DAY ONE (pgs 3-14) - blogs.4j.lane.edu



Unit GuideLisa JoyeIHS Literature and the Arts2017Name: Table of ContentsResources and Materials for William Shakespeare’s OthelloWhy are we reading Othello?What is the Difference between Classical Greek Tragedy and Shakespearean Tragedy?Shakespeare Common TongueThe History of Shakespeare (Notes)What is this Iambic Pentameter I keep hearing about? Othello Study GuideFinal Othello ProjectLetter Three Self-Reflection and Parent FeedbackGrading 10 points for The History of Shakespeare (Notes) 30 points for Analysis of 3 given Study Guide Questions150 points Othello Study Guide 50points for Final Othello Project 50points for Othello Test 10 points for Letter Three 10 points for Self-Reflection and Parent FeedbackThis unit will take place over 19 lessons.2 introductory lessons9 days of play reading and close analysis2 days of discussion and activities1 day spent taking the Othello test2 days of Othello Final Project presentationsWhy are we studying Othelloby Shakespeare?Because it has a tragic, twisting plot!WILLIAM SHAKESPEARE'S OTHELLO is a timeless story about race, love, jealousy and betrayal. It was a tragedy written in 1603, (four hundred and fifteen years ago). Othello is set in 16th-century Venice, Italy. Othello, is a black Moor and highly esteemed general. Iago is Othello's ambitious friend. Othello promotes another, Michael Cassio to the position of personal lieutenant and Iago is deadly jealous. Iago begins an evil and malicious campaign against the hero. Meanwhile Othello has secretly married a beautiful white woman called Desdemona, the daughter of a prominent senator, Brabantio.Even after 400 years, Shakespeare is still beloved.The plays written by English poet, playwright, and actor William Shakespeare (1564 – 1616) have the reputation of being among the greatest in the English language and in Western literature. Traditionally, the plays are divided into the genres of tragedy, history, and comedy; they have been translated into every major living language, in addition to being continually performed all around the world.Shakespeare wrote 37 plays and various sonnets during the course of his life.Shakespeare’s plays are favored by manyPeople still talk about Shakespeare and study his plays becausehe wrote plays that are enormously rewarding to act and directhis characters are endlessly interesting and impossible to reduce to a simple formulahis language, though now difficult, is subtle, richly varied, and eloquent the plots of his plays still speak to the experiences of a modern world (think of the recent teen movies Ten Things I Hate About You from The Taming of the Shrew and Get Over It from A Midsummer Night's Dream)his plays survive translation, and are performed around the worldShakespeare wrote some of his plays in iambic pentameter, a form that suggested only 10 syllables per line of text (very rhythmic)Why are we reading this play again?to study the natural progression from the Greek tragedy to the Shakespearean tragedy (what is the same, what is different / how do they both address the tragic hero)Grappling with a complicated text and the helpful strategies for maneuvering through a difficult textDiscuss insecurities of self and who to trustLook at the Shakespeare’s use of race as a tool to promote anxietyCharacter motivation, esp. with the character of IagoThemes of light and darkness, honesty and deceit, the poison of jealousy, revenge and manipulation, manhood and honor, women and sexuality, marriageA competent and self-confident person is incapable of jealousy in anything. Jealousy is invariably a symptom of neurotic insecurity. ----Robert A. Heinlein What is the difference betweenClassical Greek Tragedy and Shakespearean Tragedy?The essence of tragedy, be it Greek or Shakespearean is the rendering of human suffering and a contemplation of the nature of man’s destiny in relation to the universe. It is here that all tragedy is one. But classical Greek drama has some differences with the tragedy as practiced in the Elizabethan times, especially by Shakespeare.Greek tragedy represents the philosophy of men’s insignificance in the face of a colossal divine power that controls and mostly destroys human life. The emphasis here is laid upon the inscrutable power of Fate or Destiny, capable of bringing about havoc and ruin to human life. The utter helplessness of men in his struggle against such a malevolent and uncontrollable divine power is the substance of classical Greek tragedy. The most obvious example is that of Oedipus in Oedipus the King who commits a sin in such ignorance that the impression of an overwhelming sinister destiny that rules and destroys his life is paramount. The most striking contrast in this fatalistic world view of the Greeks’ is found in Shakespearean tragedy where the entire emphasis is laid upon the responsibility of the individual in bringing about his ruin. Though Aristotle has pointed out that the Greek tragedies also portrayed the mistaken actions of the hero and therefore the Greek tragedies also showed an element of awareness of tragedy resulting from human flaws, the error of judgment of the hero or his hamartia is always conditioned by Destiny. That is, however much the hero makes mistakes, the overall impression is that he is led to committing those errors under the snares and pitfalls of Destiny. In Shakespearean tragedy the emphasis, however, is upon human action independent of Destiny where, however, the impression of fate working upon man is also not totally negated. Othello’s tragic destiny is brought about entirely by his misjudgments resulting in his overwhelming Jealousy, but there is also the impression that Othello is so pitted against certain evil forces over which he has no control. Actually, the Greeks had a theocentric vision while the Elizabethans, motivated by the Renaissance, laid stress on the vision of an anthropocentric universe. Hence crux of tragic action lay with a divine power in Greek tragedies while the individual hero and his actions were of prime importance in a Shakespearean tragedy.In matters of structure, the Greeks were much more fastidious about the unity of action. The unity of action implies that the action represented in a play should be just one single whole without any digressions what so ever. The unity of time implied that the time represented in the play should be limited to the two or three hours it takes to act the play or at most to a single day of either twelve or twenty four hours. The unity of place implied that the tragic action portrayed in the play should be limited to a single location. These three unities were observed for the achievement of an illusion of reality in the audience. Shakespearean tragedy completely dispenses of these three unities. A Shakespearean tragedy takes place often in two or three places, and the time taken is much more than twenty-four hours, often spurning a month or even more. The Greeks employed the chorus as a dramatic device. The chorus, as stated by Aristotle, was often a group of characters who remained aloof from the action and commented upon it by singing or chanting verses and performing dance like maneuvers on the stage. They represented traditional, moral, religious and social attitudes and often took part in the action. In Shakespearean tragedy there is a complete absence of the chorus. Shakespeare needs no chorus for commentary while the action is what constitutes the play. But whereas in Greek drama the chorus offered time gaps between two sets of tragic actions; in a Shakespeare play this is achieved by comic relief. Finally, the introduction of ghost, witches, strange visions and fearful phenomena that is the deus ex machina or the supernatural apparatus, which is so rampant in Shakespeare, is never made use of in Greek tragedies. The witches in Macbeth or Banquo’s Ghost in the same play, or the Ghost of Hamlet’s father in Hamlet or Caesar’s spirit in Julius Caesar are all instruments of horror which the Greeks avoided.It should, however, be kept in mind that these differences in convention and style should never blind us from the truth that both Shakespeare and Greek tragedies fulfill the same purpose of presenting before us the enormous vision of human grandeur that issues from the struggle of man with in transient forces either at work within him or outside and that both these two types of tragedies show that heroism lies not in victory or defeat but in courageous endurance of pain and hostility.Shakespeare’s Common Tonguealack — expression of dismay or shockanon —soon right awayaught — nothingavaunt — go awayere — beforehath — hashence — away (from here)henceforth — from now onhither — herelest — or elsenaught — nothingoft — oftenperchance — by chance, perhaps, maybesirrah — [pronounced.SEER-uh] “hey you” as to someone of lower statusthee — youthence — away over therethine —yoursthither — therethou —youthy — yourwhence — wherewherefore — why [literally :“where is the ‘for’ or ‘reason?”]. whither —where-adapted from The Shakespeare Theater of New Jersey Othello Study GuideOthello Character ListOthello: A Moor, and an officer in the Venetian military. He falls in love with, and marries, thedelicate Desdemona, though he is middle-aged, and she is still young. Othello is bold, a good warrior,and a decent person overall; however, he is undone by jealousy and pride, his two main failings.Although Othello is very eloquent, he believes his manners and words are both rough.Desdemona: Othello's wife, a young Venetian woman of high birth and good breeding. Desdemona isalmost overly virtuous, which causes her to feel that she must defend Cassio, and speak in a publicsphere when necessary. She is stronger than Othello believes her to be, and is not the private,withdrawn, meek woman he would ideally like her to be.Cassio: Othello's lieutenant, though he has little field experience. Cassio is a smooth-talking, verycourteous Venetian courtier, the opposite of Othello in many respects, which is why Othello admireshim, oddly enough. Othello is led to believe that Cassio has had an affair with Desdemona, thoughCassio has only honorable intentions toward Desdemona.Iago: Othello's ensign, and passed over for the lieutenant position in favor of Cassio. Iago is young andtreacherous; he is a villain from the start, and though he cites his hurt pride over the lost promotion andOthello's alleged infidelity with Iago's wife Emilia as being reasons for his actions, he is withoutreasons. He is immoral, but very perceptive, keen, and able to manipulate people into falling for thetraps he sets without them being aware.Emilia: Iago's wife, and Desdemona's handmaiden. She is entrusted with bringing people intoDesdemona's presence, staying with her at all times, etc. Emilia has no idea what her husband Iago isup to, nor of his darker qualities. She remains loyal to Desdemona above all others, although sheunwittingly plays a key part in Iago's treachery.Brabantio: Desdemona's father, a senator and renowned citizen of Venice. He is not at all pleased byDesdemona's union, and warns Othello that as Desdemona betrayed her father, she may betray herhusband too.Roderigo: Lusts after Desdemona, which Iago is of course aware of. Iago uses him to ruin Cassio'sreputation, and in his other schemes. Iago promises Roderigo that he shall have Desdemona's love inreturn for his help; Roderigo actually receives nothing but a disgraced death.Duke of Venice: Ruler of the city, and Othello's superior. He allows Othello and Desdemona to staytogether despite her father's protests, and also sends Othello off to Cyprus to battle the Moors.Senators: Other authority figures of Venice, and men of reason and order; they also support Othelloand Desdemona's union, and Othello answers to them and the Duke in matters of war. (No speakingparts)Bianca: A courtesan who Cassio visits frequently; Cassio asks her to make a copy of Desdemona'shandkerchief, and the fact that the handkerchief is found in her place further incriminates Cassio. Sheis the only female in the play whom Cassio shows less than full respect to, probably because she is aprostitute.Montano, Governor of Cyprus: Pronounces judgment on Iago at the end of the play, comments onthe situation, and helps to wrap the play up. He is the main law and order figure of Cyprus, and servesas damage control after Othello dies, and Iago is proven unfit.Literature and the ArtsThe History of ShakespeareName:Section:Write down 10 new facts that you learned during the History of Shakespeare presentation:1.2.3.4.5.6.7.8.9.10.What was the most interesting piece of information that you learned today?What is this Iambic Pentameter I keep hearing about?First we will watch the video: Rhythm is the pattern of stresses in a line of verse. When you speak, you stress some syllables and leave others unstressed. When you string a lot of words together, you start seeing patterns. Rhythm is a natural thing. It’s in everything you say and write, even if you don’t intend for it to be.Traditional forms of verse use established rhythmic patterns called meters (meter means “measure” in Greek), and that’s what meters are — premeasured patterns of stressed and unstressed syllables.Much of English poetry is written in lines that string together one or more feet (individual rhythmical units). Feet are the individual building blocks of meter. Here are the most common feet, the rhythms they represent, and an example of that rhythm.Anapest: duh-duh-DUH, as in but of course!Dactyl: DUH-duh-duh, as in honestlyIamb: duh-DUH, as in collapseTrochee: DUH-duh, as in pizzaTo build a line of verse, poets can string together repetitions of one of these feet. Such repetitions are named as follows:1 foot: monometer2 feet: dimeter3 feet: trimeter4 feet: tetrameter5 feet: pentameter6 feet: hexameterSo the famous iambic pentameter is a string of five iambs--For example: as in Christopher Marlowe’s line from Dr. Faustus:“was this the face that launched a thousand ships?”Duh-DUH-duh-DUH-duh-DUH-duh-DUH-duh-DUHHere you’ll notice that there are five unstressed syllables alternating with five stressed — in other words, five duh-DUHs. Another example:Arise, fair sun, and kill the envious moon, Who is already sick and pale with grief, (Shakespeare, Romeo and Juliet)IHS Global Literature and the ArtsOthello Study Guide 2017-2018Directions: As you read the play for homework, you will be looking at your study guide questions as you go. Once you return to class we will discuss the reading as a class. Each student will be responsible for presenting the answer to 3 questions in class. While in class you will write in complete sentences, and provide detailed analysis to each of the study guide questions. Your goal is to express “more” in a small space. Have something to say, think carefully about your diction choice, and be specific!DAY ONE (pgs 3-14)Act 1 Scene 1‘swounds — “God’s wounds”; an exclamationtupping — a derogatory colloquial reference to sexual intercourse“making the beast with two backs” — a derogatory colloquial reference to sexual intercourseancient — standard bearer or ensign; not “old” in this context kindred — familyMoor — a member of a Muslim people of North Africapray — please“deserve your pains” — repay you for your troubleRoderigo says to Iago, “thou…hast had my purse/As if the strings were thine.” What does this statement mean?Why is Roderigo upset/angry in scene 1?Why is Iago upset in regards to Cassio? Brabantio (Desdemona’s father) has met Roderigo before. What does Brabantio think of him?Why does Iago leave the scene before Brabantio comes down to the street? DAY TWO (pgs 15-45)Act 1 Scene 2 and 3galleys—shipsmountebanks---quacks, crazy doctors, witch doctorsfoul proceeding--bad situationbeguiled—trickedmandate—a command from an authority figurevouch—promisewrought—changed or shapedovert—public (not secret)sagitary—the inn in which Desdemona and Othella have been stayingensign—an officer ranking under lieutenantvices—faults, failingsbade—past tense of bid; asked tospake—spokefortitude—phyical or structural strength“th’affair cries haste”—the issue needs to be dealt with quickly“I prithee”-I beg of youincontinently—immediatelyengendered—conceived; “the idea has been formed”Although Othello and Iago are awaiting the arrival of the angry Brabantio, Cassio arrives first instead. Why is Cassio there?What does Brabantio believe about the relationship between Othello and Desdemona? Cite appropriate lines in your answer.According to Othello, how did his relationship with Desdemona develop? Desdemona wants to go to Cyprus with her new husband. How does Othello convince the men there that his wife should be allowed to go with him?What does Roderigo say he wants to do now that his “love” has married another? What does Iago advice him to do instead? Be detailed in your explanation.What are some important facts revealed to us during Iago’s soliloquy at the end of this scene?DAY THREE (pgs 49-59)Act 2 and the first half of Scene 1descry— to catch sight of from a distanceshot of courtesy — a cannon shot in friendly salute to arriving guests; a common naval saluteparagons description— is even better than people can describecontention— competitioncitadel— a fortress commanding a citychides—scolds“disembark my coffers”— unload my belongings from the ship“list me”— listen to meechery— extreme and inappropriate desire for sexual activitycholer—hot tempered state of mind; angrydisplanting— removingby and by—in a little whileACT II Scene 1 Who is Montano? What is the news regarding the Turkish fleet? What does Iago say about his own wife in this scene? So far, how do you suppose Shakespeare wants us to feel about Iago? Explain your opinion of him.DAY FOUR (pgs 59-67)Act 2 the rest of Scene 1 and Scene 2How does Iago attempt to convince Roderigo that Desdemona is in love with Cassio? Explain his “evidence.” Does Roderigo believe Iago’s theory?Why does Iago tell Roderigo to start a fight with Cassio? How will this fight supposedly benefit Roderigo? How might it benefit Iago?What does Iago’s soliloquy at the end of this scene reveal to us?Scene 2 What does the Herald in this short scene proclaim?DAY FIVE (pgs 69-89)Act 2 Scenes 3wanton— unchaste, a willful headstrong creaturegallants—followers, men of pleasure“very poor and unhappy brains for drinking”— liquor goes right to my head; not much of a drinkercannikin— a small drinking canmince—cut into small piecessweeting—a term of endearmentbestial— animal like uncivilizedspeak parrot— babble senselesslyhydra— a mythological dragon with five heads“subdue in any honest suit”—win or convince if the cause, seems nobleenmesh— to trap or snar as in a net or webScene 3Why does Cassio initially refuse to drink with Iago? How can we tell when Cassio is drunk? Take a look at Iago and Montano’s conversation. What is it about? What does Othello immediately do when he finds out Cassio instigated the brawl?Iago and Cassio stay to converse at the end of this scene. What is Iago’s advice to Cassio? Roderigo wants to go home to Venice. How does Iago convince him to stay? How has Roderigo’s presence been beneficial for Iago already? Look at Iago’s final short soliloquy. He reveals that he will use his wife Emilia for what purpose? What is his plan that will make the Moor “jump”?DAY SIX (pgs 93-129)Act 3 Scenes 1-3errs in ignorance— mistakes, not with intent but by accidentNot a jot— not a bithaply—perhaps, becausechamberers—noble lords and ladies who spend most of their time indoors entertained by witty and sophisticated conversation filch—to stealwayward—self-willed; wrong-headed; perverseocular— visualon the rack—angered, emotionally torturedgape—starelewd minx— worthless, unchaste woman; a whoreScene 1How does Iago plan to “help” Cassio in regards to the meeting with Desdemona?What do Emilia and Cassio talk about in this scene?Scene 3 Cite at least one line, which shows Desdemona’s determination in helping Cassio be reinstated. Why does Iago say he would rather not share his thoughts with Othello? Look at Othello’s soliloquy, which starts with “This fellow’s of exceeding honesty.” What reasons (insecurities in himself) does he begin to acknowledge may cause Desdemona to be unfaithful?Does Emilia know what Iago plans to do with the handkerchief? Why does she give it to him? While talking to Iago, Othello says “Farewell” to several things. To what is he saying farewell, and what does he mean by this? Othello threatens to kill Iago. Why? Iago offers “proof” of Cassio and Desdemona’s affair. Describe what Iago says he has heard and witnessed. Which line shows Othello’s anger in reaction to Iago’s story? What does Iago offer as his second point of proof? Why does Iago kneel down with Othello? What promise is made? What does Othello command Iago to do at the end of this scene?DAY SEVEN (pgs 129-141)Handkerchief LessonAct 3 Scene 4crusadoes— Portuguese coins bearing figures of the cross; also a crusadercastigation— corrective disciplineheraldry—practice of granting noticechuck—a term of endearment rheum—a head cold; sinus pressure and drainage that offendsamiable—pleadings for a causeadvocation— visualconception—mere fancycredulous—inclined to believe especially on slight evidencereproach— disgraceepilepsy— know in Shakespeare’s day as “The Falling”lethargy—morbid drowsinessencave—concelconstrue— interpretcaitiff— wretchhobby-horse—a loose woman prostituteiniquity—wickednesscuckold— a man whose wife is unfaithfulbreach— disagreement quarrel“by my troth”—“by my word”; a mild exclamationcensure—opinion, criticismScene 4Does Desdemona think of her husband as a jealous man? (Cite the appropriate line as support)What does Othello say is so special about the missing handkerchief? Explain in detail.How does Desdemona attempt to change the subject from that of the handkerchief?Desdemona says, “Heaven keep that monster from Othello’s mind.” What monster is she referring to?Describe Cassio’s conversation with Bianca. Use detail in your description. DAY EIGHT (pgs 145-176)Act 4 Scenes 1 and 2durst— dareprocreants— procreators; people engaging in sexual intercoursehalter—the hangman’s nooseabode—location where one resides or staysScene 1 What does Iago say he has heard Cassio talk about? Iago says “My medicine work! Thus credulous fools are caught.” This line points to one of Othello’s TRAGIC FLAWS. List at least 3 tragic flaws Othello seems to have.a)b)c) What is Iago’s perception of all married men? How does Cassio feel about Bianca?Describe the conversation between Iago and Cassio that Othello overhears.Why is Bianca angry when she enters? How does her presence in this scene help seal Iago’s plan?What are the murder plans?Who is Lodovico? What news does he bring from Venice?Why is Lodovico shocked at the end of this scene?Scene 2 What does Emilia say about Desdemona as a wife? Describe the conversation between Othello and Desdemona. What does Desdemona ask of Iago? The last time we saw Roderigo, Iago convinced him to stay in Cyprus. Why is he angry with Iago now? Be specific. How does Iago use flattery with Roderigo? According to Iago, how will killing Cassio benefit Roderigo?DAY NINE (pgs 177-219)Act 4 Scene 3incontinent—at once; wanting in self-restraint (reference to sexual appetite)forsake—renounce or turn away from“pour our treasures into foreign laps”— to cheat on; specifically “give (sexual) love meant for a spouse to anotherscant—skimp, to cut short in amountgalls—resentmentScene 3 Explain what Emilia says about women who commit adultery. What is Desdemona’s response throughout the conversation?Act 5 Scene 1miscarry— to be unsuccessfulgait— manner of moving on feetScene 1 Describe what happens when Roderigo attacks Cassio.Act 5 Scene 2Monumental alabaster—a white stone (such as marble or granite) often used for funeral monumentsPromethean—two myths of Prometheus; 1) he stole fire from the Gods and gave it to human-kind; and 2) he is the creator of human-kindforfend— forbidperjury— lying under oathbanish—send or drive awayiterance—repetitionpernicious— destructive, evildisprove— prove to be falseapt—likelyodious—hatefulensnared— capturedmalice—desire to cause injury or distress to anothermalignant—tending to produce death, deterioration or destructiontraduced— to lower the reputation of; to slandersmote— killed by striking as with a swordmarred—detracted from wholeness or perfectionSpartan dog—a kind of bloodhound; envy was sometimes represented as a snarling dogScene 2 As Othello approaches Desdemona in her bed, he talks a lot about LIGHT. What, in plain modern English, is Othello saying? Explain clearly.Why does Othello ask Desdemona if she has prayed tonight?Cite at least 3 lines in which Othello clearly states his intent to kill Desdemona. Why do you suppose she stays despite these warnings?What are Desdemona’s final words? What do these words possibly indicate about her character?Cite the lines that show that Emilia thinks Iago is incapable of such evil.What new information do we learn about Brabantio? Explain.What specifically does Emilia reveal which angers Iago to the point of killing her?When Iago is captured and brought back in, what does Othello say and do?What are Iago’s final words in this play?What are the letters found on Roderigo about?a)b)Othello tells Lodovico that when they write the report of “these unlucky deeds,” he would like to be described a certain way. Explain what Othello says.One of the requirements of a TRAGEDY is that the audience is left with a sense of loss at the end. Choose two characters that you feel the most sympathy for at the end. Explain why.a) b) Another obvious aspect of a TRAGEDY is death. List 5 dead characters, and explain how each dies.1)2)3)4)5) DAY TEN “It’s a Man’s World” (Lesson)DAY ELEVENLanguage, Race and Culture in the Play (Lesson)DAY TWELVEOthello TESTDAY THIRTEEN and FOURTEENOthello PresentationsDAY FIFTEEN, SIXTEEN and SEVENTEENOthello Essay WritingOthello Final ProjectYou will choose between 3 options for your Final Othello Project.FOR THE ARTISTS: A Director Prepares(presentation optional)Othello has long captured the imaginations of directors and designers for stage and screen. Individually or in small groups, (3 or less), come up with scenic and costume designs for the play. You will use drawings as well as writing, to explain and justify your design to the class. Have students design, either by hand or on the computer, costumes for each of the main characters (Othello, Desdemona, Iago, Rodrigo, Emilia, and Cassio). The costumes should reveal knowledge of the historical period and analysis of the personality of the character. In writing, describe as concisely as possible the world of this production. Where has the artistic team set the play? Are the actors wearing classic Elizabethan clothing? Or has it been set in a blasted-out urban wasteland? Would you consider the world dark and jagged or sophisticated and bright? Be specific. Include details about the costumes and scenic elements, including colors, textures, and shapes. Why has your artistic team decided to set the play in this world? What does this say about your interpretation of the play?FOR THE ACTORS: Speak the Speech….(presentation required)In small groups, work to present a scene from the play to the class. Each group should come up with its own unique presentation: different rhythms, echoing or underscoring key words or phrases, props, costumes, movement, etc. You must choose one decade to have the play take place in. The costumes, and adding of phrases, etc. must coincide with the chosen decade. For example, if you are choosing to have your scene take place in the roaring twenties, then the costumes must match and there must be some 1920’s phrases and mannerisms added in (“I think Desdomina gave Cassio a smooch!”).Through each character’s speech and actions, we learn about the character’s desires, intentions, motivations, and dreams. Each member of the group will select one major character that appears frequently in that act. In writing, you will then analyze the speech and actions of the character and present to the class what that speech and/or action tells us about the character’s motivation and desires. WORK ALONE ACTORSChoose a monologue from the play. You must still follow the decade requirement of the above group assignment, but in addition you will analyze what does the monologue reveal about the character you chose? For example, Othello’s final speech is an important index of his character. It is an address to the political leaders who commissioned him, rather than a diatribe against Iago—a public speech, rather than an anguished private monologue. It tells us about who he was and who he has become through his unchecked passion. Iago’s speeches, on the other hand, are most often in the form of monologues; he talks to himself about his plans and his evaluation of the other characters. This tendency to talk to himself may be an indication of both his madness and his malevolence. Explain to the class:? What is the major event that occurs in this act?? What information is provided in this act?? What does the character’s monologues/speech tell us about him/her?? What does the manner in which they speak and to whom tell us?? What seems to be the focus and major function of the monologue????FOR THE POETS, MUSIC LOVERS, and INTELLECTUALS…..(presentation optional)Your goal will be to create a portfolio of poetry and song lyrics that will explore four prominent themes in Othello (jealousy, love, revenge, and trust). You must select one decade and all of the poems and songs must have been written in that particular decade. You must have three poems/lyrics for each theme for a total of 12. You will create a formal portfolio to display and articulate your thematic connections.The portfolio will include:A one page written commentary about the decade that you chose, why you chose that decade and what style of poetry and music was being written in that decadeThen break up your portfolio into four sections. In each section you must have a paragraph for how the particular theme is demonstrated in Othello,type out the 3 poems and/or lyrics that correspond to the theme (including title, poet, approximate date of publication and any other relevant information), andwrite a paragraph per selection that explains how the poem or song emulates the theme as it is used in Othello (a total of 12 paragraphs)Final Project for Othello Specific Guidelines and Rubric (50 pts)Guidelines FOR THE ARTISTS: A Director Prepares (presentation optional)students presentation choice must demonstrate in-depth knowledge and understanding of the playthe scenic and costume designs must reflect a chosen decadestudents will use drawings as well as writing, to explain and justify their designdescribe as concisely as possible the world of this production. Where has the artistic team set the play? Include details about the costumes and scenic elements, including colors, textures, and shapes. What does this chosen design say about your interpretation of the play?students may either create their designs by hand or on the computerstudents may choose to costumes for any of the main characters (Othello, Desdemona, Iago, Rodrigo, Emilia, and/or Cassio)the costumes should reveal knowledge of the chosen decade and analysis of the personality of the characterGuidelines FOR THE ACTORS: Speak the Speech…(presentation required)students presentation choice must demonstrate in-depth knowledge and understanding of the playstudents must choose one decade to have the play take place in. The costumes, and adding of phrases, etc. must coincide with the chosen decadepresentation can be performed in class or be digitally recordedeach student presenting must have 2 minutes of “talk” timeall lines must be memorized (no note cards allowed)IN ADDITION to acting out the scene…each member of the group will select one major character that appears frequently in that act. In writing, you will then analyze the speech and actions of the character and then present to the class what that speech and/or action tells us about the character’s motivation and desiresexplain to the class your directorial choices for this sceneFor Work Alone Actor’s you must in writing, analyze the speech and actions of the character and explain the following to the class: What is the major event that occurs in this act? What information is provided in this act? What does the character’s monologues/speech tell us about him/her? What does the manner in which they speak and to whom tell us? What seems to be the focus and major function of the monologue?Guidelines FOR THE POETS, MUSIC LOVERS, and INTELLECTUALS…..(presentation optional): see the portfolio guidelines on pg 29 of the Othello packetOthello Final Project Sign-up FormName___________________________________________________________Section_____________________________I have decided to complete the following final project:_______ACTORS: Speak the SpeechFor this presentation I am choosing to work with the following people:1.23.4.__________ARTISTS: A Director PreparesFor this presentation I am choosing to work with the following people:1.2.I would like to present my designs to the class: circle Y or N_______POET, MUSIC LOVER, and INTELLECTUALI would like to present my designs to the class: circle Y or N_______WORK ALONE ACTORSTUDENT COMMITMENT:If I am choosing to work with a group of people, I take full responsibility for my group choices. I understand that this project is worth 50 points. I understand that each group member must have two minutes of talk time if we have chosen the ACTORS option. I am prepared to use my creativity and analysis skills to show my understanding of the play Othello. I will ask for help if I need it. I understand that this is a high academic project that requires a high quality effort.Signed_____________________________________________________________________________________________________Othello Final Project RubricNames____________________________________________________________________________Date_______________________Section__________________________Presentation Choice_______________________________________________________Needs Work Average ExcellentDemonstrates in-depth knowledge and understanding of the play135710Organized, appropriate to topic, clear, engaging, original, convincing, insightful135710Writing that is clear, accurate, demonstrates the use of wide and varied vocabulary, specific and detailed analysis, and appropriate grammar and sentence structure135710Thoughtful and purposeful delivery w/quality presentation techniques135710Meets all of the chosen project requirements135710points: ______extra credit awarded: ______total points: ______ /50 Teacher Comments: Othello TestTimed WritingIHS Literature and the ArtsLisa JoyeDirections: Please choose ONE of the numbered prompts below. You will be graded on your understanding of the play and the strength of your argument. Quotes will help support your argument. You will not be graded on essay organization. You may use your playbooks and study guide questions during the test. If you complete one prompt and still have extra time in class, then you may attempt to answer a second prompt for extra credit. 1. Why do you think it is possible for Iago to so quickly affect Othello’s passionate love for Desdemona, and change it to jealousy and rage? Does this seem like a realistic shift in Othello’s character? Consider what it is about Othello and the world in which he lives that might make him quick to believe that Desdemona has been unfaithful. Support your argument.2. Iago gives us several (sometimes conflicting) reasons to justify his actions. Name the reasons he gives. Does he have just cause for doing what he does? Do you believe that he is telling us (the audience) the truth? If he is lying to the other characters on stage, does that mean the he may also be lying to us? Why do you think Iago does what he does in the play? Support your argument.3. What role do each of the main characters play in this tragedy’s bloody conclusion (Othello, Desdemona, Iago, Rodrigo, Emilia, and Cassio)? Is anyone wholly innocent of responsibility? What could each of these principal characters have done to prevent at least some of the bloodshed? Support your argument.4. What does the play say about friendship and loyalty? Discuss the ways in which Iago elicits trust from different characters. Which characters seem to trust Iago and on what grounds? What reasons might any of them have not to trust Iago entirely? Who remains loyal? How is friendship shown? What types of betrayal occur in the play? Support your argument.5. What does Iago say about women? Discuss the nature of his relationship with Emilia. How do Iago’s feelings about women reveal his views of gender relations, and more broadly any human relations? Support your argument.6. Consider Emilia’s part in the play. How does Emilia change in the course of the action? What responsibility does she feel in connection to Desdemona’s death? Do you see Emilia as a weak or strong character? Support your argument.7. Comment on the racial overtones of the play. Consider what is said about the Moorish Othello by various characters. How do these comments work for or against racial prejudices regarding the color of Othello and his African background? Discuss to what extent racism does or does not motivate the conflict and dramatic action of the play.8. What symbolic value does the handkerchief have? How does it propel the action, precipitate the dramatic crisis, and help to further highlight the themes of love and jealousy in the play?Effectively using direct quotes in paragraphs: At the end of the quote, put an end quotation mark, a citation with act, scene and line number(s), and then the ending punctuation for your sentence. For example: When the herald announces that the Turkish fleet has been destroyed, he says, “upon certain tidings now arrived importing the mere perdition of the Turkish fleet, every man put himself into triumph” (1.2.2-3). After Brabantio has accused Othello of kidnapping Desdemona, a Senator asks Othello, “Did you by indirect and forced courses / Subdue and poison this young maid’s affections?” (1.3.111-12). Letter ThreeIHS Global Literature and the Arts / Lisa JoyeHomework Due Date:_______________________________________________________________________Directions: You will write a series of letters throughout our literature course. The audience will change, each prompt will be different, but the intention will always be consistent. These letters will be a record of your thoughts, feelings, perspective and growth throughout your sophomore year. Each letter is a safe place to let your unique voice be heard. Your letter must be hand written. Please label your letter as such: Your NameDate (Month, Day, Year) Dear Journal, Please include six paragraphs in your letter. In paragraph one, write about a person that you have felt jealous of. What do they have that you do not? Does it seem they “have it all”? What is the “all” that everyone wants? Do you ever think bad or vindictive thoughts about this person? What do you sometimes wish might happen to this person? Have you imagined inflicting revenge or punishment or having someone else perform a vengeful deed on your behalf? Describe these thoughts. What did you do when you fond yourself with these feelings?In the second paragraph write about a time when you have used by another person. Have you ever been used as a tool in a plot to humiliate another person? Have you solicited the assistance of another person/friend or manipulated them into doing wrongful deeds towards a target of your choosing? Why? What were the circumstances? What was the outcome? Did you feel justified in your actions? In either the case of being used by or using another, do you have regrets?In the third paragraph reflect on the quote, “reputation is something that others give to you.” Do you find this quote true or false? Can you create a reputation for yourself? Can someone else take it away? Perhaps you can recall a time when your won reputation was damaged….How did this occur? Have you ever played party to intentionally destroying someone else’s reputation? Discuss the circumstances. Do you have regrets? Is it possible to rebuild a reputation once lost? In your own life, what lessons have you learned with regards to the building and/or destroying of a reputation?For the fourth paragraph, describe your last, most significant recollection of a misunderstanding. Or describe a time when you were confronted with an accusation that was totally false. What was your relationship with the other person? How much damage was caused to you personally or within your relationship as a result of this misunderstanding? Did this other person try to force you to “admit the truth”? How as the situation resolved? Or has it been resolved? Explain.For the fifth paragraph describe a situation where you know the truth about a situation and are conflicted between telling the truth and potentially damaging a friendship. (For example, you know that your best friend’s boyfriend is cheating on her.) Do you tell him/her? Why or why not? How did you weigh out the consequences? Does your perception of the severity of the lie impact whether you tell the truth to your friend? Did you decide to tell the truth or not? What was the end result of your choices?In the concluding paragraph, describe the role of tragedy in the human experience. How has studying a Shakespeare play resonated in your life? Will it change your views of jealousy, revenge, anger, manipulation, or truth?The definition of resonate: to have particular meaning or importance for someone, to affect or appeal to someone in a personal or emotional way. End your letter with some sort of salutation...(yours truly, sincerely, be well, with great respect, etc.) and then sign your name. Literature and the ArtsOthello UnitFinal Grade Sheet Self Reflection / Parent FeedbackName_______________________________________________________________________________Date___________________________________Section_______________________________________Final Scores______/10 points for The History of Shakespeare (Notes)______/10 points for analysis of given study guide question to present in class______/10 points for analysis of given study guide question to present in class______/10 points for analysis of given study guide question to present in class______/150 points for Othello Guided Reading questions (2 points per question)______/50 points for Othello Timed Writing Test______/50 points for the Othello final project______/10 points for Letter Three______/10 points for Self-Reflection and Parent Feedback______/310 Final ScoreStudent Self Reflection: (5 points)List 3 things that you enjoyed about this unit and explain why you enjoyed each one.1.2.3.Which activity was the most challenging for you in a positive way? What was the positive result of this challenge?Which activity did you put the most effort into? How did you feel about the end result?Which activity was the most challenging for you in a negative way? What was negative about this challenge?What are some new things that you learned about yourself in this unit? (think about time management, organization, speaking in front of your peers, reading out loud, writing skills, meeting deadlines, trying something new, learning about Shakespeare and the Elizabethan Theatre, your comfort level with a complicated text, etc.)Parent / Guardian Feedback: (5 points)Looking over your child’s Othello Unit packet and self-reflection feedback. What has surprised you about your child’s journey in Unit Two of Sophomore Literature?Looking over the activities that your child completed, what about your child’s work has impressed you the most?If you were to give your child any advice about how to approach the upcoming Mock Trial Unit and learning about persuasive speaking techniques, what would you say?Did your child share their learning about this unit with you? If so, what was their feedback? If not, then take the time to ask your child how they enjoyed the Othello unit and write their response here:Parent / Guardian Signature________________________________________________________________Date_________Parent / Guardian printed name__________________________________________________________ ................
................

In order to avoid copyright disputes, this page is only a partial summary.

Google Online Preview   Download