Thursday, January 10, 2019

Literary Terms

1. Setting: The context in time and place in which the action of a story occurs. 2. Plot: The sequence of incidents or events of which a story is composed.
3. Subplot: A subordinate plot in a play.
4. Theme: The central idea of a literary work.
5. Point of view: The angle of vision from which a story is told. The four basic points of view are as follows:
Omniscient point of view: The author tells the story, using the third person, knowing all and free to tell us anything, including what the characters are thinking or feeling and why they act as they do.
Limited omniscient point of view: The author tells the story, using the third person, but is limited to a complete knowledge of one character in the story and tells us only what that one character thinks, feels, sees, or hears.
First person point of view: The story is told by one of its characters, using the first person.
Objective (or Dramatic) point of view: The author tells the story, using the third person, but is limited to reporting what the characters say or do; the author does not interpret their behavior or tell us their private thoughts or feelings.
6. Protagonist: The central character in a story.
7. Antagonist: Any force in a story that is in conflict with the protagonist. An antagonist may be another person, an aspect of the physical or social environment, or a destructive element in the protagonist's own nature.
8. Pun: A humorous use of a word to suggest another that sounds the same.
9. Parody: A comic imitation of a well-known person or literary work or style.
10. Narrator: In drama a character, found in some plays, who, speaking directly to the audience, introduces the action and provides a string of commentary between the dramatic scenes. The narrator may or may not be a major character in the action itself.
11. Style: The manner of writing or speaking or doing something (contrasted with the subject matter or the thing done).
12. Exposition: Expounding, and explanatory account of a plan or theory.
13. Climax: The turning point or high point in a plot.
14. Resolution (Denouement): That portion of a plot that reveals the final outcome of its conflicts or the solution of its mysteries.
15. Denotation: The basic definition or dictionary meaning of a word.
16. Connotation: What a word suggests beyond its basic definition; a word's overtones of meaning.
17. Personification: A figure of speech in which human attributes are given to an animal, an object, or a concept.
18. Allusion: A reference, explicit or implicit, to something in previous literature or history. (The term is reserved by some writers for implicit references only; but the distinction between the two kinds of reference is not always clear-cut.)
19. Metaphor: A figure of speech in which an implicit comparison is made between two things essentially unlike. It may take one of four forms: (1) that in which the literal term and the figurative term are both named; (2) that in which the literal term is named and the figurative term implied; (3) that in which the literal term is implied and the figurative term named; (4) that in which both the literal and the figurative terms are implied.
20. Simile: A figure of speech in which an explicit comparison is made between two things essentially unlike. The comparison is made explicit by the use of some such word or phrase as like, as, than, similar to, resembles, or seems.
21. Hyperbole (Overstatement): A figure of speech in which exaggeration is used in the service of truth.
22. Symbol (Symbolism): Some thing that means more than what it is; an object, person, situation, or action that in addition to its literal meaning suggests other meanings as well, a figure of speech which may be read both literally and figuratively.
23. Imagery: The representation through language of sense experience.
24. Run-on sentence: A line which has no natural speech pause at its end, allowing the sense to flow uninterruptedly into the succeeding line.
25. Sentence fragment: An incomplete sentence; lacking the quality of being complete in itself as an expression of thought.
26. Optimistic: Showing a tendency to take a hopeful view of things, or to expect that results will be good.
27. Pessimistic: Showing a tendency to take a gloomy view of things, or expect that results will be bad.
28. Genre: A particular kind or style of art or literature.
29. Thesis statement: A statement or theory put forward and supported by arguments.
30. Antithesis: Contrast of ideas emphasized by choice of words or by their arrangement.
31. Ambiguity: Having two or more possible meanings.
32. Prologue: An introduction to a poem or play etc; an act or event serving as an introduction to something.
33. Foil: A person or thing that contrasts strongly with another and therefore makes the other's qualities more obvious.
34. Local color: Details characteristic of a place or of the scene in which a novel etc. is set, added to make it seem more real.
35. Synopsis: A summary, a brief general survey.
36. Dialogue: The words spoken by characters in a play or story.
37. Foreshadow: To be a sign or (something that is to come).
38. Conflict: A clash of actions, desires, ideas, or goals in the plot of a story or drama. Conflict may exist between the main character and some external force, physical nature, society, or "fate"; or between the main character and some destructive element in his or her own nature.
39. Round (developing) character: Any of the persons involved in a story or play whose distinguishing moral qualities and personal traits are complex and many sided.
40. Static (flat character): A character who is the same sort of person at the end of a story as at the beginning.
41. Prose: Non-metrical language; the opposite of verse.
42. Mood: The feeling or tone conveyed by a literary work.
43. Satire: A kind of literature that ridicules human folly or vice with the purpose of bringing about reform or of keeping others from falling into similar folly or vice.
44. Flashback: A changing of the scene in a story to a scene at an earlier time.
45. Diction: A person's manner of uttering or pronouncing words.
46. Analogy: A partial likeness between two things that are compared.
47. Alliteration: The repetition at close intervals of the initial consonant sounds of accented syllables or important words (for example, map-moon, kill-code, preach-approve). Important words and accented syllables beginning with vowels may also be said to alliterate with each other inasmuch as they all have the same lack of an initial consonant sound (for example, "inebriate of air am I").
48. Rhyme: The repetition of the accented vowel sound and all succeeding sounds in important or importantly positioned words (for example, old-cold, vane-reign, court-report, order-recorder). The above definition applies to perfect or exact rhyme and assumes that the accented bowel sounds involved are preceded by differing consonant sounds. If the preceding consonant sound is the same (for example, manse-romance, style-stile), or if there is no preceding consonant sound in either word (for example, aisle-isle, alter-altar), or if the same word is repeated in the rhyming position (for example, hill-hill), the words are called identical rhymes. Both perfect rhymes and identical rhymes are to be distinguished form approximate or slant rhymes.

Tuesday, January 8, 2019

Exam Preparation

Exam Date: Wednesday, January 23rd - 8:00 - 9:30 am

Directions:  This will be a skill based exam.

Part I: Reading Skills. You will be asked to read an excerpt from a novel, answer 10 multiple-choice questions, and write about the piece intelligently.

Part II. Poetry. You will be asked to read a modern poem, answer five multiple-choice questions, and write about the piece intelligently.

Part III. You will compose a short essay, comparing and contrasting the novel excerpt and the poem from parts I and II.

Note:  Please know the following literary devices: metaphor, simile, imagery, personification, alliteration, hyperbole, tone, allusion, foreshadow, and dramatic irony.  If you do not remember them, please refer to our first poetry blog for definitions, or look them up.

Sunday, January 6, 2019

Due Wednesday, January 9th - Romeo & Juliet, Act I, Scenes ii & iii

Directions:  In small groups, assign roles and read Romeo & Juliet, Act I, scenes ii & iii.  Discuss what is being said.  Use the left hand margin as a guide.  Next, post a blog response, much like the last one we composed.  Include 1-2 major passages, and explain the meaning behind some of the major moments from the text.  How would you characterize Lord Capulet?  Paris?  How are Lady Capulet and the Nurse used as foils?  How does Dramatic Irony come into play in these two scenes?  Explore the possibilities.  Engage with each other.  Ask questions.  What would you like to discuss in class on Wednesday.  I look forward to your responses.



Wednesday, January 2, 2019

Due Monday, January 7th - Romeo & Juliet - Act I, scene i

Directions: Please reread Act I, scene i of Romeo and Juliet by William Shakespeare. Choose 1-2 major passages from the play and comment on the ideas, philosophy, and/or the motivations of the characters as well as the impact on the plot of the play. For example, what are the comedic elements in the play? How is Shakespeare using humor to prepare us for the tragedy about to ensue? How does Shakespeare use dramatic irony in the play? What is going on in the mind of Romeo? How does Shakespeare use foil characters? Tybalt and Benvolio?


Tuesday, January 1, 2019

Due Wednesday, January 2nd - Prologue

Directions:  Please listen to Mr. Pellerin recite the Prologue to Romeo & Juliet.  In this blog space, please post your initial thoughts.  Given what you learned in the documentary about how Shakespeare "broke the mold," what do you anticipate will be different about this tragedy compared with other plays?  What information does Shakespeare give us about the plot of the play in the prologue?  What do you notice about the form and structure? He seems to give away the ending.  What will happen in the end?  In your opinion, why would Shakespeare give away the ending?  This is a "live blog."  Engage with each other.

Prologue

Two households, both alike in dignity,
In fair Verona, where we lay our scene,
From ancient grudge break to new mutiny,
Where civil blood makes civil hands unclean.
From forth the fatal loins of these two foes
A pair of star-cross'd lovers take their life;
Whose misadventured piteous overthrows
Do with their death bury their parents' strife.
The fearful passage of their death-mark'd love,
And the continuance of their parents' rage,
Which, but their children's end, nought could remove,
Is now the two hours' traffic of our stage;
The which if you with patient ears attend,
What here shall miss, our toil shall strive to mend.

Thursday, December 20, 2018

Shakespeare of the Day - Hamlet

DRAMATIS PERSONAE

CLAUDIUS king of Denmark.
HAMLET son to the late, and nephew to the present king.
POLONIUS lord chamberlain.
HORATIO friend to Hamlet.
LAERTES son to Polonius.
LUCIANUS nephew to the king.
VOLTIMAND, CORNELIUS, ROSENCRANTZ, GUILDENSTERN, OSRIC } courtiers.
A Gentleman,
A Priest.
MARCELLUS, BERNARDO } officers.
FRANCISCO a soldier.
REYNALDO servant to Polonius.
Players.
Two Clowns, grave-diggers.
FORTINBRAS prince of Norway.
A Captain.
English Ambassadors.
GERTRUDE queen of Denmark, and mother to Hamlet.
OPHELIA daughter to Polonius.
Lords, Ladies, Officers, Soldiers, Sailors, Messengers, and other Attendants.
Ghost of Hamlet’s Father.









Please peruse the "Shakespeare of the Day" selection: The Tragedy of Hamlet, Prince of Denmark. Which performance do you like best? Why?


(III. i. 64-96)

To be or not to be – that is the question:
Whether 'tis nobler in the mind to suffer
The slings and arrows of outrageous fortune,
Or to take arms against a sea of troubles
And, by opposing, end them. To die, to sleep –
No more – and by a sleep to say we end
The heartache and the thousand natural shocks
That flesh is heir to – `tis a consummation
Devoutly to be wished. To die, to sleep –
To sleep, perchance to dream. Ay, there's the rub,
For in that sleep of death what dreams may come,
When we have shuffled off this mortal coil,
Must give us pause. There's the respect
That makes calamity of so long life.
For who would bear the whips and scorns of time,
Th' oppressor's wrong, the proud man's contumely,
The pangs of despised love, the law's delay,
The insolence of office, and the spurns
That patient merit of th' unworthy takes,
When he himself might his quietus make
With a bare bodkin? Who would fardels bear,
To grunt and sweat under a weary life,
But that the dread of something after death,
The undiscovered country from whose bourn
No traveler returns, puzzles the will
And makes us rather bear those ills we have,
Than fly to others that we know not of?
Thus conscience does make cowards of us all,
And thus the native hue of resolution
Is sicklied o'er with the pale cast of thought,
And enterprises of great pitch and moment
With this regard their currents turn awry
And lose the name of action.



Below are four different interpretations of Hamlet's famous soliloquy from Act 3, scene 1.Please view all four clips in the following order:


1) 1948 - The timeless performance by Laurence Olivier.


2) 2000 - Ethan Hawke's Hamlet drifts into a Blockbuster video. Notice which section he walks through.



3) 1996 - Kenneth Brannah's Hamlet speaking a mirror image of himself (Note: Hamlet's Uncle Claudius and Polonius are hiding behind the glass).




4) 1990 - Mel Gibson's Hamlet - Notice the choice of location and the intensity of the performance.


Wednesday, December 19, 2018

Shakespeare of the Day - Titus Andronicus

Players

Saturninus, son to the late Emperor of Rome, [afterwards declared Emperor]

Bassianus, brother to Saturninus, in love with Lavinia

Titus Andronicus, a Roman, general against the Goths

Marcus Andronicus, tribune of the people, and brother to Titus

Lucius, Quintus, Martius, Mutius, sons to Titus Andronicus

Lavinia, daughter to Titus Andronicus

Young Lucius, a boy, son to Lucius

Tamora, queen of the Goths

Alarbus, Demetrius, Chiron, sons to Tamora

Aaron, a Moor, beloved by Tamora


SATURNINUS

What, madam! be dishonour'd openly,
And basely put it up without revenge?


TAMORA

be won at last;
Dissemble all your griefs and discontents:
You are but newly planted in your throne;
Lest, then, the people, and patricians too,
Upon a just survey, take Titus' part,
And so supplant you for ingratitude,
Which Rome reputes to be a heinous sin,
Yield at entreats; and then let me alone:
I'll find a day to massacre them all
And raze their faction and their family,
The cruel father and his traitorous sons,
To whom I sued for my dear son's life,
And make them know what 'tis to let a queen
Kneel in the streets and beg for grace in vain. (1.1.18)




Due Friday, June 14th - All I Really Needed to Know I Learned in Mr. Pellerin's Freshmen English

Overview :  Go back to our first blog, and walk through the 2018-2019 school year.  Revisit the books we read and our class responses.  Look...