Friday, 30 January 2015

YEAR 12 LESSON THIRTY-THREE [30th Jan 15]: Homework
























Today's session contained feedback in response to the recent mock exam. The results were okay but we clearly have some work ahead of us. I am particularly concerned with issues relating to CLARITY. A small group of students are underachieving because they are not constructing a precise and coherent critical argument. Students received an exemplar essay before the class discussion considered THE ROMANTIC movement in English Literature. Reference was made to Blake's JERUSALEM and the idea that the romantic sensibility embraced the world of the imagination rather than the logical world of Science. Students need to indulge in research to develop an understanding of THE ROMANTIC SENSIBILITY as this will not only inform the understanding of TROTAM but also student understanding of Jez Butterworth's JERUSALEM, which is our coursework text.
Click on links below to access a brilliant BBC documentary series:
Liberty:
https://www.youtube.com/watch?v=oLwRXlSgiSQ
Nature:
https://www.youtube.com/watch?v=liVQ21KZfOI
Eternity:
https://www.youtube.com/watch?v=R6mefXs5h9o
The Coleridge work has been incredible! Genuinely superb. KEEP IT UP.

HOMEWORK: Read the last three sections of TROTAM and synthesise some of the resources posted to BE CURIOUS.
Richard Holmes:
https://www.youtube.com/watch?v=LpRXMEMFXzg 
Here is a JERUSALEM documentary that examines the evolution of Blake's poem. This is part one of three. Not great visual quality but this is an essential resource for our coursework:
https://www.youtube.com/watch?v=OCvuvw8hiSk

On Tuesday night I will begin THE CLARITY CLUB. This session is open to all students but particularly the two or three students who continually have the phrase 'LACK OF CLARITY' scrawled on their written work. YOU KNOW WHO YOU ARE.  If we can address this issue I am sure students in the Clarity Club will flourish and push forward from the D/D+ grade.

YEAR 13 LESSON THIRTY-FIVE [29th Jan 15]: Homework
























The aim of this session was to discuss the two scenes of 'low comedy' that follow the Pope Slapping moment in Scene Seven. Scenes Eight/Nine involve Robin and Ralph and they are crude comedic scenes full of physical comedy and sexualised imagery. Students were encouraged to consider to what extent the comedic narrative reflects the issues being explored within the more serious dramatic narrative. Class discussion was excellent. Students need to be aware that many critics view the comedic sections of Marlowe's play as a narrative weakness. What do you think?

HOMEWORK: Complete the Anthology coursework. I expect the first draft to be handed to me on Monday. Read Scenes TEN/ELEVEN of the play.
Faustus film trailer:
https://www.youtube.com/watch?v=I90YtG4pqhY
This resource is appalling yet strangely good! Just watch:
https://www.youtube.com/watch?v=wZeFGKA2MqQ
Audio version of the whole play:
https://www.youtube.com/watch?v=05_MuudRt6k

Wednesday, 28 January 2015

YEAR 12 LESSON THIRTY-TWO [27th Jan 15]: Homework
























The aim of this session was to discuss TROTAM and focus upon the question:
TO WHAT EXTENT IS THE FOURTH SECTION OF TROTAM A CONFUSING AND AMBIGUOUS NARRATIVE?
Class discussion considered the reading of the poem as a didactic Christian fable and challenged the idea that the poem is confusing and ambiguous. Students were then challenged to produce a twenty minute written response with the aim being to construct A CLEAR CRITICAL ARGUMENT. We are having issues with CLARITY when producing a written response therefore the aim of this task was for students to construct a coherent critical response.

HOMEWORK: Read the poem and attempt to develop an informed undertstanding of the text.
THANKS FOR THE SCULPTURE mrS. OUTSTANDING.
This might be useful. This is a 25 minute TROTAM lecture:
https://www.youtube.com/watch?v=YhXx2A6CsNM

Monday, 26 January 2015

YEAR 13 LESSON THIRTY-FOUR [26th Jan 15]: Homework


















The aim of this session was to reinforce the aim of the Anthology coursework and reintroduce Marlowe's Faustus. This session discussed the POPE SLAPPING SCENE. Students read the scene, discussed issues relating to this moment and then watched a version of the play to reinforce student undertstanding of this incredible moment. THIS IS AN INCREDIBLY CONTROVERSIAL REPRESENTATION OF THE CATHOLIC CHURCH. MILLIONS OF CATHOLICS WOULD STILL FIND THIS SCENE ASTONISHINGLY OFFENSIVE!! Students need to be able to explain why this is such a controversial moment. We will discuss this scene and the next two comedic scenes in the next session.
Students were asked to consider the questions: How much power does Faustus receive after selling his soul? Does he control Mephistophilis? Can he even control himself?...mmmmmm...thinking is good!!

HOMEWORK: Complete the Anthology coursework. Remember, I want the first draft handed to me next Monday. No excuses folks. Students also need to read the comedic scenes that follow the POPE SLAPPING moment.

Saturday, 24 January 2015

YEAR 12 LESSON THIRTY-ONE [23rd Jan 15]: Homework







































This session continued our journey through the mind of Sam Coleridge and considered the VAST significance of the FOURTH section of the poem. This section of the poem is so important as it represents The Mariner's SPIRITUAL ISOLATION FROM GOD.
There are a lot of very important moments in this section as the magical character with the 'glittering eye' looks 'to Heaven, and tried to pray; But or even a prayer had gusht, A wicked whisper came, and made My heart as dry as dust.' However his perception of the 'slimy things' changes and his ability to perceive these creatures as beautiful reconnects him with God and he is able to 'pray'. This reconnection is symbolised with the Albatross falling from his neck. THIS IS A VERY SIGNIFICANT SECTION AS ANY READING OF THE PLAY AS A DIDACTIC CHRISTIAN FABLE CAN USE MOMENTS FROM THIS SECTION TO SUPPORT THIS READING. The fact that 'A spring of love husht from my heart, And I blessed them unaware!' is a key moment.
The rest of the session considered possible content for the question:
HOW DOES COLERIDGE TELL THE STORY IN THE OPENING SECTION OF TROTAM?

HOMEWORK: Complete the 'How does Coleridge..' question. Remember, the only assessment objective is AO2 and you will only have 30 minutes to construct this response in the exam.
POTENTIAL ESSAY STRUCTURE:

  • LANGUAGE: This should be a relatively simple paragraph as Coleridge uses simile, metaphor, and onomatopoeia to represent nature as fierce, beautiful and sentient. The whole aim of the poem is to suggest to the reader that 'He prayeth best, who loveth best All things both great and small; For the dear God who loveth us, He made and loveth all.' In this poem Nature is a symbol of God's divine power and beauty. The 'STORM-BLAST' is metaphorically represented as being a terrifying winged creature that is 'tyrannous and strong'.The ice is described as being beautiful and rare as it is 'as green as emerald' and is also metaphorically presented as being a dangerous and intimidating animal as onomatopoeia is used to suggest it is a presence worthy of respect. The ice 'growled, and roared and howled' and seems to be a living creature. MAN, in the form of The Mariner seems unaware of the vast power of nature and unaware that this world reflects the power of God. The Albatross, like the ice, is created by God, and The Mariner's inability to perceive that all creatures are the product of divine design is the CRIME for which he is PUNISHED. Coleridge uses figurative language to represent the idea that all God's creatures are worthy of respect. ******** Please note...Coleridge also uses figurative language to describe the magical physical appearance of The Mariner...but you can't write about every feature of the opening section!!!! 
  • FORM: This paragraph needs to deal with the ballad form and how Coleridge subverts the traditional four line ballad stanza to suggest that nature is such a powerful force that its strength cannot be contained by the boundaries of the traditional ballad form. In the first section, the ballad stanza that represents the ship's attempt to escape the STORM-BLAST is A SIX LINE STANZA and this change in verse structure symbolises the idea that nature is so powerful that it cannot be constrained. The change in ballad form could be considered to be a symbol of nature's power.  This change in form occurs throughout the poem and this irregular use of the traditional and regular ballad form serves to amplify the irregular nature of the world within which The Mariner finds himself after he kills Albert. THIS IS A VERY IMPORTANT ARGUMENT. Below is a podcast that ALL students should digest. I EXPLAIN THE SIGNIFICANCE OF FORM WITHIN THIS PODCAST. 12 minutes into the podcast i explain the significance of the ballad form BUT you should listen to the full podcast. ALSO, READ THE NOTES I HAVE GIVEN YOU THAT EXPLAIN THE SIGNIFICANCE OF THE BALLAD FORM.
  • https://soundcloud.com/fishymedia/literature-podcast-two-the
  • STRUCTURE: This paragraph could explore Coleridge's use of The Wedding Guest at the beginning and end of the opening section. Coleridge deliberately places the voice of the Wedding Guest at these key points in the poem to shape the narrative. At the beginning of this section the ability of The Mariner to control The Wedding Guest and 'hold him with his glittering eye' and magically control the alarmed Wedding Guest [' 'Hold Off!' unhand me, grey beard loon!' '] to the point that 'He can not chuse but hear', IS MASSIVELY SIGNIFICANT. The use of The Wedding Guest allows Coleridge to present the mysterious power of The Mariner and immediately introduce to the narrative a sense of dramatic mystery. Furthermore, Coleridge provides The Wedding Guest with a voice at the end of the first section to reinforce the idea that The Mariner is almost reliving the horror of the tale as he narrates his story to The Wedding Guest. The Wedding Guest's voice interrupts The Mariner's tale and he exclaims dramatically 'God save thee, ancient Mariner! From the fiends that plague thee thus!- Why lookst thou so?' This question suggests that The Mariner appears to be troubled in some way with the tale he is offering, and the recounting of the narrative is inspiring him to show signs of physical discomfort.  All this occurs before the last line of the first section which is such a key line as The Mariner's punishment is the consequence of killing Albert. Coleridge uses The Wedding Guest to illustrate the fact that The Mariner is clearly suffering discomfort as he shares his tale therefore suggesting that this will be an emotional and dramatic narrative that is linked to the killing of the Albatross. Again, this helps Coleridge create a sense of mystery, create a dramatic conclusion and encourage the reader to move into the second section to find some answers to the mystery that is presented to the reader in the first section.
  • The conclusion needs to state briefly why this section is significant within the context of the whole poem.
FINALLY....A HUGE THANK YOU TO THE STUDENTS THAT PRODUCED THE VISUAL REPRESENTATIONS. SOME OF THE WORK IS JUST MAGNIFICENT. SPECIAL SHOUT TO AMY D....UNBELIEVABLE WORK. CHEERS. I REALLY APPRECIATE YOUR HARD WORK. SOME OF THE WORK APPEARS AT THE TOP OF THE BLOG.


Thursday, 22 January 2015

YEAR 13 LESSON THIRTY-THREE [22nd Jan 15]: Homework.




















The aim of this session was to continue to illustrate how students might approach the Anthology Coursework. Students were provided with a possible structure for the metaphor essay. The focus of the session was provided by the poems BLESSING by Imtiaz Dharker and  HURRICANE HITS ENGLAND by Grace Nichols. Class discussion considered how each author uses metaphor to shape meaning.

HOMEWORK: The first draft of the coursework needs to be handed to me on Monday 2nd Feb. In the next session we will continue with Faustus.
THE MOCK PRODUCED SOME EXCELLENT RESULTS. VERY WELL DONE.

Tuesday, 20 January 2015

YEAR 12 LESSON THIRTY [20th Jan 15]: Homework

























These resources relate to the theme of economic inequality within The Great Gatsby. This is clearly a very relevant feature of the novel:
http://www.bbc.co.uk/news/business-30875633
http://www.channel4.com/news/inequality-world-richest-wealth-oxfam-poor-uk-rich

The aim of today's session was to explore the second and third section of Sam Coleridge's THE RIME OF THE ANCIENT MARINER. Students were introduced to the imagery created by Coleridge and focus was placed on the significance of the line ' they were the first that ever burst into the silent sea.' Sections two and three introduce a nightmare environment of unbearable heat, movement that defies the laws of physics, water that becomes dancing death-fire, slimy creatures, and ghost ships with a crew of Death and Life-In-Death. This is a HELLISH environment and allows Coleridge to shape a narrative that appears to place the Mariner in HELL for the crime of killing the albatross. This a remarkable section of the poem due to the intensity, creativity, and originality of the visual imagery created by Coleridge. Note how this strange world of heat and silence contrasts violently with the cold and intense volume of the opening section of the poem. How does Coleridge shape this contrast?

HOMEWORK: THE TROTAM ARTISTIC CHALLENGE! Students need to offer a visual representation of one moment from section two or three. Please feel free to select a moment from the opening section. For example students might like to paint their perception of the character of the Mariner. This could be a painting, an illustration, a collage, a sculpture, a photograph.....YOU DECIDE. I have already witnessed one piece of work and it is fantastic. I look forward to your representations. BE CREATIVE.

I offered a brief quiz at the start of this session that challenged students to answer TEN simple questions relating to the poem. IT IS OBVIOUS THAT AT LEAST HALF THE CLASS HAVE NOT BOTHERED TO READ THE POEM. IF YOU DO NOT READ THE POEM THERE IS NOT A LOT I CAN DO TO HELP YOU. Any student who believes that the Mariner's weapon of choice is a 'sword' really needs to read the poem. Any student who fails to identify the three voices used by Coleridge in the opening section needs to RAISE THEIR GAME. That quiz was quite enlightening. I might have another quiz on Friday. Below are a series of essential resources.
http://becuriouslit.blogspot.co.uk/2014/12/year-12-lesson-twenty-seven-19th-dec-14.html

Monday, 19 January 2015

YEAR 13 LESSON THIRTY-TWO [19th Jan 15]: Homework






















The focus of this session was the Anthology Coursework. Class discussion considered issues relating to both the metaphor question and the canon question. Specific focus was placed upon the brilliant Simon Armitage poem 'Mother any distance'. This poem was used to offer the students a possible structure for a metaphor essay.
HOMEWORK: Read the poems I gave you today as these texts will provide the analytical focus of the next session. READ THE EXEMPLAR ESSAYS. CHOOSE YOUR TEXT.
Simon Armitage..'Poetry is a form of dissent':
https://www.youtube.com/watch?v=TvFcbedyQ0A


Saturday, 10 January 2015

YEAR 12 LESSON 28/29 [6th/9th Jan 15]: Homework






























The aim of the first two sessions of 2015 was to explore possible content for the mock exam. Below is the question that will be presented to the fine young students of The Beaverlake:

i. How does Fitzgerald tell the story in Chapter 5?
ii. How far do you think that THE GREAT GATSBY affirms the virtues of living a moral and decent life?

The class discussion on Tuesday considered possible content for the first section of the task. Discussion considered how Fitzgerald uses language, structure and form to shape meaning in Chapter 5. Students might like to follow the structure below:
  • The first paragraph could explore how Fitzgerald uses the imagery of light to shape meaning. The chapter begins with blazing light and ends with darkness. Why? Forewarning? Why is the light imagery structured in this way? Surely this chapter should conclude with images of euphoria as Gatsby is reunited with Daisy...so why does the chapter conclude with darkness and a storm. Is it significant that this is the same weather presented by Fitzgerald when Gatsby is buried in the final chapter??
  • The second paragraph could consider the significance of Carraway's narrative voice. What is the narrative significance of Carraway being ignored by Gatsby and Daisy at the end of the chapter? What is the significance of Carraway leaving his house to hide beneath a tree? Why does Fitzgerald remove the narrator from such a key narrative moment? Is it simply to create a sense of dramatic power or surprise when Carraway reveals that Gatsby and Daisy have experienced the emotional connection that appeared unlikely as Carraway 'ran' into his garden to escape the tense conversation? Students must explore how Fitzgerald uses the form of Carraway's narrative to shape meaning.
  • The language paragraph could explore how Fitzgerald creates a sense of awkward tension before Nick leaves to hide beneath the tree. Students might like to focus upon the metaphor ' in a strained counterfeit of perfect ease' as in many ways this not only captures Gatsby's failing attempt to appear calm in Chapter 5 but seems to capture his whole character!

The second section of the exam will ask students to respond in a personal, perceptive and articulate manner to the idea that the novel 'affirms the virtues of living a moral and decent life.' We discussed this in some detail in Friday's session. I gave you some notes to stimulate thought and offer some structural guidance. REMEMBER...students must consider the views of other readers/critics and also consider the novel within a historical context. This novel is a reflection of Fitzgerald's concerns within the context of 1920s America but students need to consider the contemporary relevance of the novel. Is TGG, as The New York Times stated in 1940, 'not a book for the ages' or does it still retain a modern relevance? Surely a text that attacks economic inequality is still relevant in the twenty-first century. KD made a wonderful comment in the lesson that suggested that the Valley of Ashes retains a universal relevance that transcends the American context of the novel. Is the VOA  a universal  symbol of economic hardship??
READ MY NOTES and use them as a starting point to construct your own critical response.Here are some links that you may find useful:
Father Barron:
https://www.youtube.com/watch?v=OLSVx84uPrY
This is a useful resource:
http://becuriouslit.blogspot.co.uk/2014/09/year-12-lesson-fourfivesix-19th23rd26th.html
OBAMA'S SPEECH:
http://becuriouslit.blogspot.co.uk/2014/10/year-twelve-lesson-twelve-17th-oct-14.html
Historical context:
http://becuriouslit.blogspot.co.uk/2012/10/the-great-gatsby-historical-context.html

YEAR 13 LESSON THIRTY/THIRTY-ONE [5th/8th Jan 14]: Homework

































The aim of the first two sessions of 2015 was to discuss possible content for the mock exam next week. The question will be:
To what extent do you agree with the view that the novel is a total condemnation of transgression?

Class discussion explored the idea that the major TRANSGRESSION presented by Shelley is the challenging of the accepted boundary between Man and God. Discussion considered Victor as symbolic of the arrogance of Science and that Shelley is clearly condemning the 'supernatural enthusiasm' of Victor to have 'a new species..bless me as its creator.' Victor challenges the conventional spiritual boundaries between Man and God and this rebellious act is clearly presented by Shelley as a CRIME that receives PUNISHMENT. This challenging of the authority of divine power is a feature of the gothic text as is the idea that the consequence of this crime is a severe punishment. Students will be expected to offer the appropriate textual reference to support the idea that Shelley is clearly offering a condemnation of this spritual transgression.
Discussion referred to the significance of the Prometheus Myth and the fact that quotes such as 'i was a shadow of a human being..a mere skeleton...a restless spectre' suggest that Victor is suffering some form of death in life as a punishment for creating the 'catastrophe'. Reference was also made to the language of enslavement and disease that serve to illustrate Victor's personal suffering.
Students also need to refer to the theme of isolation as this is a theme that appears to be a feature of the gothic text. Victor's physical isolation appears to reflect the emotional and spiritual isolation he endures after creating the 'devil'. This isolation is reflected through the choice of location and reference was made to The Orkneys being used by Shelley to symbolise Victor's isolation. Thursday's session also considered the fact that Victor seems to be isolated form any sense of personal happiness or conentment and considered his Wedding Day as a symbol of the idea that he is isolated from any sense of human community. The beginning of chapter 23 provides a lot of textual evidence that can be used to support this argument.

Students were then encouraged to move away from the idea that the novel is merely concerned with transgression. Shelley also offers a radical and liberal narrative that is a dramatic contrast to the conservative narrative that warns Science against challenging divine power. The more liberal narrative offers the reader a practical emotional manifesto that could be perceived as Shelley attempting to offer a philosophy that could improve society. It is unusual for a gothic text to present a coherent and practical philosophy with the aim of improving human experience!

Class discussion considered how the experience of the creature allows Shelley to promote the idea that society must embrace difference and offer a greater sense of empathy and compassion if society is to avoid conflict. The creature is brutalised by society and becomes the monster that he is perceived as being due to his grotesque physical appearance. If students could also refer to the reading of the creature as symbolic of the French Revolution....that would be nice!! Remember the FR began with a sense of hope and ended with murder and carnage! Much like the life of the creature. There was a hope that the French Revolution would result in a fairer, more equal society. Perhaps Shelley's liberal narrative could be perceived as 'revolutionary' as it is an appeal for social change via a peaceful emotional revolution. This argument involving the creature may also refer to Shelley reflecting the eighteenth century philosophy promoted by John Locke. A theory that retains a contemporary relevance.

Don't forget folks.. the essay needs to refer to critcal opinion such as those published in The Westminster Review in 1818 that this is a novel 'without manners or morality' or Angela Carter's view that a 'gothic tale is a cruel tale'. Students also need to illustrate an understanding of historical context!!

This is a glorified timed essay. If you read the text and remember the key quotes that will illustrate your argument, you will be fine.

GOOD LUCK.