Homework 'Shrew'/backgound reading/viewing/see last post too!

 Hi all,

FYI your  vote on the weight of PIV came out in favour of test weight.

(Your homework is at the bottom of this post. Important info. is in last post too.)

I feel we have not covered Psychological theory as well as the other approaches so I am adding background reading/viewing for you here.

Here is a link to view a background lecture on this theory and Freud in particular video (I recommend you focus on :7:39-25:35 and again 44:17-you decide)

NOTES:

Sigmund Freud

Psychoanalytic criticism builds on Freudian theories of psychology. While we don't have the room here to discuss all of Freud's work, a general overview is necessary to explain psychoanalytic literary criticism.

Freud asserted that people's   is affected by their unconscious: "...the notion that human beings are motivated, even driven, by desires, fears, needs, and conflicts of which they are unaware..."

Freud believed that our unconscious was influenced by childhood events. Freud organized these events into developmental stages involving relationships with parents and drives of desire and pleasure

"...repression doesn't eliminate our painful experiences and emotions...we unconsciously behave in ways that will allow us to 'play out'...our conflicted feelings about the painful experiences and emotions we repress" (15). To keep all of this conflict buried in our unconscious, Freud argued that we develop defenses: selective perception, selective memory, denial, displacement, projection, regression, fear of intimacy, and fear of death, among others.

Id, Ego, and Superego

(see video)

Freud/psychology and Literature analysis:

Typical questions:

·                How do the operations of repression structure or inform the work?

·                Are there any oedipal dynamics - or any other family dynamics - are work here?

·                How can characters' behavior, narrative events, and/or images be explained in terms of psychoanalytic concepts of any kind (for example...fear or fascination with death, sexuality - which includes love and romance as well as sexual behavior - as a primary indicator of psychological identity or the operations of ego-id-superego)?

·                What does the work suggest about the psychological being of its author?

·                What might a given interpretation of a literary work suggest about the psychological motives of the reader?

·                Are there prominent words in the piece that could have different or hidden meanings? Could there be a subconscious reason for the author using these "problem words"? https://owl.english.purdue.edu/owl/resource/72

• Today we began reading/discussing The Taming of the Shrew Shakepeare. 
• We reviewed play form and reading, citation, Shakespeare's theatre, Elizabethan customs.
• We began reading the text in light of Critical theory and the guiding questions on your unit overview. Thanks to all those who read aloud today; well done!
• Due Jan. 30th at the start of class is Worksheet 1A (completed on chart provided)
• Ensure to quote/cite your evidence.
• Ensure that your quotation is complete and makes sense standing alone.
• List 2 or 3 Character traits/synonyms/interpretations of each quote you choose. Be careful; I am not asking for sentences/clauses, but rather trait vocabulary.  For example, NOT: He thinks highly of himself INSTEAD: proud, braggadocious, haughty.
• Please watch this space for a detailed list of the dates and requirements each day for this unit. This will allow you to plan your busy lives, be here on major assessment days, and pace your reading of The Power of One which will follow this unit.

Enjoy your long weekend everyone. 

Ms. S

Shrew and Power of One online resource links

Hi All,

• Please remember, as you read/view, that how a work is acted/directed/edited will effect the way we interpret it. 
• One of the goals of critical theory is to become aware of multiple possible ways to read texts. Allow for multiple possible readings and be able to support your ideas with evidence from the text. Employ the use of : 'Gendering', Power theory, and Psychological theory.

To help you in your reading of The Taming of the Shrew, by William Shakespeare, I am providing the following link/s:
No Fear Shakespeare Remember that you must quote the original text in all your work.
Globe theatre staged version video  We will watch an alternative version in parts. You do NOT necessarily need to view this link.

For those of you who asked about an audio book for The Power of One by Bryce Courtnenay here is one option: Audio book option

• Please read along with listening or
• Pre listen prior to reading or re listen after reading
• Be careful, if you are doing the 'free trial' not to let your trial turn into an ongoing cost if you don't want to continue the service. You may need to cancel at some point,if so, set a notification on your phone to do so.

You received the whole Shrew unit package today. Do NOT just do the work ahead. Preparation helps but I do want your submissions to reflect the work we do in class. Soon I'll pop up a timeline for this unit so you can plan accordingly.

A reminder to those who need to be away periodically, to let me know in advance so we can modify your timelines/assignments where necessary.

See you Thursday.

Ms.S

Notice to PIV class winners/Whole class view the last blog post please.

A special note for the PIV class winners:

Congratulations to our PIV class winners! If you have been chosen to move on to the school competition, I need the following from you:

• The school wide competition will take place in the LLC Jan. 31 (second block) and Feb. 1 (second block).
• Winners by Tuesday Jan. 23nd, send me:
• Your name
• Poem 1 (recited Jan. 31) title and author
•  Poem 2 recited Feb.1) title and author 
• Your attendance at the rehearsal on Jan. 30 after school in the LLC (brief)

Thanks,

Ms.S

Critical Theory in Pop Culture

Hello all,

The following are a series of videos spanning the pop singer, Christina Aguilera's solo career. 

Please watch them and consider the following:

• How is gender represented here? What are the messages about gender?
• How is power represented? Who has it? What gives it to them?
• What do you notice about the aesthetics of the video? (colour, tone, message)
• What might be the psychology of the artist in each video. I am asking here about the choices Aguillera is making in her art. 
• How might that psychology relate to audience, power, gender, more?

Feel free to look into the basic history of her career/personal life.

I turn to you (earliest of 3 vids.) (1997)

Dirrty (mature content)  (2002) Aguillera and Redman

Candy Man (Later than other two) (2007)

Not myself Tonight   Mature (2010)

You Lost Me  (2010)

Please arrive ready to discuss the above in light of Critical theory.

Thanks everyone.

Ms. S

Poetry in Voice and Critical Theory homework

Hello 12s,

Happy news!

 It seems that there is room in this year's Poetry in Voice school competition for us to enter two representative from each class! This means that I'll be announcing 2 additional winners who will be invited to head to the school competition.  If you think it might be you, I suggest you choose a second poem and begin working on it.

• The school wide competition will take place in the LLC Jan. 31 (second block) and Feb. 1 (second block).
• Winners by Monday Jan. 22nd, send me:
• Your name
• Poem 1 (recited Jan. 31) title and author
•  Poem 2 recited Feb.1) title and author 

Congratulations to all on your recitations!

We have begun looking at the concept of Critical Theory. 

For Friday Jan. 19th, Please read the notes package provided and consider how one might read the story of Cinderella  using each of the 'critical lenses' offered in the notes.

We will explore your questions and thoughts on the above work in class Friday.

I look forward to hearing your observations.

Ms.S

Poetry in Voice in class competition next class!

Hello 12s,

Arrive in a timely fashion and be ready to present next day. Dress neutrally, so as to be comfortable and not to distract from your recitation.

The order is set and will be on the board.

Absences will not be allowed without a formal Doctor's note on the day you return.

I look forward to hearing you!

Ms. S

Date change for school competition: now Jan. 31 and Feb. 1

Happy New Year all!

Welcome back; I hope you are reinvigorated.

Today we reviewed the scoring rubrics/criteria sheets linked below. Please review them again by way of preparing your poem.
Competition Criteria/Rubric
Scoring based on the above Rubric
Accuracy score sheet/criteria

You are breaking into groups and presenting your poems a number of times, reviewing the criteria and giving one another suggestions.

For homework: 

• KNOW YOUR POEM INSIDE AND OUT. Get beyond just memory and into interpretation. 

 The class competition will be held on January 15th.  You need to have your poem memorized and ready to share on this day.

The school competition dates have alteration to the Poetry In Voice school wide event. The revised dates  Jan. 31 and Feb. 1 during second block.

Cheers,
Ms. S