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.