agenda M/T May 1/2: drawing on our reading

learning goal: what do the various physical locations look like?  where are which features in relation to each other?

draw one or more of the physical locations, with as much detail as you like–e.g., Stephen’s grandparents’ house in Tarumi, the village of Yamaguchi, the area around and including the grandparents’ house, or another physical location of your choice

enter some content (of your own choosing) on one of the squares inside the SG booklet with reading schedule

leave a thoughtful, original comment to one of the posts about The Samurai’s Garden, found at readingcolors

agenda T/W Apr 25/6: Poetry Day–haiku, tanka, and novel

learning goal: what scene or moment captures my attention well enough to plant a poem in my mind? why this one?

poetry and passages from The Samurai’s Garden

intro to favorite Macbeth lines from last Poetry Day

read for half hour–with OCC sheet distributed at start of class

after this half-hour, compose either two haiku or one tanka based on notes from your 30-minute reading session (the subject of your poem(s) is up to you

if you want help with haiku/tanka requirements and dynamics, see either of these these links: “Three Haiku, Two Tanka” by Philip Appleman or “Selected Haiku by Issa,” translated from Japanese by Robert Hass

end class by hearing people’s poems

agenda W/Th Apr 19/20: follow-up Macbeth writing

learning goal: how can I develop an idea, instead of repeating it? what strategies help me solve this problem?

next and final stage of writing begun last class–details and due date TBA*

 

due to TRNTN by start of next class

on prescribed template–with acknowledgments as needed

500-1000 words

at least two paragraphs

assessed with Content Writing Rubric

 

 

agenda Th/T Apr 13/18: making conscious connections about conscience in MACBETH

learning goal: over the course of the whole play, what significant changes of conscience occur in Macbeth or Lady Macbeth?

exercise TBA (it will depend on complete copies of your notes templates and conscience meters)*

by the end of class, you will submit a typed, one-page response* to the exercise, along with your two sets of paper

*Macbeth exercise 13,18 Apr 2017

♦ circle 2 separate conscience meters from anywhere in the play

meters that together represent a significant shift in Macbeth’s or Lady Macbeth’s conscience; these meters might represent lines that are close together or lines that are far apart

♦ circle 1 scene-set of side notes

that helps explain the shift represented by your two circled meters; this scene-set of side notes can come from anywhere in the play, not necessarily from the lines represented by either of your circled meters

♦ in a one-page piece of writing**, describe and explain the shift in conscience of Lady Macbeth or Macbeth; do this writing on the prescribed template

**double-space, 1” margins, 12 pt. font; 

no need for MLA heading—the template’s heading already includes your name

agenda Fri/Mon Apr 7/10: MACBETH film

In this class, we will watch as much as time allows of one particular film version of Shakespeare’s play–the one in which Patrick Stewart plays Macbeth, set in a generic modern European totalitarian regime.

Watch for how this film’s interpretation of Macbeth and Lady Macbeth compares to yours, especially regarding the film’s depiction of these characters’ individual consciences.

Be ready to explain, in person or writing, an idea or two that come from this comparison.  Specific reference to scenes from the film and play will help illustrate your explanation.  Remember that film is primarily a visual medium.  Watch how visual elements indicate or suggest interpretations of Macbeth and Lady Macbeth.