xxxxxxxxxx Mon 9 Feb D
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Lesson 1 45 min 7 min.: come in dressed as student--inversion play favorites in/out reflection Intro guiding question/AOI/Play When is upside down upright?
45min Shakespeare Character Predictions: TN - Prediction Quotations.doc 12th Night (above--reading exercise) Carnivalesque (above--reading exercise)
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Rsch 12th Night TN - Carnival Powerpoint HW.doc
Be able to access this file immediately tomorrow.
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Tue 10 Feb S
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20 min. computer showing: Inversion & Carnival
Plot Intro, Chars, Motifs HO: Duke's H, Olivia's H. the Street |
Think about alter-ego that expresses what you don’t have, props and costuming -- for Friday |
Thu 12 Feb D
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1.1-1.2 Blank verse, poetic terms…
Prac blank vs. and rdr's theater in sc. 1 |
write 8 lines of blank verse characterizing Orsino, Viola, or Olivia (ambition: sonnet)
craft alter-ego and find accessory--what qual's in alter-ego do you want that you don't have |
Fri 13 Feb D
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How to Rd Shakespeare aloud Rd to punc Pace betw. spkrs Express char. w/voice and posture Fake it till you make it
Share alter-egos Read blank verse
1.3 subplot Sir Andrew and Sir Toby--foils for Orsino about subplots Maria's Quotation: limits of order
show clips for phys/staging comedy (1.3.13-117 - Trevor Nunn: Trk 6: 15:39-19:45) - director's choice; precision precedes revelry; carnivalesque; characterization |
1.4 with questions--focus only on Olivia and Viola (above)
Think of a humorous joke or story that contains a kernel of truth (due Thu).
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Wed 18 Feb D
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4 Quotations--identify char
1.4 Viola and Orsino together, word play 1.4.29b-42 |
Read 1.5 with questions (above)
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Thu 19 Feb D
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Prose and poetry: chart 1.5’s linguistic forms
1.5 Olivia and Viola meet--word play, question identity
(skip Feste-Maria) 1.5 Feste-Olivia 1.5 Feste, Maria, Malvolio
Share Jokes and stories--examine how the humor works.
Puritans and fools |
Robin Williams clips and Journal Reflection |
Fri 20 Feb D
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Follow-up on class clowns
2.1 Doubling Shakespeare's Doubles
2.2 Malvolio |
Journal entry: links between doubling and carnivalesque. Use specifics. |
Mon 23 Feb D
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Discuss links
2.3 watch performance (CIS DVD)
Back to carnivalesque: why don’t they like Malvolio? |
Character and verse analysis—choose one: Orsino, Viola, or Olivia (selections provided)--Due Thur |
Tue 24 Feb S
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Catch up |
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Thu 26 Feb D
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Follow-up on char/vers analysis--peer edit: highlight topic sent.
2.4 Teachers perform
set up HW--brainstorm |
Where’s the love? Compare Orsino's love with Viola's love in 2.4--examining language, 2 quotations, unpack each. |
Fri 27 Feb D
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2.5 watch
2.5.128-166a Characterization: Malvolio through language |
3.1-3.3 prepare scene for reader’s theater (4 groups: 12 Ss – readers) + (4 groups of 2: modern language) (come ready) |
Wed 4 Mar D
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Perform
Extra time, begin 3.4 |
Read 3.4 with guiding questions
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Thu 5 Mar D
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Recap 3.4--examining verse Read 4.1--examining verse
Watch 3.4-4.1 What is Shakespeare criticizing? How is this part of the carnivalesque? |
Bring in full exercise book(s)--bound if plural
Bring in any assessed pieces if you have them.
AF analysis due tomorrow. |
Fri 6 Feb D
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Library Collect exercise books Collect all writings Collect AF analysis
Debate 1 |
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Mon 9 Mar D
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4.2 (watch) When is funny not funny? (below) Play Snaps
A3 - end of 4.3, verse analysis
Watch Act 5 Discuss |
Scan A3; we'll make meaning in class tomorrow |
Tue 10 Mar S
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Intro paper: characterization and carnivalesque | |
Thu 12 Mar D | Paper work: brainstorm, thesis, evidence, outline | TN paper (be ready to draft on 23 Mar) |
Fri 13 Mar D |
Debate 2 | |
Wed 18 Mar D | Y9 Field Trip | |
Thu 19 Mar D |
Y9 Field Trip | |
Fri 20 Mar D |
Language Symposium | |
Mon 23 Mar D | In-class drafting | Bring in complete draft on Thurs |
Tue 24 Mar S | paper work? | |
Thu 26 Mar D | Peer-editing | TN paper (due Wed 1 Apr) |
Fri 27 Mar D | Debate 3 | |
Wed 1 Apr D |
Paper due Watch film |
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Thu 2 Apr D | Finish film | |
Fri 3 Apr D |
Library Debate 4 |
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New Unit |
http://internetshakespeare.uvic.ca/index.html
http://www.folger.edu/index_sa.cfm?specaudid=3
http://www.pbs.org/shakespeare/
Wikipedia:
Carnivalesque is a term coined by the Russian critic Mikhail Bakhtin, which refers to a literary mode that subverts and liberates the assumptions of the dominant style or atmosphere through humor and chaos.
Bakhtin traces the origins of the carnivalesque to the concept of carnival, itself related to the Feast of Fools, a medieval festival originally of the sub-deacons of the cathedral, held about the time of the Feast of the Circumcision (1 January).
Today, carnival is primarily associated with Mardi Gras, a time of revelry that immediately precedes the Christian celebration of Lent; during the modern Mardi Gras, ordinary life and its rules and regulations are temporarily suspended and reversed, such that the riot of Carnival is juxtaposed with the control of the Lenten season.
In the carnival, as we have seen, social hierarchies of everyday life―their solemnities and pieties and etiquettes, as well as all ready-made truths―are profaned and overturned by normally suppressed voices and energies. Thus, fools become wise, kings become beggars; opposites are mingled (fact and fantasy, heaven and hell).
Through the carnival and carnivalesque literature the world is turned-upside-down (W.U.D.), ideas and truths are endlessly tested and contested, and all demand equal dialogic status. The “jolly relativity” of all things is proclaimed by alternative voices within the carnivalized literary text that de-privileged the authoritative voice of the hegemony through their mingling of “high culture” with the profane.
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The Literary Encyclopedia - Carnival, Carnivalesque, Carnivalisation:
The term carnival came to have particular prominence for literary criticism after the publication of Mikhail Bakhtin’s Rabelais and his World(1965; translated by Helene Iswolsky [Indiana University Press, 1984]). In this book, Rabelais’ writing is seen as drawing its energies from the historic practices of carnival which preceded and surrounded it in Renaissance Europe. Bakhtin gives an especially benign account of carnival rituals, in which
Rabelais’ writings, and those of his near contemporaries Cervantes and Shakespeare, are seen as drawing their energies from these carnival practices, and from the epochally established view of the world which they embody. In this specific sense, in which there is a direct connection between historically-existing carnival practices and artistic forms which reproduce them, their writing can be described as “carnivalesque”.
Bakhtin extends the idea very significantly, however, in the notion of “carnivalised” writing which succeeds these Renaissance models and thus long outlives the actual historical location of the practices from which such writing takes it name. Carnivalised writing is that writing which mobilises one form of discourse against another, especially popular against elite forms. In this usage, “carnival” tends to lose its historical specificity and comes to resemble a transhistorical generic principle which can be actualised in widely differing periods; it is present in the Menippean satires of the ancient world and also in the novels of Dostoevsky, written in a society having little contact with historic Renaissance carnivals.
Published 18 July 2001
Citation: Dentith, Simon. "Carnival, Carnivalesque, Carnivalisation". The Literary Encyclopedia. 18 July 2001. [http://www.litencyc.com/php/stopics.php?rec=true&UID=160, accessed 8 February 2009.]
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What do you think? Are these accurate applications of the carnivalesque: http://peaceaware.com/special/1/pages/carnival.htm?
Carnivalesque films: http://www.carnivalesquefilms.com/about_us.html
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Teacher resources
1. http://findarticles.com/p/articles/mi_hb3394/is_3_52/ai_n28743893/pg_1
2. http://www.associatedcontent.com/article/605541/shakespeares_the_twelfth_night_a_comedy.html?cat=2
Wikipedia:
The Lord of Misrule, known in Scotland as the Abbot of Unreason and in France as the Prince des Sots, was an officer appointed by lot at Christmas to preside over the Feast of Fools. The Lord of Misrule was generally a peasant or sub-deacon appointed to be in charge of Christmas revelries, which often included drunkenness and wild partying, in the pagan tradition of Saturnalia. The Church held a similar festival involving a Boy Bishop. The celebration of the Feast of Fools was outlawed by the Council of Basel that sat from 1431, but it survived to be put down again by the Catholic Queen Mary I in England in 1555.
While mostly known as a British holiday custom, the appointment of a Lord of Misrule comes from antiquity. In ancient Rome, from the 17th to the 23rd of December, a Lord of Misrule was appointed for the feast of Saturnalia, in the guise of the good god Saturn. During this time the ordinary rules of life were turned topsy-turvy as masters served their slaves, and the offices of state were held by slaves. The Lord of Misrule presided over all of this, and had the power to command anyone to do anything during the holiday period. This holiday seems to be the precursor to the more modern holiday, and it carried over into the Christian era.
Other research: Roman Saturnalia
Wikipedia:
Twelfth Night or Epiphany Eve is a festival in some branches of Christianity marking the coming of the Epiphany, and concluding the Twelve Days of Christmas. It is defined by the Shorter Oxford English Dictionary as "the evening of the fifth of January, preceding Twelfth Day, the eve of the Epiphany [January 6], formerly the last day of the Christmas festivities and observed as a time of merrymaking".[1]
The celebration of Epiphany, the adoration of the Magi, is marked in some cultures by the exchange of gifts, and Twelfth Night, as the eve or vigil of Epiphany, takes on a similar significance to Christmas Eve.
Origins and History
In Tudor England[citation needed], the Twelfth Night marked the end of a winter festival that started on All Hallows Eve — now more commonly known as Halloween. The Lord of Misrule symbolizes the world turning upside down. On this day the King and all those who were high would become the peasants and vice versa. At the beginning of the twelfth night festival a cake which contained a bean was eaten. The person who found the bean would run the feast. Midnight signaled the end of his rule and the world would return to normal. The common theme was that the normal order of things was reversed. This Lord of Misrule tradition can be traced[citation needed] to pre-Christian European festivals such as the Celtic festival of Samhain and the Ancient Roman festival of Saturnalia.[3]
Twelfth Night photos
In your reading, mainly focus on Olivia and Viola.
At a minimum, how much time has passed since the shipwreck?
What is Orsino's assignment to Viola (15-36)?
Does fulfilling this task at all benefit Viola (38-39)?
What would its cost be to Viola (41-42)?
How does Feste make Olivia the fool (51-64)?
Why will Feste seek revenge on Malvolio (75-83)?
Why does Olivia send Malvolio to replace Sir Toby at the gate (96-129)?
How old does Malvolio say Viola is (130-151)?
Why does Viola seek to be alone with Olivia (199-201)?
What is this text metaphor (203-213)?
How might this “picture” metaphor for Olivia’s beauty be insulting to modern readers (212-223)?
How does Olivia extend the text metaphor (225-229)?
How much does Orsino love Olivia (232-236)?
How does Olivia shift the conversation (247b)?
What is Olivia trying to find out (256b)?
How is Viola’s answer a plot “complication” (259a)?
What is Olivia feeling (269-278)?
Reminder: When is upside down upright? Keep an eye out for carnivalesque eruptions.
Fortune favors fools - Fortuna favet fortuis
Who is the fool? Who is the Puritan? Who is foolish?
Good Morning Vietnam (5:00)
3.4.14-15: How is the carnivalesque at work?
Note, Olivia speaks in verse and Maria in prose, but after the couplet and upon Malvolio's entrance, Olivia speaks in prose with Malvolio. Why have Maria and Malvolio speak in prose and have Olivia switch?
16-51
How is dramatic irony at work?
Does the irony become funny? Why?