Monday, 30 January 2012

YEAR12 LESSON SEVENTEEN [30th Jan 12]: Homework.


Students were asked to consider the question: How do you respond to the view that it is very difficult for readers to feel anything other than contempt for Tom Buchanan?
The key to answering this question is that Tom is a symbolic character and is used by Fitzgerald to help shape the ideas that he is offering the reader. In many ways, Tom is quite an admirable example of characterisation as he allows Fitzgerald to use character as a vehicle to amplify some of the key ideas in the novel. Tom's emotional stasis could be compared to Carraway's character development and how this allows Fitzgerald to express key ideas. Tom's villainous and cruel lack of empathy could also be compared to Gatsby and his idealistic refusal to accept the death of his dream. It could be possible to refer to Tom's villainous character as being a device to amplify Gatsby's more heroic qualities.

The second section of the opening session involved a consideration of how Coleridge presents the Natural World in the first two sections of TROTAM. Chimpnimsky suffered a moment of spelling amnesia and failed his own Vanilla Slice Challenge. Very poor. ONOMATOPOEIA!! The class produced some excellent notes when considering the differing representations in Section One and Two. The Mariner work has been very impressive so far. KEEP IT UP.

The final section of today's carnival of literature involved a consideration of Act Two of Othello. Students need to familiarise themselves with this Act. The resources are still available on the previous Year 12 blog entry. Click on link below:

HOMEWORK: Complete the Fitzgerald symbolism essay. Furthermore, students should familiarise themselves with the CRUCIAL AND MAGNIFICENT ACT THREE of OTHELLO. This is the most significant section of the play. Click on links below to access resources that will allow all students to consider the drama being offered in Act Three. Act Three Scene Three is the pivotal scene and probably the most significant scene in the whole play.
Oliver Parker's filmic interpretation of Act Three Scene Three:

1989 Royal Shakespeare Company's OTHELLO with Willard White as Othello and Ian McKellan as Iago. This version was directed by Trevor Nunn. Act Three Scene Three:

HERE IS THE LINK TO THE MAGNIFICENT DOCUMENTARY SERIES: THE ROMANTICS. THE FIRST EPISODE IS A MUST WATCH IF STUDENTS ARE TO DEVELOP A KEEN UNDERSTANDING OF HISTORICAL AND PHILOSOPHICAL CONTEXT. ALL THREE EPISODES ARE AVAILABLE HERE:
I would advise students to digest the first episode: LIBERTY.

READ TROTAM.

Students must also attempt to use the word NITHERED in a conversation when referring to the cold weather. Please don't let this word die. If a resident of Hull or East Yorkshire suggests that the cold weather has 'been nithering' or has left them 'feeling nithered', this word suggests the cold weather has had an extreme and profound effect upon body temperature. An individual experiencing a dip in body temperature may exclaim..'I'm nithered me...put another log on the fire!' This is a great word. LET IT LIVE!

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Friday, 27 January 2012

YEAR 13 LESSON SEVENTEEN [27th Jan 12]: Homework.



Today's session was a Feast of Faustus. The first six/seven minutes of the FATHER TED episode New Jack City was used to provide a contemporary example of religious satire and this episode was compared to the 'Pope Slapping' moment in Faustus. Class discussion considered the ability of comedy to be offensive and controversial. Students were asked to consider how Marlowe uses comedy to explore the same thematic issues that are offered in the more serious and dramatically intense opening scenes of the play.

Faustus is unique when considering the nature of the gothic as Marlowe explores serious issues through comedy. How does the use of comedy in Faustus allow Marlowe to explore issues associated with gothic literature?

The session moved on to discuss the comedy involving Robin and Ralph, Scene Ten at the Court of the Emperor, and the leg-pulling Horse-Courser moment. Students were asked to consider the symbolic symmetry of Scene 11. The Horse-Courser is ambitious and his arrogance results in his character receiving a humiliating punishment! Faustus anybody?

Our next conventional lesson will be a consideration of the crucial concluding scenes of the play and we will be making links between Shelley and Marlowe.

HOMEWORK: Read Frankenstein and Faustus. Next week students will have a series of coursework related tutorials.
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Monday, 23 January 2012

YEAR 12 LESSON SIXTEEN [23rd Jan 12]: Homework.


Students discussed the nature of SYMBOLISM in Fitzgerald's THE GREAT GATSBY. Chimpnimsky bullied the class into a sophisticated consideration of the metaphorical association being linked to some of the key symbols within the text. This association was then pushed towards a consideration of author's aim. Students were offered the essay title: HOW DOES FITZGERALD USE SYMBOLISM TO SHAPE MEANING IN THE GREAT GATSBY?
Click on link below to download the essay guidance offered within the lesson:

The second session was a consideration of ACT ONE of Shakespeare's Othello. Focus was placed on the dignity and authority of Othello in Act One Scene Two, the contrast between Brabantio's idealised perception of his daughter and the reality of Desdemona's independent character, and the vile nature of Iago's duplicity. Students were asked to consider the significance of Iago's first soliloquy.

HOMEWORK: If students have exams and are 'pushed for time', the FITZGERALD essay can be offered to me in two weeks. Students can complete this essay and offer me a copy next week if they wish. YOU HAVE THE OPTION!

Furthermore students should click on the following links to gain an understanding of ACT TWO of OTHELLO. All these links relate to Oliver Parker's 1995 film version of the play. It is important that students perceive this play as drama for the stage BUT this film will allow you to gain an understanding of the key themes and issues being explored by Shakey Bill:
Branagh as Iago...soliloquy at conclusion of ACT ONE:
End of ACT ONE/ ACT TWO:
More of ACT TWO. Iago manipulates Cassio:
End of ACT TWO and beginning of ACT THREE:
Bob Hoskins as Iago from a BBC version broadcast in 1981 directed by Colin Lowrey..this is Iago's soliloquy at the conclusion of ACT TWO SCENE ONE.
It is important that students at least LISTEN to an audio version of the play. IH has my audio version. Students should upload this to your steam powered stereodigitisers and use this version to aid textual understanding. My West Hull reading of OTHELLO fails to capture the magnificence of this wonderful play. Cheap downloads of Othello are available...fill your Elizabethan boots.

Furthermore, keep reading Coleridge's TROTAM. Your recent Coleridge related written work was excellent. Keep it up.



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Saturday, 21 January 2012

YEAR 13 LESSON SIXTEEN [20th Jan 12]: Homework.


Students presented their visual representations of Shelley's novel before the class considered the question: TO WHAT EXTENT CAN MARLOWE'S PLAY BE CONSIDERED A CONTROVERSIAL TEXT? [The specific area of the text being considered was Scene 7].
Students discussed the religious controversy that links to this scene and considered the scene in the context of the sixteenth century and within a contemporary context. Discussion also considered how Mephistophilis seems to control Faustus in this scene. Students produced a two paragraph written response to the question. Students need to be aware of the Catholic/Protestant context of this play.

HOMEWORK: Complete the second draft of the Anthology coursework. Any issues or problems, pop into the department or zap me an e-mail. KEEP READING FAUSTUS AND FRANKENSTEIN.

Click on link to see the Pope being tackled by a red coated lady:
Highlights of the Father Ted episode that I was referring to in the lesson. Father Ted offers a satirical representation of the Catholic Church and could be linked to elements of Marlowe's play:
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MR.STEVENSON'S YEAR 12 and 13 Lessons..week beginning Mon 16th Jan 12.

Year 13 Friday 20th: WELL DONE.
A great debate regarding which chapter is the 'turning point' in Wuthering or Dracula. Some very perceptive points. AS will pull these together next week and we will then move on to look at border narratives/gender constructs and narrative truth in the two novels. Exciting times.

YEAR 12:
We begin again next week with an exploration of 1-5 of The Kiterunner. 12E should be ready to tackle the following questions.12A must be ready for the following week.
HOW DOES KH TELL THE STORY IN 1-5?
DOES THE WRITER INTRODUCE TOO MANY THEMES IN 1-5?
12A interviews on Monday.
12E normal session Tuesday.

THE FINAL YEAR 12 DEADLINE FOR ALL MR.STEVENSON'S STUDENTS IS 17th FEB.

Cheers.
AS
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Thursday, 19 January 2012

RESOURCE FOR YEAR 12...and 13!! THE ROMANTICS.



As we are about to force our literary teeth into the work of Coleridge and engage with the magnificent psychedelic jewel that is THE RIME OF THE ANCIENT MARINER, students should digest the detail offered within this wonderful documentary series. The series was broadcast by the BBC in 2005 and provides an overview of the period that is known as the era of THE ROMANTICS. Coleridge is often regarded as being part of this group that also includes Wordsworth, Blake, Mary Shelley, Clare, Keats, Percy Shelley and Byron. I offer this resource as it will provide students with information relating to the historical context of this famous period of literary creativity. This will be very useful when discussing the thematic content of TROTAM and considering author's aim. Furthermore, each episode is visually stunning in a filmic attempt to reflect the imaginative nature of 'so called' Romantic Literature. This is a treat for any student or teacher or human genuinely interested in Literature. Click on the links below:

Don't fear Peter Ackroyd's moustache. He may resemble a walrus but he knows his literature.
The FIRST EPISODE provides a wonderful historical overview of events that influenced Coleridge. Students need to be aware of the social/political/artistic/philosophical context that helped shape Coleridge's work. Try and watch the first episode before Monday's lesson.
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Wednesday, 18 January 2012

SIMON ARMITAGE video and podcast published in The Guardian.

































John Harris creates a film that deals with the value and purpose of poetry and includes an interview with Simon Armitage.
Here is an audio link to a podcast that offers an extended version of the Armitage interview. This is a fantastic interview and explores the role of poetry in the contemporary world. LISTEN TO THIS PODCAST:
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Monday, 16 January 2012

YEAR 12 LESSON FIFTEEN [16th Jan 12]: Homework.



Students discussed the final section of the novel and offered interpretations of the final page. This moved into a consideration of the thematic nature of the novel and this was linked to Fitzgerald's aims.
The second phase of this morning's literature whirligig was a consideration of Act One Scene One of Shakey Bill's OTHELLO. The class were asked to consider the representation of Othello and the first impression of Iago. The quality of the class response was outstanding. I would urge all students to watch/listen to a version of the play. Below are a few links that will allow students to familiarise themselves with the first act of the play. Click on link to access the first three segments of Oliver Parker's 1995 film version of Othello:

Click on link to access Ewan McGregor discussing the character of Iago:
Bob Hoskin's Iago soliloquy at end of Act One:
American actor John Campion discusses his interpretation of Iago:

Students should be able to discuss the whole of the first Act when next our lives collide. Particular attention should be placed upon Iago's soliloquy at the end of Act One Scene Three. What is the symbolic significance of 'HELL AND NIGHT MUST BRING THIS MONSTROUS BIRTH TO THE WORLD'S LIGHT' ??

The final section of the lesson was a discussion linked to the first section of TROTAM. Students were asked to consider the question: How does Coleridge present the character of the Ancient Mariner in the first section of the poem?
Class discussion touched upon the role of the wedding guest and the presentation of the physical appearance of the Mariner.

HOMEWORK: Complete the Coleridge paragraph. Remember, follow the paragraph structure that I have been 'banging on about' since September. Ensure that the author's aim section of the paragraph is precise and coherent. How is Coleridge encouraging the reader to read the second section? Dramatic expectation?
Furthermore, use the OTHELLO resources and familiarise your mind with the whole of the FIRST ACT and continue to read Coleridge's famous poem. Click on link to access a decent reading of the poem. Follow the You Tube segments and bathe in the luxurious vocal tones of Richard Burton:




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YEAR13 LESSON FIFTEEN [13th Jan 12]: Homework.


This session was a series of tutorials. It was a pleasure to read most of the drafts as it is clear that nearly all the class have really embraced the spirit and rigour of this task. We still have a mass of work ahead of us to mould the draft into a convincing neat copy but the level of intellectual enthusiasm and level of engagement is impressive. I am confident that the final drafts will be excellent. The breadth of texts selected made an old English teacher smile. WELL DONE. KEEP IT UP.
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Monday, 9 January 2012

YEAR 12 LESSON FOURTEEN [9th JAN 12]: Homework.


Students received their essays that were completed just before the Mid-Winter break. The essays were 'okay' but it is clear that we still have a lot of work ahead of us. Too many students were trying to 'stuff' all their notes into the essay and consequently the critical argument was often ambiguous and lacking in precise textual reference. Students need to focus upon the key moments of the novel that allow students to construct a clear critical argument. We need to improve the quality and clarity of written work this term.

Today's journey began with a consideration of why Fitzgerald chooses to use a first-person narrative in The Great Gatsby. Discussion touched upon Nick Carraway as symbol and the class were asked to consider the question: How does Fitzgerald present Carraway in the opening section of the final chapter?
This inspired a discussion that considered how Nick's character evolves throughout the novel and why Fitzgerald offers the reader a more assured and confident Carraway in the final section of the novel. How does Carraway change and why does Fitzgerald manufacture this change in character? Class discussion was very good. The class generated a 'whole group' written response to the Carraway question.

The final section of the lesson was an introduction to S.T.Coleridge's THE RIME OF THE ANCIENT MARINER. What do we learn about the Mariner, the Wedding Guest and the Natural World in the opening section?

HOMEWORK: Read the final section of Gatsby and bring a 'reading' to the lesson next week. How do you interpret the final page? Author's aim? Furthermore, read TROTAM.
Below is a link to Richard Burton reading the poem. This is the first of three You Tube segments. Students might want to use this to help them with the reading:
Here is the opening section of the 1974 film version of The Great Gatsby. What do you think?
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Friday, 6 January 2012

YEAR 13 LESSON FOURTEEN [6th Jan 12]: Homework.


The dark gothic fun machine crashed into 2012 with a consideration of Shelley's novel. Students were asked to consider Victor's inability to express the reality of his predicament to his Father in Chapter 22 [' The conclusion of this speech convinced my father that my ideas were deranged..'] and compare this with the reaction of the magistrate at the end of Chapter 23 [' He endeavoured to soothe me as a nurse does a child, and reverted to my tale as the effects of delirium']. Victor is not capable of convincing his father or the magistrate about the reality of the creature as both characters consider Victor to be experiencing some form of psychological illness. What is Shelley's aim here? How thematically significant is Victor's inability to share his tale? Can this relate to Victor's sense of alienation, isolation and sense of entrapment?

The main focus of the lesson was a consideration of Victor's relationship with Elizabeth with specific focus placed upon the final pages of Chapter 22. Students were asked to consider the question: HOW DOES SHELLEY REPRESENT THE RELATIONSHIP BETWEEN ELIZABETH AND VICTOR AT THE END OF CHAPTER 22? This eventually evolved into a two paragraph 20 minute written response.

The lesson also considered the death of Elizabeth and the graveyard scene in Chapter 24.

Homework: Next week's session will be a series of tutorials that will provide feedback to the first draft of the Anthology coursework. The week after, students will be expected to present their visual representation of the graveyard scene or a collage that represents the thematic nature of the novel. The visual representation can be a painting or an illustration. ALL students will be expected to present and explain their work to the whole class. BE CREATIVE!

Here are the Mariner and Gatsby podcasts for students resitting the exam next week:
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Tuesday, 3 January 2012

A collection of resources for THE GREAT GATSBY..


Below are a series of links that will guide Year 12 towards resources that relate to Fitzgerald's THE GREAT GATSBY. All these links have been glued inside BE CURIOUS over the last twelve months but I thought I would provide a one-stop entry that offers students all the blog links. You lot really should visit these resources as they will inform your reading of the text:
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