntax and diction that he used, almost as if he was inviting the reader to make assumptions about character.

3. Is the protagonist static or dynamic?  Flat or round?  Explain.
I actually struggle picking out a protagonist for this novel. The soldier Tim O'Brian is a representation of the author himself, who in the novel is writing about his experience in the war. Basically Tim O'Brien made a fictionalized version of himself, writing about things he experienced in the Vietnam War, both he and his fictionalized version of him self. But as a protagonist Tim O'Brien, who is modeled after the author is a very dynamic character as he shows multiple sides of his personality and reasons for his actions.

4. After reading the book did you come away feeling like you'd met a person or read a character? Analyze one textual example that illustrates your reaction. 

I didn't feel that I had necessarily met a new person, by the end of this book, rather I had met a deep and partially troubled character. There are so many emotions and experiences that in the case of "The Things They Carried" which were never fully resolved or dealt with. And although I do understand that this series of short stories wasn't written as a memoir, it feels that Tim O'Brien was attempting to make sense of his struggles in Vietnam through the character O'Brien. And while doing that actually makes his character more believable, it also makes him hard to fully accept as a character or as a person.

I'm not going to lie, but I dropped the ball a little on this literature analysis.