Class Notes: Weeks 10-11 (11/29/10-12/10/10)

Hamlet Discussion:

Garden of Eden allusion:

· Act I, Scene 5

· Gertrude = Eve figure (tempts Claudius)

· major question = What did Gertrude know and when did she know it?

· it’s reasonable to assume that Claudius killed for Gertrude because the text tells us that you can’t kill for the throne (must be elected by the board)

· Did Claudius corrupt Gertrude or did Gertrude corrupt Claudius?

· strong suggestion that the affair between Gertrude and Claudius has been going on for a while

o evidence = Gertrude’s lines are very similar to Ophelia’s (Ophelia also had an affair—with Hamlet)

disruption of natural order:

· God—NOT men—installs monarchs

o disruption of natural order shakes Elizabethan world

· “death of a sparrow” allusion indicates that God directs everything

Hamlet in film:

· 3 main versions of Hamlet:

o 1) raging

o 2) weepy/anxious

o 3) cold, detached

o takes a very good actor to incorporate all 3 elements

· things to notice in films:

o How is Hamlet portrayed?

o What is Hamlet’s relationship with the Ghost?

o What is Hamlet and Gertrude’s relationship like?

o What is the opening scene like?

o What is the director’s vision?

· Kenneth Brannaugh version:

o House of Mirrors: vanity; everyone watching everyone else

· modern version:

o What security camera?

§ possibly to suggest that characters are always being watched-in the other movie, this is signified by the House of Mirrors

o Why set in labyrinth?

§ maybe to signify confusion and lack of direction, especially for Hamlet

o How do these elements add to the opening scene?

§ makes opening scene more confusing/eerie; sense of foreboding

§ creates the same effect that the other version does-only modern day style

§ again, brings up issue of identity

o physical closeness-can actually touch the ghost

o Hamlet is constantly lower-how does this affect us throughout the movie?

§ makes audience see Hamlet as weak and cowering

§ his father is always towering above him

o setting of “To be or not to be” speech = Hamlet set in shadow

§ setting = in light

§ creates very different mood

· medieval version:

o interpretation = Hamlet is gay; doesn’t like Ophelia because he’s actually in love with Horatio

o How valid is this interpretation?

Overall Connections:

· Especially in the movies, Hamlet and Gertrude’s relationship reminds me of Oedipus and Jocasta’s relationship: both are filled with sexual tension. In fact, in general, there are many parallels between Hamlet and Oedipus Rex. Aristotle would probably consider both very good examples of tragedy (by his definition), since both have a protagonist who is noble and who has a tragic flaw. Also, both plays address the role of fate versus free will.

· The Biblical allusions in Hamlet remind me most obviously of the passages we read in the Bible, but also bring to mind some of Foster’s points. The “Garden of Eden,” especially, seems like a very common motif.

· For some reason, Ophelia reminds me of “The Lady of Shalott” by Tennyson. Both women seem doomed after they lost their virginity. In addition, they both meet their ends by drowning in a river.

Class Notes: Week 9 (11/22/10-11/26/10)

Revenge Tragedy (http://humx.org/vocabulary/revenge-tragedy)

Aristotle’s tragedy (as defined in Poetics):

· imitation of single, unified action that is serious, complete, has certain magnitude

· fall of someone good, believable, consistent

· fall is usually due to harmatia: tragic flaw

· fate may intersect with misfortunes of hero, but ultimately life is related to free will

revenge tragedy

· inspired by Seneca; made popular on Elizabethan stage by Thomas Kyd’s Spanish Tragedy

· theme: son’s revenge for father’s murder (or vice versa)

· murder is revealed and directed to protagonist by murdered man’s ghost

· revenge results from conscious and focused action

· examples of characteristic elements in plot:

o hero’s hesitation

o hero’s insanity

o sensationalized murder on stage or exhibition of dead bodies

· examples of dynamics of revenge:

o offense-can be maximized by multiplication of injuries and more insults

o antagonist-really formidable

o clarification of strategy or marshaling of resources

· intensified form of revenge tragedy: tragedy of blood

o works out theme of revenge and retribution through murder, assassination, mutilation, carnage

Background of Hamlet (http://www.shakespeare-online.com/sources/hamletsources.html)

· based on Norse legend written in Latin in 1200 AD by Saxo Grammaticus

o story of Amleth (Hamlet) was in books 3 and 4 out of 6 books-Gesta Danorum (History of the Danes): rise and fall of great rulers of Denmark

· 1514-first printed in Paris; 1570-Francois de Belleforest translated it into French as part of his collection of tragedies: Histoires Tragiques

· 1608-first appeared in English

· commonly accepted that Shakespeare used English source based on French translation: Thomas Kyd’s Ur-Hamlet

Question of Incest (http://internetshakespeare.uvic.ca/Library/SLT/plays/incest.html)

· Hamlet considers the relationship between Gertrude and Claudius incestuous; he refers to the biblical allusion of one flesh: Ephesians 5:31: “For this cause [matrimony] shall a man leave his father and mother, and shall be joined unto his wife, and they two shall be one flesh.” Thus, by this reasoning, marrying your dead husband’s brother is equivalent to marrying your own brother.

· historical justification: Henry VIII considered his marriage with Catherine of Aragon incestuous because she had first been married to his elder brother, Arthur, Prince of Wales, who died in 1502

Important Hamlet Discussion Questions

· central question: Why does Hamlet delay his revenge for so long?

· Why does Hamlet have so many lines? (this is a major imbalance, considering Shakespeare’s other works)

· Does Hamlet have an Oedipal complex towards Gertrude?

· What is Shakespeare trying to reveal?

· What is the role of the Ghost?

o Voice of dead Hamlet?

o Hamlet’s best intentions at heart?

o Manifestation of Satan?

o Young Hamlet’s own imagination?

Overall Connections

· Aristotle adds an element to the tragic hero that we did not discuss when we talked about Oedipus: harmatia, or the tragic flaw. Thinking back on Oedipus Rex, Oedipus’s tragic flaw would be a combination of hubris and stubbornness, since he adamantly refuses to listen to people at many points during the play.

· Like Oedipus Rex, Shakespeare’s Hamlet is not an original work but an interpretation. Therefore, Shakespeare, like Sophocles, manipulates the story to make his own, unique points. In our discussion, this is what we are trying to figure out: what does Shakespeare do and why does he do it?

· The bit about Henry VIII overlaps with both World History and U.S. History. We also learned in our history classes that Henry’s denouncement of his marriage was less about incest than about power. In addition, another less noble reason he had was simply that Catherine of Aragon was old and unattractive by the time she married Henry.

· Many famous literary works make allusions to Shakespeare, but Shakespeare makes many allusions to the Bible. This makes sense, because as we read in Foster, the Bible and Shakespeare are two of the most important pieces in the accepted literary canon. So, if Shakespeare couldn’t allude to himself, he would have alluded to the Bible.

· Oedipus Rex and Hamlet make me realize that there really aren’t too many original stories out there, merely different versions which are constantly changed over time, perhaps so much that they become unrecognizable. This is actually brilliant, since as an audience, we like the idea of a basic, familiar plotline, but at the same time we watch for new twists and unique spins on the original story.

Outside Reading Set #2

11/27/10

“ ‘How To Become A Scandal’ Is Smart, But Timid”

Susan Jane Gilman

Book Review

http://www.npr.org/templates/story/story.php?storyId=129404422

Employing many short, pithy paragraphs and rhetorical questions, Susan Jane Gilman delivers an engaging critique of the Laura Kipnis’s book How to Become A Scandal. From a psychoanalytical point of view, Gilman asserts that Kipnis does a decent job. However, Gilman criticizes mostly from a formalistic angle; she complains that “Although How to Become A Scandal takes an intelligent look at the psychology behind bad behavior, the second part gives way to deconstructions of Linda Tripp and James Frey, at which point the book's thesis blurs.” In particular, her comment about the book’s thesis indicates that Gilman takes greatest issue with the nature of the text itself, typical of formalism. Connecting this to what we learned earlier in the school year, Gilman does not think that Kipnis backs up her claim or thesis with enough evidence. Therefore, the latter’s argument is unsound. This reminds me, as well, of the article we read in which the author wildly asserts that Oedipus Rex is one, gigantic sexual innuendo. The author twists the text to suit his thesis, but his warrants are extremely illogical. In other words, our critique of that article is similar to Gilman’s critique of Kipnis’s book: if there is lack of logical evidence, readers will not buy the argument.

Gilman’s voice comes through clearly in her writing. To emphasize her points, she uses many punctuation marks usually not used in excess, such as the exclamation point. This is demonstrated well by:

Kipnis also leaves many huge, American scandals unmentioned. "I've avoided the glitziest cases, which tend to become too encrusted with opinion to yield surprises," Kipnis writes. Fine — but this feels like a cop-out. Why not take on the most infamous scandals — and recast them with fresh insight? Isn't this precisely what new scholarship should do? Besides, you're discussing scandal! Don't pussyfoot around!

Gilman also plays with sentence structure, often adding asides or comments on at the end, such as “And this isn't misleading. Kipnis has taken on a big, titillating, inflammatory subject — rather timidly.” By doing this, she creates a buildup in the first sentence of anticipation which leads to the ultimate punch line: the aside at the end. Using this technique, Gilman effectively crafts her own voice and holds readers’ attentions.

This piece cites the original book many times, so its evidence is sound. Furthermore, Gilman’s arguments are logical, making her criticism strong. However, one weakness of the piece may be its failure to expand on the other critical approach it mentions: psychoanalysis. However, this may have been a strategic choice on Gilman’s part, since she wanted to give a mostly negative review of the book, as opposed to the positive one that could have resulted from taking a psychoanalytical perspective.

11/27/10

“The Last Taboo”

Belinda Luscombe

Editorial

published in Time, 2007 (here’s an online copy: http://thelittleblackdressblog.blogspot.com/2007/12/last-taboo.html)

In her editorial piece “The Last Taboo,” Belinda Luscombe relies on an unpredictable pattern of sentence lengths, witty personal asides and interjections, and unconventional sentence structures to craft a strong voice. She often transitions from long, descriptive sentences to short, pithy one-liners. To further emphasize those punch lines, she rephrases them and drops them one after the other, as shown by the end of the first paragraph: “I’m talking, of course, about marrying outside your looks. Marrying a few degrees up or down the hotness scale. Refusing to stay within your cute-gory.” These sentence fragments add more flavor to the piece. They draw readers in and engage them. By sprinkling shorter sentences in once in a while, Luscombe ensures that the audience does not drown in long, complicated ideas.

Other elements Luscombe incorporates quite well into her writing are quick asides and interjections. These are often humorous as well, such as “My mother—well, let’s just say that when she comes to visit, the kids hide the broomstick and the big cooking pot” and “What they—who am I kidding, we—desperately need is a celebrity spokescouple, a famous mixed-assortment pair willing to step into the limelight and explain the challenge specific to this unequal yoking.” Through these asides, Luscombe communicates more directly with the readers and truly connects with them. Reading it, I personally felt that we were having a conversation and I could relate more to her, as opposed to feeling like she was simply lecturing me through her writing. Several times, Luscombe directly addresses the audience through rhetorical questions, such as “Do you and your spouse disagree on how many mirrors should be in the home, what angle they’re placed at and how well they’re lit?” These questions also help create more of a conversation between the writer and the reader.

To further illustrate her points and add humor, Luscombe utilizes allusions, such as the reference to the gay community. She also incorporates metaphors, such as “there’s a world of difference between what people will accept in the innocent suburbs of hooking up and the judgmental metropolis of marriage.” These literary devices help give a larger perspective, which enhances the single voice of Luscombe.

This piece is highly persuasive and captivating. Its greatest strength lies in its ability to fully draw readers in and hold their attention until the very end. It sells its point well and cites plenty of evidence to illustrate its point. Despite these strong points, however, the writing in this editorial does not suit the AP exam, mainly because it is written with such an informal voice. From that angle, its loose style may be considered a weakness. Elements such as the sentence fragments work in this context, but are not appropriate for the AP essay.

11/27/10

“The Shell Hunter”

Nancy Gibbs

Reflective Essay

published in Time, 2008 (here’s an online copy: http://www.time.com/time/magazine/article/0,9171,1853317,00.html)

Immediately in her essay, Nancy Gibbs creates a serene atmosphere through the line “It’s a chill morning, the light is thin, the air sweet….” After setting up the scene, she switches to past tense, telling an anecdote with just a tinge of nostalgia. Throughout her essay, Gibbs employs different tenses often to separate description from reflection. The tranquil background tone Gibbs sets up allows readers to perceive more clearly the deep appreciation and admiration she feels for Sue Harmon, the breast cancer survivor Gibbs writes about. By fading the details of her writing into a soft blur, Gibbs emphasizes the inspiration and conclusions she draws from Harmon’s story.

Gibbs uses the power of three and repetition in general throughout her essay to emphasize her points. For example, to underscore the unfairness of Harmon’s relapse, she says, “She did everything she was supposed to. She has a mental attitude so positive, you could sell shares in it and retire. She runs at least five miles several times a week and had regular tests and scans. This just feels wrong.” To illustrate the depth of her admiration towards Sue and the extent of Sue’s impact on others, Gibbs often uses colorful metaphors, such as the one in the previous quotation: “She has a mental attitude so positive, you could sell shares in it and retire.” She also compares Harmon to the sun, saying “She’s like sunshine with skin.” The title of the whole piece is a metaphor, which Gibbs explains at the end of her essay. On the topic of shell hunting, she writes: “You have to see through the debris the waves bring in, so much random waste, so carelessly tossed aside. She walks that beach with her eyes sharp, and she finds treasures, gathers them, and brings them home.” This beautiful, sunset-like ending brings the piece full circle, cleverly tying things back to the morning scene Gibbs starts with. This almost surreal ending solidifies the reverence Gibbs holds towards Sue Harmon.

Gibbs’s simple style is this piece’s greatest strength. She does not excessively praise Sue Harmon through superfluous adjectives. Instead, she quietly muses throughout the entire piece, therefore communicating her appreciation and admiration in a much more effective way than hammering readers on the head by ranting on about Sue’s virtues. As a reader, this tone draws me into the piece much more and I feel that I can connect with both Gibbs and Harmon. The plain language also makes the writing easier to follow, so each idea is clear and I am never lost.

From the perspective of an AP essay, perhaps a weakness of this piece is its lack of analysis. Gibbs’s reflections flow naturally with the rhythm of her piece, which is largely anecdotal and thus does not follow the traditional organization of an AP essay. Her musing, quietly appreciative tone works for a reflective essay, but perhaps lacks the assertiveness needed for an AP essay.

Class Notes: Week 6-Drama (10/25/10/29/10)

Drama

Perrine’s Chapter 1:

*unique to drama: written primarily to be performed, not read

presents action:

· 1) through actors

· 2) on stage

· 3) before audience

· these three attributes influence nature of dramaàauthor has much POWER

· these three attributes also expose limitations of drama

1) through actors: creates more direct and immediate effect

· facial expressions are very important

· gives playwrights lots of power

· limitations:

o viewpoint can only be objective (or dramatic)

o can’t enter minds of characters

§ solution: soliloquy: characters give speech meant to be heard only by audience

§ aside: character turns to audience while speaking to a different character

§ in both: characters are presumed to be telling the truth

§ interrupt action, so should be used sparingly

§ inappropriate if in strict realistic mode

2) on stage: forcefully command attentionàgives playwright more power

· limitations:

o can’t incorporate complex aspects of the physical world

o must present events appropriate for the magnitude of the stage

o difficult to rapidly shift scenes

3) before audience: communal experienceàcreates greater effect

· individual is affected by actions of others-e.g. others laughing causes you to laugh

· depends on size and density of audience; effect = greater if audience = packed together

· limitations:

o must hold attention of audience

§ solution: intermissions/acts-each with own climax

o can’t go back to clarify

some vocabulary:

· realistic convention: drama that attempts (in content + presentation) to preserve illusion of actual, everyday life

· nonrealistic convention: departs markedly from fidelity to outward appearances of life

· tragedy: causally related events lead to downfall and suffering of protagonist-usually of unusual moral or intellectual stature or outstanding abilities

· comedy: usually happy ending, emphasizes human limitation rather than greatness

· farce: related to comedy; emphasizes improbable situations, violent conflicts, physical action, coarse wit over characterization or articulated plot

· melodrama: related to tragedy; sensational incidents, plots at expense of

characterization, relies on cruder conflicts (e.g.-good vs. evil)-usually ends happily, with

good winning

· romantic: type of comedy; likeable and sensible main characters = placed in difficulties from which they are rescued at end of play-either attain ends or have good fortunes restored

· satiric: type of comedy; main purpose =expose + ridicule human folly, vanity, or hypocrisy

· protagonist: central character in story or play

· antagonist: force in story or play that = in conflict with protagonist; may be person, aspect of physical or social environment, destructive element in protagonist’s own nature

· foil character: minor character whose situation or actions parallel those of a major characteràcontrast sets off or illuminates latter-most often contrast = complimentary

· plot: sequence of incidents or events of which a story or play is composed

· suspense: quality in a story or play that makes reader eager to discover what happens next and how it will end

· theme: central idea or unifying generalizations implied or stated by a literary work

· didactic: primary purpose =to teach or preach

· dramatic exposition: presentation through dialogue of information about events that occurred before action of play or offstage/between staged actions; or about individual characters’ backgrounds or general situation (political, historical) in which action takes place

Perrine’s Chapter 2:

*all stage production, no matter how realistic, involves certain necessary artificiality

choice of realistic or nonrealistic stage sets, costuming, makeup lie with producer, not playwright

· former may choice to disregard directions of latter for novelty or emphasis

language and management of dialogue = playwright’s area

· all degrees of realism + nonrealism = possible in this area

dramatic conventions: certain departures from reality

· all dramas require audience to accept some

· examples of necessary conventions: room represented with three and not four walls; actors speak in language of audience regardless of nationality of characters they play, actors must face audience most of the time

· examples of optional conventions: soliloquies/asides, actors speak in heightened language of poetry

o playwrights working in strictly realistic mode will avoid optional conventions

· other nonrealistic devices:

o chorus (Greek-like in Oedipus Rex!): group of actors speaking in unison, often in a chant, while going through steps of an elaborate formalized dance-useful for conveying communal or group emotion

o narrator: vehicle for dramatic truth

*realistic must be regarded as descriptive, not evaluative

· playwrights may choose to be more realistic or less realistic depending on what effect they’re trying to achieve

*human truth, rather than fidelity to fact = highest achievement of literary art

Overall Connections for Weeks 4-6:

· Perrine’s advice on judging both “good” poetry and drama are basically the same: true accomplishment lies in human truth.

· The vocabulary we learned reminds me of the drama we studied in British Literature last year; I especially remember the comedic ladder, which includes satire, slapstick, farce, etc.

· Perrine consistently cites Shakespeare as the master of poetry as well as drama. The epiphany of excellence for each character always seems Shakespeare-related. This is probably why Shakespeare allusions are so important to know.