Really sorry not to be with you today - Wednesday. I'm still recovering from a virus I think I've had since Christmas. Anyway I'm pretty sure I'm recovering properly now. If you are in my A2 LL class please continue working on the cluster of articles from Cupcakes. You should have the Bridget Jones article to discuss on Thursday and choose at least one other to read, makes notes and consider a question.
If you are my AS LL class I'm so sorry this is the second Wednesday lesson this year without me. Here are some things to do. Begin drawing a map of the area. Include the Close, the station, the railway line, the shops, the tunnel. Note down where Stephen, Keith and others live. Comment on the relationship between Keith and Stephen. And consider how Frayn draws our attention through his writing style when the boys are in Mrs Hayward's room.
Wednesday, 28 January 2015
Friday, 23 January 2015
COURSEWORK FIRST DRAFT FEEDBACK INTERVIEWS
From Monday 26 February there will be no feedback interviews taking place during lessons. If you have handed in your first draft essay you can get feedback with me about the essay at 4.00, 4.20 and 4.50 on selected days of the week.
I'll post details of these interviews below and announce them in class
Monday 26 - 4.00 Beren, Amber 4.20
Wednesday 28 - 4.00 Rianna, 4.20 Omar
Thursday 29 - 2.40 Porsha
I'll post details of these interviews below and announce them in class
Monday 26 - 4.00 Beren, Amber 4.20
Wednesday 28 - 4.00 Rianna, 4.20 Omar
Thursday 29 - 2.40 Porsha
A2 LL CUPCAKES CLUSTER - SOCIAL COMMENT
Below is a table including a new cluster from Cupcakes and Kalashnikovs
We'll look at the Bridget Jones’s Diary article and an example question next week.
There are now 14 teaching weeks till the spring half term in May.
We have now looked at 15 of the 39 articles together in class.
In the week before half term - the week beginning Monday 9 February - I will be checking your journals or notes on the Cupcakes articles. Parents will be informed if the notes in the journals are significantly below 15 articles.
Social Comment
|
Bridget Jones’s Diary
Everybody Wins and All Must Have Prizes
What Became of the Flappers?
Net Prophet
|
We'll look at the Bridget Jones’s Diary article and an example question next week.
There are now 14 teaching weeks till the spring half term in May.
We have now looked at 15 of the 39 articles together in class.
In the week before half term - the week beginning Monday 9 February - I will be checking your journals or notes on the Cupcakes articles. Parents will be informed if the notes in the journals are significantly below 15 articles.
A2 LL CUPCAKES QUESTIONS ON BRIDGET JONES'S DIARY
Read the source material which follows and answer both questions:
Text A is from an article entitled [Bridget Jones’s Diary]by [Helen Fielding]
It was first published in [The Independent in 1995].
You [have been asked to produce a guide to speaking to singletons for married people. It will be published in the Life and Style section of The Independent’s website]
Using the source material, write the text [of the guide]
Your audience will consist of [readers of The Independent website and married couples]
You should adapt the source material, using your own words as far as possible. Your [guide] should be approximately 300 – 400 words in length.
In your adaptation you should:
• use language appropriately to address purpose and audience
• write accurately and coherently, applying relevant ideas and concepts.
(25 marks)
AND
Question 3
Write a commentary which explains the choices you made when writing your text
commenting on the following:
• how language and form have been used to suit audience and purpose
• how vocabulary and other stylistic features have been used to shape meaning and
achieve particular effects.
You should aim to write about 150 – 250 words in this commentary.
(15 marks)
You will find a helpful study guide on approaching the recasting question here and also in the course book. Details can be found here.
Text A is from an article entitled [Bridget Jones’s Diary]by [Helen Fielding]
It was first published in [The Independent in 1995].
You [have been asked to produce a guide to speaking to singletons for married people. It will be published in the Life and Style section of The Independent’s website]
Using the source material, write the text [of the guide]
Your audience will consist of [readers of The Independent website and married couples]
You should adapt the source material, using your own words as far as possible. Your [guide] should be approximately 300 – 400 words in length.
In your adaptation you should:
• use language appropriately to address purpose and audience
• write accurately and coherently, applying relevant ideas and concepts.
(25 marks)
AND
Question 3
Write a commentary which explains the choices you made when writing your text
commenting on the following:
• how language and form have been used to suit audience and purpose
• how vocabulary and other stylistic features have been used to shape meaning and
achieve particular effects.
You should aim to write about 150 – 250 words in this commentary.
(15 marks)
You will find a helpful study guide on approaching the recasting question here and also in the course book. Details can be found here.
Thursday, 22 January 2015
IB ENGLISH OHELLO - SUMMARY OF ACT 5 & KEY SPEECHES
OTHELLO PLOT SUMMARY ACT V
5, 1: scene set in middle of night, confusion and darkness. Iago sets up Roderigo to kill Cassio. Cassio wounds Roderigo and Iago wounds Cassio. Iago’s 8th (last) soliloquy (lines 11-22) shows audience he wants them both dead. Othello, thinking Cassio is dead, exits to murder Desdemona. Iago takes control and stabs Roderigo, pretending not to know him. Bianca arrives, worried for Cassio – Iago accuses her of plotting Cassio’s death. Iago’s ending aside (rhyming couplet) to audience shows his true face. Neither Cassio nor Roderigo is dead.
Structure of 5, 2
• 1-22: Othello’s 2nd soliloquy, regrets need to kill Desdemona but sees it as justified by ‘the cause’ – her adultery. Is calm and resigned. Killing is ‘justice’ so she will not ‘betray more men’
• 23-47: Othello tells Desdemona to pray so she will go to heaven
• 48-85: he becomes angry when she won’t confess – uses semantic field of law: ‘confess’ ‘perjury’ ‘article’ ‘oath’ – and finally calls her ‘strumpet’ then kills her before she has chance to pray. Sets of adjacency pairs show pace getting faster and Othello losing temper
• 86-117: Emilia arrives with news that Cassio is not dead
• 93-102: Othello’s 3rd soliloquy full of interrogatives, exclamations, rhetorical questions, ellipsis shows loss of control – metaphor of total eclipse and earthquake shows ‘Chaos is come again’ (see 3, 3)
• 118-136: Emilia challenges him; he confesses but insists Desdemona unfaithful. Antithesis between Othello and Desdemona (‘devil’ ‘angel’) semantic field of truth and lies + adjacency pairs between
Emilia and Othello
• 137-166: Emilia’s gradual understanding of Iago’s part in tragedy
• 167-233: Desdemona’s uncle arrives with Iago, Emilia questions him and he admits what he said. Othello explains about handkerchief and Emilia admits what she did. Iago threatens then stabs
Emilia and escapes
• 234-249: Emilia dies, cursing Othello
• 250-279: Othello realises what he’s done, calls down devils to take him to hell – use of
exclamations and hyperbole show collapse
• 280-287: Iago brought back in – Othello fails to kill him, believing he’s a devil
• 288-333: truth revealed through Roderigo’s evidence (Roderigo has died of wounds)
• 334-355: Othello describes his actions, sees self as heathen, commits suicide
• 356-end: Lodovico ends play, asking Cassio (Governor) to torture Iago.
Key speeches in 5, 2:
• 1-22: Othello soliloquy 2 – Othello’s control + images of Desdemona’s purity
• 93-102: Othello soliloquy 3 – lack of control shown by range of non-fluency features + overpowering image of Chaos
• 175-176: Iago’s final shifting of blame
• 257-279: Othello’s acceptance of damnation
• 334-355: Othello damns himself to hell
Key extracts
• 5, 2 47-85: theme of betrayal
• 5, 2 107-145: theme of betrayal
• 5, 2 198-232: strength of Emilia’s character
5, 1: scene set in middle of night, confusion and darkness. Iago sets up Roderigo to kill Cassio. Cassio wounds Roderigo and Iago wounds Cassio. Iago’s 8th (last) soliloquy (lines 11-22) shows audience he wants them both dead. Othello, thinking Cassio is dead, exits to murder Desdemona. Iago takes control and stabs Roderigo, pretending not to know him. Bianca arrives, worried for Cassio – Iago accuses her of plotting Cassio’s death. Iago’s ending aside (rhyming couplet) to audience shows his true face. Neither Cassio nor Roderigo is dead.
Structure of 5, 2
• 1-22: Othello’s 2nd soliloquy, regrets need to kill Desdemona but sees it as justified by ‘the cause’ – her adultery. Is calm and resigned. Killing is ‘justice’ so she will not ‘betray more men’
• 23-47: Othello tells Desdemona to pray so she will go to heaven
• 48-85: he becomes angry when she won’t confess – uses semantic field of law: ‘confess’ ‘perjury’ ‘article’ ‘oath’ – and finally calls her ‘strumpet’ then kills her before she has chance to pray. Sets of adjacency pairs show pace getting faster and Othello losing temper
• 86-117: Emilia arrives with news that Cassio is not dead
• 93-102: Othello’s 3rd soliloquy full of interrogatives, exclamations, rhetorical questions, ellipsis shows loss of control – metaphor of total eclipse and earthquake shows ‘Chaos is come again’ (see 3, 3)
• 118-136: Emilia challenges him; he confesses but insists Desdemona unfaithful. Antithesis between Othello and Desdemona (‘devil’ ‘angel’) semantic field of truth and lies + adjacency pairs between
Emilia and Othello
• 137-166: Emilia’s gradual understanding of Iago’s part in tragedy
• 167-233: Desdemona’s uncle arrives with Iago, Emilia questions him and he admits what he said. Othello explains about handkerchief and Emilia admits what she did. Iago threatens then stabs
Emilia and escapes
• 234-249: Emilia dies, cursing Othello
• 250-279: Othello realises what he’s done, calls down devils to take him to hell – use of
exclamations and hyperbole show collapse
• 280-287: Iago brought back in – Othello fails to kill him, believing he’s a devil
• 288-333: truth revealed through Roderigo’s evidence (Roderigo has died of wounds)
• 334-355: Othello describes his actions, sees self as heathen, commits suicide
• 356-end: Lodovico ends play, asking Cassio (Governor) to torture Iago.
Key speeches in 5, 2:
• 1-22: Othello soliloquy 2 – Othello’s control + images of Desdemona’s purity
• 93-102: Othello soliloquy 3 – lack of control shown by range of non-fluency features + overpowering image of Chaos
• 175-176: Iago’s final shifting of blame
• 257-279: Othello’s acceptance of damnation
• 334-355: Othello damns himself to hell
Key extracts
• 5, 2 47-85: theme of betrayal
• 5, 2 107-145: theme of betrayal
• 5, 2 198-232: strength of Emilia’s character
IB ENGLISH OTHELLO - ACT 4 SUMMARY AND KEY SPEECHES
OTHELLO PLOT SUMMARY ACT 4
4, 1
1. Iago shows the successful infection of Othello – Othello’s epileptic fit 1-48
2. Iago tells Cassio that during fits Othello is mad (Elizabethans saw epilepsy as possession by the devil) 49-59
3. Iago sets up Othello to overhear his conversation with Cassio, tells Othello that Cassio will be talking about sex with Desdemona and will mock him 60-93
4. Iago’s 7th soliloquy – explains to the audience that Cassio will be talking about Bianca, but Othello will be deceived and go mad 94-102
5. Iago and Cassio discuss Bianca – Othello’s asides show him convinced by Iago. Bianca, jealous, arrives with handkerchief, throws it at Cassio 102-168
6. Iago persuades Othello to murder Desdemona, strangling her in her bed 169-212
7. Lodovico arrives from Venice with orders for Othello’s return. Othello shows how changed he is (dramatically and linguistically), strikes Desdemona 213-265
8. Iago persuades Lodovico that Othello is mad and violent 266-284
4, 2 – the ‘brothel’ scene
1. Othello treats Desdemona as a prostitute and Emilia as the bawd (keeper of the brothel). He accuses her of being a whore and asks her to swear her innocence so that a) she is guilty of both sins and b) he is justified in murdering her 1-93
2. Desdemona asks Emilia to put the wedding sheets on her bed 94-105
3. Desdemona’s sole soliloquy 106-8
4. Desdemona asks Iago to help. Emilia realises Othello has been lied to by a ‘villain’ (but not that it’s Iago) 109-170
5. Roderigo arrives, angry that Iago hasn’t kept his promise and threatens to go to Desdemona to confess. Iago flatters and persuades him to murder Cassio 171-243
4, 3 – the ‘willow’ scene
Willow symbolises betrayed love, grief and death. Itching eyes foretell weeping.
Song is a dramatic device where the singer comments on their own situation (irony).
1. Othello sees Lodovico out after supper; tells Desdemona to go straight to bed. Irony – Desdemona has her wedding sheets on her bed, hoping to remind Othello of their wedding night. Othello is about to strangle her in the same sheets 1-9
2. Rest of scene is private, domestic and the only female-only long section in play. Throughout Desdemona shows innocence, obedience, naivety and love for Othello. Desdemona tells Emilia about her mother’s maid and ballad she sang about betrayed love. Songs in Shakespeare are a dramatic device designed to show theme of play in a poetic register. Singers often comment on their own situation and here Shakespeare uses prophetic irony – Desdemona comments on her own tragic end 11-57
3. Desdemona proves her innocence by asking Emilia about men 58-82
4. Emilia shows practical, realistic nature and view on position of women – men are to blame if women stray because men treat women so badly 83-104
Key speeches in Act 4
• 4, 1 169-212: Iago’s manipulation of Othello to murder Desdemona
• 4, 2 230-265: Othello’s public humiliation of Desdemona
• 4, 2 30-90: Othello’s treatment of Desdemona as prostitute
• 4, 2 129-146: Emilia comes close to the truth about Iago
• 4, 3 60-104: Emilia and Desdemona on the position of women
Key extracts
• 4, 1 1-47: Iago’s success in persuading Othello of Desdemona’s infidelity
• 4, 1 93-143: Iago’s skill in manipulation
• 4, 1 169-212: Othello’s attitude to Desdemona
• 4, 1 218-265: Othello’s attitude to Desdemona
• 4, 2 41-89: Othello’s attitude to Desdemona
• 4, 2 109-147: Emilia’s character
• 4, 3 14-56: theme of betrayal
• 4, 3 57-104: Emilia’s character/the role of women
Preparing for Act 5
Act 1: Iago expresses hatred of Othello to Roderigo and shocks Brabantio
Othello defends himself to Brabantio
Othello defends himself to the Senate
Act 2: Arrival in Cyprus – Iago persuades Roderigo to disgrace Cassio
Iago gets Cassio drunk; he fights Roderigo and Othello demotes him + Iago becomes Cassio’s mentor
Act 3: Cassio asks Desdemona for help in getting him reinstated
Iago manipulates Othello into jealousy and they make an unholy pact
The handkerchief scene
Act 4: Iago sets up Othello to overhear Cassio talking about Bianca (Desdemona). Othello agrees with Iago to murder Desdemona + he strikes her in public
The brothel scene
The willow scene
Who expects what in Act 5?
4, 1
1. Iago shows the successful infection of Othello – Othello’s epileptic fit 1-48
2. Iago tells Cassio that during fits Othello is mad (Elizabethans saw epilepsy as possession by the devil) 49-59
3. Iago sets up Othello to overhear his conversation with Cassio, tells Othello that Cassio will be talking about sex with Desdemona and will mock him 60-93
4. Iago’s 7th soliloquy – explains to the audience that Cassio will be talking about Bianca, but Othello will be deceived and go mad 94-102
5. Iago and Cassio discuss Bianca – Othello’s asides show him convinced by Iago. Bianca, jealous, arrives with handkerchief, throws it at Cassio 102-168
6. Iago persuades Othello to murder Desdemona, strangling her in her bed 169-212
7. Lodovico arrives from Venice with orders for Othello’s return. Othello shows how changed he is (dramatically and linguistically), strikes Desdemona 213-265
8. Iago persuades Lodovico that Othello is mad and violent 266-284
4, 2 – the ‘brothel’ scene
1. Othello treats Desdemona as a prostitute and Emilia as the bawd (keeper of the brothel). He accuses her of being a whore and asks her to swear her innocence so that a) she is guilty of both sins and b) he is justified in murdering her 1-93
2. Desdemona asks Emilia to put the wedding sheets on her bed 94-105
3. Desdemona’s sole soliloquy 106-8
4. Desdemona asks Iago to help. Emilia realises Othello has been lied to by a ‘villain’ (but not that it’s Iago) 109-170
5. Roderigo arrives, angry that Iago hasn’t kept his promise and threatens to go to Desdemona to confess. Iago flatters and persuades him to murder Cassio 171-243
4, 3 – the ‘willow’ scene
Willow symbolises betrayed love, grief and death. Itching eyes foretell weeping.
Song is a dramatic device where the singer comments on their own situation (irony).
1. Othello sees Lodovico out after supper; tells Desdemona to go straight to bed. Irony – Desdemona has her wedding sheets on her bed, hoping to remind Othello of their wedding night. Othello is about to strangle her in the same sheets 1-9
2. Rest of scene is private, domestic and the only female-only long section in play. Throughout Desdemona shows innocence, obedience, naivety and love for Othello. Desdemona tells Emilia about her mother’s maid and ballad she sang about betrayed love. Songs in Shakespeare are a dramatic device designed to show theme of play in a poetic register. Singers often comment on their own situation and here Shakespeare uses prophetic irony – Desdemona comments on her own tragic end 11-57
3. Desdemona proves her innocence by asking Emilia about men 58-82
4. Emilia shows practical, realistic nature and view on position of women – men are to blame if women stray because men treat women so badly 83-104
Key speeches in Act 4
• 4, 1 169-212: Iago’s manipulation of Othello to murder Desdemona
• 4, 2 230-265: Othello’s public humiliation of Desdemona
• 4, 2 30-90: Othello’s treatment of Desdemona as prostitute
• 4, 2 129-146: Emilia comes close to the truth about Iago
• 4, 3 60-104: Emilia and Desdemona on the position of women
Key extracts
• 4, 1 1-47: Iago’s success in persuading Othello of Desdemona’s infidelity
• 4, 1 93-143: Iago’s skill in manipulation
• 4, 1 169-212: Othello’s attitude to Desdemona
• 4, 1 218-265: Othello’s attitude to Desdemona
• 4, 2 41-89: Othello’s attitude to Desdemona
• 4, 2 109-147: Emilia’s character
• 4, 3 14-56: theme of betrayal
• 4, 3 57-104: Emilia’s character/the role of women
Preparing for Act 5
Act 1: Iago expresses hatred of Othello to Roderigo and shocks Brabantio
Othello defends himself to Brabantio
Othello defends himself to the Senate
Act 2: Arrival in Cyprus – Iago persuades Roderigo to disgrace Cassio
Iago gets Cassio drunk; he fights Roderigo and Othello demotes him + Iago becomes Cassio’s mentor
Act 3: Cassio asks Desdemona for help in getting him reinstated
Iago manipulates Othello into jealousy and they make an unholy pact
The handkerchief scene
Act 4: Iago sets up Othello to overhear Cassio talking about Bianca (Desdemona). Othello agrees with Iago to murder Desdemona + he strikes her in public
The brothel scene
The willow scene
Who expects what in Act 5?
Tuesday, 20 January 2015
IB ENGLISH - OTHELLO ACT 3 SUMMARY - KEY SPEECHES
OTHELLO PLOT SUMMARY ACT 3
3, 1: Outside Governor Othello’s quarters. Comic relief after Iago’s soliloquy (at end of 2) – Cassio jokes with Clown, asks Emilia for appointment with Desdemona.
3, 2: Same. Othello and Gentlemen go walking on the fort’s battlements.
3, 3: Inside Othello’s quarters. Desdemona promises Cassio to plead his cause with Othello. Iago sees Cassio leaving and persuades Othello of Desdemona’s infidelity as follows:
1. Desdemona promises to help Cassio (1-34)
2. Iago sows doubts about Cassio ‘sneak away so guilty like’ ( 35-41)
3. Desdemona pleads with Othello to meet Cassio and reinstate him (42-89)
Othello repeats: ‘I will deny thee nothing’
4. Iago spreads doubts about Cassio. Othello’s turntakes longer – show control. Othello swears love for Desdemona but hint of tragedy: ‘Perdition catch my soul…Chaos is come again’ Key lexis: ‘think’ ‘thought’ ‘honest’ ‘seem’ ( 90-128)
5. Othello wants details, uses imperatives to order Iago, is reduced to minimal response. Iago’s turntakes longer, showing control. Key lexis: ‘jealous, jealousy’ ‘cuckold’ ‘green-eyed monster’ ( 129-174)
6. Othello begins to follow Iago in structure and lexis (174 shared line) Key lexis: ‘jealous’ ‘jealousy’ ‘proof’ (174–190)
7. Iago uses imperatives to control Othello. Iago uses Brabantio’s words to remind Othello of Desdemona’s deceitfulness. Othello minimal response. Key lexis: ‘deceive’ ‘witchcraft’, ‘suspicion’ (191-224)
8. Turning point for Othello at 225 (discourse marker: ‘And yet…’) Othello uses imperatives – tells Iago to set Emilia as spy. Iago’s control shown dramatically - leaving then returning to stage. Key lexis: ‘nature’ ‘unnatural’ (225-54)
9. OTHELLO’S FIRST SOLILOQUY – change of lexis and imagery – image of Desdemona as bird of prey fastened to Othello by his ‘heartstrings’. Questions self, reduced to animal imagery. Clear signs of how Iago has infected Othello’s language. Key lexis: ‘haggard’ ‘loathe’ ‘curse’ ‘appetites’ ‘toad’ ‘dungeon’ ‘plague’ ‘forked plague’ (cuckold) ‘false’ (255-276)
10. Desdemona tries to use handkerchief as symbol of healing – Othello refers to his cuckold’s horns. Handkerchief is dropped (276-286)
11. Emilia’s soliloquy on the handkerchief. Iago snatches it (287-317)
12. Iago’s 6th soliloquy and incantation (spell) denying Othello sleep = madness. Key
lexis: ‘poison’ ‘sulphur’ (hell) (318-330)
13. Othello’s complete change of character and language. Sees Iago as devil (‘Avaunt’ (what you say to get rid of the devil). Threatens Iago. Loses his identity as warrior, says farewell to duty to State. Key lexis: ‘lust’ ‘whore’ ‘ocular proof’ ‘damnation’ ‘poison’ (330-387)
14. Iago back in control with longer turntakes and use of bestial (animal) sexual imagery. Uses false proof of Cassio’s dream and the handkerchief. Othello (‘I’ll tear her all to pieces’) denies his duty to Desdemona (marriage). Key lexis: ‘goats’ ‘monkeys’ ‘proofs’ (388-438)
15. Othello’s lexis shows switch to violence and evil, infected by Iago’s lexis and images. Denies his duty to God in his ‘sacred vow’ to revenge. Faustian pact of selling his soul to the devil Iago. Condemns Desdemona to hell. Key lexis: ‘vengeance’ ‘revenge’ ‘bloody thoughts’ (439-476 end of scene)
In this scene look at the repetition of the verbs ‘think’ ‘know’ ‘seem’ and the many repetitions of the adjective ‘honest’. Look at how Othello’s lexis becomes infected with Iago’s lexis and imagery. Look at the dramatic representations of role reversal. Look at Othello’s rejection of his duty: to marriage, to State and to God – key lexis of heaven and hell. Othello now uses antithesis – heaven and hell. Look also at Othello’s soliloquy as dramatic technique.
3, 4: Same. The handkerchief scene. Begins as previous scene with comic relief after darkness of 3, 3 – this time Desdemona asking Clown where Cassio lives. Desdemona anxious to find her handkerchief, but convinced Othello will not be jealous. Othello enters, questions Desdemona about the handkerchief and frightens her with stories about its magic power – he leaves. Cassio returns to ask to be reinstated. Desdemona renews her promise. Iago enters, pretends he doesn’t know why Othello is angry and leaves. Desdemona defends and excuses Othello’s changed behaviour. Emilia comments on jealousy. They leave. Bianca arrives and Cassio gives her the handkerchief. Bianca is initially jealous, then accepts Cassio’s innocence.
In this scene look closely at:
· interactions between Othello and Desdemona (lines 38-95) for: adjacency pairs; changed relationship between the two; Othello’s lexis, grammar and imagery
· the position of women in the play as shown by Desdemona, Emilia and Bianca
Key speeches from Act 3:
3, 3 (41-92): relationship between Desdemona and Othello
3, 3 (90-132): theme of honesty and deceit + 164-190: theme of jealousy
3, 3 (255-276): Othello’s first soliloquy
3, 3 (318-329): Iago’s 6th soliloquy
3, 3 (439-476): pact between Othello and Iago
3, 4 (51-94): changed relationship between Desdemona and Othello (handkerchief)
3, 4 (118-54): Desdemona’s strength of character
3, 4 (155-158): Emilia on theme of jealousy
3, 4 (165-end of scene): Bianca and Cassio on theme of jealousy
Key Passages
· 3,3 (92-132) – Iago’s cunning
· 3,3 (41-92) – relationship between Desdemona and Othello
· 3,3 (164-202) – theme of jealousy
· 3,3 (429-476) – Iago’s influence on Othello
· 3,4 (50-95) – Othello’s jealousy
· 3,4 (150-197) – the presentation and treatment of women in the play
3, 1: Outside Governor Othello’s quarters. Comic relief after Iago’s soliloquy (at end of 2) – Cassio jokes with Clown, asks Emilia for appointment with Desdemona.
3, 2: Same. Othello and Gentlemen go walking on the fort’s battlements.
3, 3: Inside Othello’s quarters. Desdemona promises Cassio to plead his cause with Othello. Iago sees Cassio leaving and persuades Othello of Desdemona’s infidelity as follows:
1. Desdemona promises to help Cassio (1-34)
2. Iago sows doubts about Cassio ‘sneak away so guilty like’ ( 35-41)
3. Desdemona pleads with Othello to meet Cassio and reinstate him (42-89)
Othello repeats: ‘I will deny thee nothing’
4. Iago spreads doubts about Cassio. Othello’s turntakes longer – show control. Othello swears love for Desdemona but hint of tragedy: ‘Perdition catch my soul…Chaos is come again’ Key lexis: ‘think’ ‘thought’ ‘honest’ ‘seem’ ( 90-128)
5. Othello wants details, uses imperatives to order Iago, is reduced to minimal response. Iago’s turntakes longer, showing control. Key lexis: ‘jealous, jealousy’ ‘cuckold’ ‘green-eyed monster’ ( 129-174)
6. Othello begins to follow Iago in structure and lexis (174 shared line) Key lexis: ‘jealous’ ‘jealousy’ ‘proof’ (174–190)
7. Iago uses imperatives to control Othello. Iago uses Brabantio’s words to remind Othello of Desdemona’s deceitfulness. Othello minimal response. Key lexis: ‘deceive’ ‘witchcraft’, ‘suspicion’ (191-224)
8. Turning point for Othello at 225 (discourse marker: ‘And yet…’) Othello uses imperatives – tells Iago to set Emilia as spy. Iago’s control shown dramatically - leaving then returning to stage. Key lexis: ‘nature’ ‘unnatural’ (225-54)
9. OTHELLO’S FIRST SOLILOQUY – change of lexis and imagery – image of Desdemona as bird of prey fastened to Othello by his ‘heartstrings’. Questions self, reduced to animal imagery. Clear signs of how Iago has infected Othello’s language. Key lexis: ‘haggard’ ‘loathe’ ‘curse’ ‘appetites’ ‘toad’ ‘dungeon’ ‘plague’ ‘forked plague’ (cuckold) ‘false’ (255-276)
10. Desdemona tries to use handkerchief as symbol of healing – Othello refers to his cuckold’s horns. Handkerchief is dropped (276-286)
11. Emilia’s soliloquy on the handkerchief. Iago snatches it (287-317)
12. Iago’s 6th soliloquy and incantation (spell) denying Othello sleep = madness. Key
lexis: ‘poison’ ‘sulphur’ (hell) (318-330)
13. Othello’s complete change of character and language. Sees Iago as devil (‘Avaunt’ (what you say to get rid of the devil). Threatens Iago. Loses his identity as warrior, says farewell to duty to State. Key lexis: ‘lust’ ‘whore’ ‘ocular proof’ ‘damnation’ ‘poison’ (330-387)
14. Iago back in control with longer turntakes and use of bestial (animal) sexual imagery. Uses false proof of Cassio’s dream and the handkerchief. Othello (‘I’ll tear her all to pieces’) denies his duty to Desdemona (marriage). Key lexis: ‘goats’ ‘monkeys’ ‘proofs’ (388-438)
15. Othello’s lexis shows switch to violence and evil, infected by Iago’s lexis and images. Denies his duty to God in his ‘sacred vow’ to revenge. Faustian pact of selling his soul to the devil Iago. Condemns Desdemona to hell. Key lexis: ‘vengeance’ ‘revenge’ ‘bloody thoughts’ (439-476 end of scene)
In this scene look at the repetition of the verbs ‘think’ ‘know’ ‘seem’ and the many repetitions of the adjective ‘honest’. Look at how Othello’s lexis becomes infected with Iago’s lexis and imagery. Look at the dramatic representations of role reversal. Look at Othello’s rejection of his duty: to marriage, to State and to God – key lexis of heaven and hell. Othello now uses antithesis – heaven and hell. Look also at Othello’s soliloquy as dramatic technique.
3, 4: Same. The handkerchief scene. Begins as previous scene with comic relief after darkness of 3, 3 – this time Desdemona asking Clown where Cassio lives. Desdemona anxious to find her handkerchief, but convinced Othello will not be jealous. Othello enters, questions Desdemona about the handkerchief and frightens her with stories about its magic power – he leaves. Cassio returns to ask to be reinstated. Desdemona renews her promise. Iago enters, pretends he doesn’t know why Othello is angry and leaves. Desdemona defends and excuses Othello’s changed behaviour. Emilia comments on jealousy. They leave. Bianca arrives and Cassio gives her the handkerchief. Bianca is initially jealous, then accepts Cassio’s innocence.
In this scene look closely at:
· interactions between Othello and Desdemona (lines 38-95) for: adjacency pairs; changed relationship between the two; Othello’s lexis, grammar and imagery
· the position of women in the play as shown by Desdemona, Emilia and Bianca
Key speeches from Act 3:
3, 3 (41-92): relationship between Desdemona and Othello
3, 3 (90-132): theme of honesty and deceit + 164-190: theme of jealousy
3, 3 (255-276): Othello’s first soliloquy
3, 3 (318-329): Iago’s 6th soliloquy
3, 3 (439-476): pact between Othello and Iago
3, 4 (51-94): changed relationship between Desdemona and Othello (handkerchief)
3, 4 (118-54): Desdemona’s strength of character
3, 4 (155-158): Emilia on theme of jealousy
3, 4 (165-end of scene): Bianca and Cassio on theme of jealousy
Key Passages
· 3,3 (92-132) – Iago’s cunning
· 3,3 (41-92) – relationship between Desdemona and Othello
· 3,3 (164-202) – theme of jealousy
· 3,3 (429-476) – Iago’s influence on Othello
· 3,4 (50-95) – Othello’s jealousy
· 3,4 (150-197) – the presentation and treatment of women in the play
Monday, 19 January 2015
A2 LL - COURSEWORK GENERAL FEEDBACK COMMENTS
After marking your draft essays I've realized that there are many similar points I was making on each essay. I suggest you read this POST in conjunction with your essay draft and edit it as soon as possible.
- To enable you to write an essay in the right amount of detail, you should answer the essay question with reference to either, two poems per poet or two poems from one poet and one short story or two episodes from two short stories from one author. Your essay must include the work of one poet.
- Remember to write a lot about a little. For every quotation you use try and write at least three relevant comments on the quotation. Your comments must draw from the literary and or linguistic frameworks. This includes commenting on grammar - verbs, nouns & adjectives - lexis, register – formal & formal, syntax – simple, compound and complex sentences, declarative, interrogative, exclamatory and instructional sentences – as well as imagery – metaphor, simile, personification, symbolism and sound techniques such as, rhyme, rhythm, alliteration, assonance & onomatopoeia. You can also refer to rhetorical devices such as, contrasting pairs, lists of three, direct address to the reader and repetition. You can also refer to the connotations or associations linked to key words. Remember to always comment on the effects of these techniques on the reader – us. Effects are usually emotional – anger or sympathy for example. Or techniques are used to create a strong impression; they make things stand out for us.
- When you are writing about poems refer to to the poetic voice or narrative voice of the poems. Don't write about Heaney or Plath. Avoid biographical details of the lives of the poets. But you can write about the poems as having an autobiographical feel to them.
- Remember this is a comparative essay. I think ideally you write about one text in a paragraph. Then using a link sentence write a comparative paragraph to your comparison text. For example you may refer to Heaney’s poetic voice of excitement and enjoyment in nature in one paragraph. And in a second paragraph write about the child character in the Dubliners short stories full of excitement and anticipation. Use a link sentence to connect the two paragraphs showing how one writer is either similar or different to the other. For some of you, you will need to rearrange some of your paragraphs.
- All essays should include a full, detailed and concise introduction. An introduction includes the title of the texts and writers you are going to use, write a brief summary of the plot of short stories and poems relevant to the essay title. Identify or list the comparative sub topics that you are going to discuss in our essay. Be specific, for example, 'Plath's settings are urban and domestic where as Heaney sets his poems in rural Ireland.' You could also outline the main techniques the writers use to communicate their themes.
- Some of you try and communicate complex ideas in complicated sentences. But these can be confusing. Try and break ideas down into simpler sentences.
- Remember the paragraph structure of making a straightforward point, expand on the point in more specific detail to the writer you are about to examine, introduce a relevant quotation – by referring to the context of the quotation, - a quotation should be a word or a phrase, it should prove the point you want to make and have at least three different comments you can write about it, comment on the quotation – drawing on literary and language frameworks and the effect on us as readers - see bullet point 2.
- Make sure there is a structure to your essay, introduction, main body and conclusion. Write the most important and significant points and comparisons first.
- Make sure you adopt a formal academic register. Avoid using literary or poetic language yourself. Don't use clichés, or hackneyed expressions, colloquial language, buzz words etc. And avoid referring to yourself or using the personal pronoun 'I'. Instead refer to 'readers' or 'audience' or 'one'.
- Remember to comment on the genre you are writing about – poetry and or prose. Let the examiners know you know about the short story and poetry genres.
- I have made a lot of fuss about starting paragraphs with topic sentences. I'm now recommending that you edit these topic sentences so that you either make a comparative statement linking this paragraph to the paragraph above. Or make it clear you are introducing a new sub-topic.
- If you are quoting more than a line of poetry you must present the quotattion using the same line structure as the poem itself. For example,
Chuffing me off like a Jew.""An engine, an engine
Hope you find this helpful
David
Friday, 16 January 2015
IB ENGLISH - OTHELLO HOMEWORK
DEADLINE
Monday 26 January 2015
TASK
Choose 40 continuous lines of dialogue / monologue from Act 1 to the end of Act 4 of Othello. Don't select anything from Act 5.
Write a detailed commentary on the 40 lines.
Your commentary must include the following:
1 Write the context for the 40 lines. What is the action of the play that immediately precedes these 40 lines? And evaluate briefly how these 40 lines influence and change the course of the play.
2 In general, summarise the main action of the 40 lines
3 Identify a structure for the 40 lines. This should be simple and uncomplicated. It may correspond to who is speaking and may be as simple as a question and an answer.
4 Identify the different writing styles in the extract. For example this might be prose or poetry, descriptive writing action, reflective writing, interactive or transactional writing.
Comment on this.
5 What are the motives - the underlying reasons - why charachters speak these specific lines?
6 What is communicated in this extract? Refer to communication between characters and between characters and the audience - us.
7 Identify language and literary features used throughout the extract. Comment on the effect of these features on the audience.
Feel free to use whatever structure suits you. The above list is just a guide to help you think through the task.
Write between 1000 and 1200 words excluding quotations.
I'm expecting a series of analytical paragraphs.
I'm not expecting you to write everything on these lines, be selective, choose the main points to communicate.
Choose really dramatic and powerful extracts, for example, where Iago and Rodreigo disturb Brabantio in Act 1, Scene 1, or Othello defending himself in Act 1 Scene 3, or Iago persuading Cassio to drink in Act 2 Scene 3, or Iago telling Othello that he should watch Desdemona and Cassio in Act 3 Scene 3.
Monday 26 January 2015
TASK
Choose 40 continuous lines of dialogue / monologue from Act 1 to the end of Act 4 of Othello. Don't select anything from Act 5.
Write a detailed commentary on the 40 lines.
Your commentary must include the following:
1 Write the context for the 40 lines. What is the action of the play that immediately precedes these 40 lines? And evaluate briefly how these 40 lines influence and change the course of the play.
2 In general, summarise the main action of the 40 lines
3 Identify a structure for the 40 lines. This should be simple and uncomplicated. It may correspond to who is speaking and may be as simple as a question and an answer.
4 Identify the different writing styles in the extract. For example this might be prose or poetry, descriptive writing action, reflective writing, interactive or transactional writing.
Comment on this.
5 What are the motives - the underlying reasons - why charachters speak these specific lines?
6 What is communicated in this extract? Refer to communication between characters and between characters and the audience - us.
7 Identify language and literary features used throughout the extract. Comment on the effect of these features on the audience.
Feel free to use whatever structure suits you. The above list is just a guide to help you think through the task.
Write between 1000 and 1200 words excluding quotations.
I'm expecting a series of analytical paragraphs.
I'm not expecting you to write everything on these lines, be selective, choose the main points to communicate.
Choose really dramatic and powerful extracts, for example, where Iago and Rodreigo disturb Brabantio in Act 1, Scene 1, or Othello defending himself in Act 1 Scene 3, or Iago persuading Cassio to drink in Act 2 Scene 3, or Iago telling Othello that he should watch Desdemona and Cassio in Act 3 Scene 3.
AS IB PARENTS EVENING - CONFIRMED APPOINTMENTS
Here are the confirmed appointments for Monday 19 January.
5.0
|
||
5.10
|
Georgina
|
|
5.20
|
Marina
|
|
5.30
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Janira
|
|
5.40
|
Stella | |
5.50
|
Lloyd
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|
6
|
Lorenz
|
|
6.10
|
Matthew
|
|
6.20
|
Nicco
|
|
6.30
|
Natasha
|
|
6.40
|
Martin
|
|
6.50
|
Diana
|
|
7
|
Tristan
|
|
7.10
|
Masaab
|
|
7.20
|
||
7.30
|
||
7.40
|
||
7.50
|
||
A2 LL CUPCAKES RECASTING CLUSTER
Below are a couple of articles linked by the topic femininity. We'll focus on the second of these next week.
Please discuss and then decide on an appropriate recasting question for this extraordinary article.
Please discuss and then decide on an appropriate recasting question for this extraordinary article.
Femininity
|
| Hilary’s Husband Re-elected: The Clinton Marriage of Politics and Power |
Tuesday, 13 January 2015
AS LL - SPIES - HISTORICAL CONTEXT
The main section of the novel Spies takes place probably during the summer of 1942.
Take some time to research some of the major events that took place prior to this date. There are lots of clips on youtube and elsewhere to do this research.
Here are some key words you can use as starting points for your research.
I've put a couple of links here to start you off
The Secret Seven
The Famous Five
Dunkirk 1940
The Battle of Britain
The Blitz
Take some time to research some of the major events that took place prior to this date. There are lots of clips on youtube and elsewhere to do this research.
Here are some key words you can use as starting points for your research.
I've put a couple of links here to start you off
The Secret Seven
The Famous Five
Dunkirk 1940
The Battle of Britain
The Blitz
AS LL - SPIES INTRODUCTION - THE IMPORTANCE OF PLACE
I found out exactly where Michael Frayn set Spies!
Check out Hillside Road, Ewell in google maps.
and check out the links below to a film written by Michael Frayn in 1978/9.
It makes a really good companion piece to Metroland - the film I recommended to you by John Betjeman.
So take a break from your revision for an hour and enjoy the film. It's absolutely fascinating. If you like this sort of stuff.
About 4 minutes and 20 seconds into Part 4 of the film you'll find the tunnel he writes about in the novel.
Check out Hillside Road, Ewell in google maps.
and check out the links below to a film written by Michael Frayn in 1978/9.
It makes a really good companion piece to Metroland - the film I recommended to you by John Betjeman.
So take a break from your revision for an hour and enjoy the film. It's absolutely fascinating. If you like this sort of stuff.
About 4 minutes and 20 seconds into Part 4 of the film you'll find the tunnel he writes about in the novel.
Three Streets in the Country by Michael Frayn
Part 1
Part 2
Part 3
Part 4
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