Col.045%20-%20College%20Council%20Agenda%20April%2020% pdf
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2 2 televisionseries,film,orevenonthenews.foracollegethatisfocusedonmattersof justice,areflectiononthesignificanceofthethemeofmurderinthecultural imaginationisimportant,especiallygiventherangeofnarrativeanddramatic representationsthatmurdercanbemadetotake.murder,andhowitisperformedin variousmedia,therefore,isatopicthatwillengagemanyofourstudentsandthrough whichwecandrawthemintothinkingaboutmurderasarepresentationandwhat meaningsitcanbemadetotakedependinghowitisframed. Thiscourseasksstudentstoexamineperformativeculturalproductionsacrossmedia andfromarangeofperspectives.theywillreadtexts,watchperformancesoftexts (bothfilmadaptationsandstagedperformances,atleastbyclassmatesandideallyby professionals),andperformversionsoftextsthemselves.theywillbestudyingthese productionsfrominsideandoutsideandthuswillengagewiththepurposeandeffects oftextswrittenforperformance. 4. CoursedescriptionasitistoappearintheCollegeBulletin.(Keepinmindthatthisisfor astudentaudienceandsoshouldbeclearandinformative;pleasewriteincomplete sentences;wesuggestnotmorethan75words.) Thiscourseexploreshowmurderhasbeenusedonscreen,stage,andpagetoentertain, totitillate,andtocritique.thecoursewillconsiderhowmurderworksinnarrativeand performance,andwhatrepresentationsofmurdermaymeanforus,especiallyasthey movefrompagetostagetoscreen.wewillalsoconsiderquestionssuchas:whoisa murderer?whogetsmurdered?whataretheconsequencesofmurder?whatdoesthe audienceorreadergetoutofmurderstories? 5. CoursePrerequisitesorcorequisites(Pleasenote:All200levelcoursesmusthaveENG 101andall300&400levelcoursesmusthaveENG102/201asprerequisites): Eng Numberof: a. Classhours 3 b. Labhours c. Credits 3 7. Hasthiscoursebeentaughtonanexperimentalbasis? x_no Yes.Ifyes,thenpleaseprovide: a. Semester(s)andyear(s): b. Teacher(s): c. Enrollment(s): d. Prerequisites(s): 72
3 3 8. LearningOutcomes(approximately35orwhateverisrequiredformappingtotheGen Edoutcomes).Whatwillthestudentknoworbeabletodobytheendofthecourse? Howdotheoutcomesrelatetotheprogram s(major;minor)outcomes? Gather,interpret,andassessinformationfromanumberoftexts,media,andpointsof view. Evaluateevidenceandargumentscriticallyandanalytically. Producewellreasonedwrittenandoralargumentsusingevidencetosupport conclusions. Identifyandapplyfundamentalconceptstotheaterandfilm. Analyzehowdramafromthepastservesasafoundationforthepresentanddescribe thesignificanceoftheworksofdramainthesocietiesthatcreatedthem. Demonstrateknowledgeoftheskillsinvolvedinthecreativeprocessthrough performance. 9. Willthiscoursebepartofanymajor(s),minor(s)orprogram(s)? No x Yes Ifyes,Indicatemajor(s),minor(s),orprogram(s)andindicatethepart, category,etc.(pleasebespecific) EnglishMajor,PartV.Electives(genedpart?) EnglishMinor 10a.WillthiscoursebepartofJJ sgeneraleducationprogram?(remembertofilloutthe CUNYCommonCoreFormifpartofRequiredorFlexibleCore) No Yes x Ifyes,pleaseindicatethearea: FlexibleCore: A.WorldCulturesandGlobalIssues B.U.SExperienceinItsDiversity C.CreativeExpression x D.IndividualandSociety E.ScientificWorld 10b.Pleaseexplainwhythiscourseshouldbepartoftheselectedarea. Thiscourseasksstudentstoexamineperformativeculturalproductionsacrossmediaandfrom arangeofperspectives.theywillreadtexts,watchperformancesoftexts(bothfilm 73
4 4 adaptationsandstagedperformances,atleastbyclassmatesandideallybyprofessionals),and performthemselves.theywillbestudyingtheseproductionsfrominsideandoutsideandthus willengagewiththepurposeandeffectsoftextswrittenforperformance. 10c.Ifyes,frequencyandnumberofsectionstobeofferedforGeneralEducation: Everysemester x Numberofsections: 1 Fallsemestersonly Numberofsections: Springsemestersonly Numberofsections: 11. Howwillyouassessstudentlearning? Participation Quizzes Responseandreviewpapers Papers Exams 12. Studentsmaywritelowstakespaperssuchasresponsepapers(23pp.),preparatory papers(2pp.,seeattachedsyllabusforamodelofwhatthesemightlooklike), performancereviews(23pp.),analyticalpapers(47pp.) Didyoumeetwithalibrariantodiscusslibraryresourcesforthecourse? 13. Yes x No Ifyes,pleasestatethelibrarian sname MartaBladek_ Arethereadequateresourcesinthelibrarytosupportstudents workinthecourse Yes x No Willyourstudentsbeexpectedtouseanyofthefollowinglibraryresources?Check allthatapply. Thelibrarycatalog,CUNY+ EBSCOhostAcademicSearch Complete X Electronicencyclopedia collections(e.g.fromgale;sage; OxfordUniPress) X LexisNexisUniverse CriminalJusticeAbstracts PsycINFO Syllabus seeattached SociologicalAbstracts JSTOR SCOPUS Other(pleasename)Oxford EnglishDictionaryOnline iterature 74
5 DateofDepartmentcurriculumcommitteeapprovalMarch30,2015 FacultyWhowillbeassignedtoteachthiscourse? JayPaulGates P.J.Gibson CarolineReitz JohnStaines Isthisproposedcoursesimilartoorrelatedtoanycourse,major,orprogramofferedby anyotherdepartment(s)?howdoesthiscoursediffer? x No Yes.Ifyes,whatcourse(s),major(s),orprogram(s)isthiscoursesimilaror relatedto?withwhomdidyoumeet?provideabriefdescription. Didyouconsultwithdepartment(s)orprogram(s)offeringsimilarorrelatedcoursesor majors? Notapplicable No x Yes.Ifyes,giveashortsummaryoftheconsultationprocessandresults. Yes,IcontactedSethBaumrininCTA.Isharedtheproposalwithhim.Hisresponsewasthe following: SincewehavefilmcoursesanddramaticlitcoursesmyviewisthatENGshouldgo withitsheartaswedo. 18. Willanycoursebewithdrawn,ifthiscourseisapproved? _x No Yes.Ifyes,numberandnameofcourse(s)tobewithdrawn. 19.Approvals: NameofChairgivingapproval,Proposer sdepartment 75
6 6 CUNYCommonCore CourseSubmissionForm Instructions:AllcoursessubmittedfortheCommonCoremustbeliberalartscourses.Coursesmaybe submittedforonlyoneareaofthecommoncore.allcoursesmustbe3credits/3hoursunlessthe collegeisseekingawaiverfora4creditmathorsciencecourse(afterhavingsecuredapprovalfor sufficient3credit/3hourmathandsciencecourses).allstandardgovernanceproceduresforcourse approvalremaininplace. College JohnJayCollegeofCriminalJustice Course 2XX Number CourseTitle MurderonScreenandStage Department(s) English Discipline Literature SubjectArea Credits 3 ContactHours 3 Prerequisites Modeof Instruction Course Attribute Catalogue Description Syllabus Eng101 Selectonlyone: x Inperson Hybrid Fullyonline Selectfromthefollowing: FreshmanSeminar HonorsCollege QuantitativeReasoning WritingIntensive Other (specify): Thiscourseexploreshowmurderhasbeenusedonscreen,stage,andpageto entertain,totitillate,andtocritique.thecoursewillconsiderhowmurder worksinnarrativeandperformance,andwhatrepresentationsofmurder maymeanforus,especiallyastheymovefrompagetostagetoscreen.we willalsoconsiderquestionssuchas:whoisamurderer?whogetsmurdered? Whataretheconsequencesofmurder?Whatdoestheaudienceorreader getoutofmurderstories? Syllabusmustbeincludedwithsubmission,5pagesmax 76
7 7 Indicatethestatusofthiscoursebeingnominated: currentcourse revisionofcurrentcoursex anewcoursebeingproposed CUNYCOMMONCORELocation PleasecheckbelowtheareaoftheCommonCoreforwhichthecourseisbeingsubmitted. (Selectonlyone.) Required EnglishComposition Mathematicaland QuantitativeReasoning LifeandPhysical Sciences Flexible WorldCulturesandGlobalIssues andsociety USExperienceinitsDiversity World X CreativeExpression LearningOutcomes Individual Scientific Intheleftcolumnexplaintheassignmentsandcourseattributesthatwilladdressthe learningoutcomesintherightcolumn. C.CreativeExpression AFlexibleCorecoursemustmeetthethreelearningoutcomesintherightcolumn. Studentswillreadseveraltextsandwatch severalfilmandstageversionsoftheplays thattheyreadandconsidershiftsin attitudetowardthemesrelatedtomurder. Theywillconsidervaryingattitudes betweentheplays,performances,and films.theywillconsidercharacters points ofviewandthereliabilityofcharacters. Seeespeciallythepreparatory assignmentsfordays9,16,and18.these issueswillalsobefundamentaltoinclass Gather,interpret,andassessinformationfrom avarietyofsourcesandpointsofview. 77
8 8 discussionsandstudentperformances. Studentswillexamineparticularkindsof evidence includingwords,settings,and characters learntoaskquestionsbased onthosekindsofevidence,andusethem toelaboratecriticalliterary interpretations.studentswillalsodo historicalandmediaorientedanalysesof thetexts.seescaffoldedpreparatory assignmentsinattachedsyllabus. Studentswillconstructargumentsand supportthemwithtextualevidence.see scaffoldedpreparatoryandpaper Evaluateevidenceandargumentscriticallyor analytically. Producewellreasonedwrittenororal argumentsusingevidencetosupport conclusions. assignmentsinattachedsyllabus. Acourseinthisarea(II.C)mustmeetatleastthreeoftheadditionallearningoutcomesinthe rightcolumn.astudentwill: Studentswillconsiderfundamental conceptsofdramasuchasgenre, character,andsetting.seescaffolded preparatoryandpaperassignmentsin attachedsyllabus. Identifyandapplythefundamentalconcepts andmethodsofadisciplineorinterdisciplinary fieldexploringcreativeexpression,including, butnotlimitedto,arts,communications, creativewriting,mediaarts,music,and theater. Analyzehowartsfromdiverseculturesofthe pastserveasafoundationforthoseofthe present,anddescribethesignificanceofworks ofartinthesocietiesthatcreatedthem. Studentswilldemonstrateknowledgeof theskillsinvolvedinthecreativeprocess throughwrittenanalysisandcritiqueof performancesofawrittentexts.theywill writebothresponsestoperformancesand criticalanalysesofperformances.students willwritepapersbothontheexperience ofdevelopingasceneforperformanceand reviewingotherstudentgroups performances.seeattachedsyllabus: Paperoninterpretationofascene( words) Studentswillwritecommentaries onthedecisionsthatwentintotheir performancesofascene,the Articulatehowmeaningiscreatedinthearts orcommunicationsandhowexperienceis interpretedandconveyed. 78
9 9 elementstheytriedtoemphasize, andtheinterpretationtheytriedto elicit. 10%Responseandreviewpapers(500 wordseach) Studentswillwriteresponsepapers thatemphasizethedevelopmentof criticalliteraryskills(seereading scheduleforindividualprompts). Studentswillalsowriteanalysesin responsetostudentperformances ofascene.thesewillemphasizethe decisionsthatthegroupsmadein translatingthescenefromwordson thepagetoperformance. Studentswilldemonstrateknowledgeof theskillsinvolvedinthecreativeprocess byanalyzingthedecisionsthathavegone intotranslatingawrittentexttoa performance.theymayalsohaveto interpretandperformascenethemselves. Studentswillwritepapersbothonthe experienceofdevelopingascenefor performanceandreviewingotherstudent groups performances.seeattached syllabus: 10%Performanceofascene Groupsofstudentswillperforma scenefromoneofthetextsthatwe read.eachgroupwillmake decisionsabouthowtotranslatea scenefromwordsonthepageto performance,puttinganemphasis onhowbesttoelicitfroman audiencetheinterpretationthey want. Paperoninterpretationofascene( words) Demonstrateknowledgeoftheskillsinvolved inthecreativeprocess. 79
10 10 Studentswillwritecommentaries onthedecisionsthatwentintotheir performancesofascene,the elementstheytriedtoemphasize, andtheinterpretationtheytriedto elicit. 10%Responseandreviewpapers(500 wordseach) Studentswillwriteresponsepapers thatemphasizethedevelopmentof criticalliteraryskills(seereading scheduleforindividualprompts). Studentswillalsowriteanalysesin responsetostudentperformances ofascene.thesewillemphasizethe decisionsthatthegroupsmadein translatingthescenefromwordson thepagetoperformance. Useappropriatetechnologiestoconduct researchandtocommunicate. 80
11 11 MurderonScreenandStage Lit241,Section000 Classroom:XXX ProfessorJayPaulGates Office:NB OfficeHours:MW12:151:00 Phone: CourseDescription Thiscourseexploreshowmurderhasbeenusedonscreen,stage,andpagetoentertain,to titillate,andtocritique.thecoursewillconsiderhowmurderworksinnarrativeand performance,andwhatrepresentationsofmurdermaymeanforus,especiallyastheymove frompagetostagetoscreen.wewillalsoconsiderquestionssuchas:whoisamurderer?who getsmurdered?whataretheconsequencesofmurder?whatdoestheaudienceorreaderget outofmurderstories? Prerequisite:English101 LearningOutcomes Gather,interpret,andassessinformationfromanumberoftexts,media,andpointsof view. Evaluateevidenceandargumentscriticallyandanalytically. Producewellreasonedwrittenandoralargumentsusingevidencetosupport conclusions. Identifyandapplyfundamentalconceptstotheaterandfilm. Analyzehowdramafromthepastservesasafoundationforthatofthepresentand describethesignificanceoftheworksofdramainthesocietiesthatcreatedthem. Demonstrateknowledgeoftheskillsinvolvedinthecreativeprocessthrough performance. Grading 10%Participation Studentswillspeakinclassandcarryoncriticalandanalyticaldialoguewithone another. 10%Performanceofascene Groupsofstudentswillperformascenefromoneofthetextsthatweread.Eachgroup willmakedecisionsabouthowtotranslateascenefromwordsonthepageto performance,puttinganemphasisonhowbesttoelicitfromanaudiencethe interpretationtheywant. 10%Paperoninterpretationofascene( words) 81
12 12 Studentswillwritecommentariesonthedecisionsthatwentintotheirperformancesof ascene,theelementstheytriedtoemphasize,andtheinterpretationtheytriedtoelicit. 10%Responseandreviewpapers(500wordseach) Studentswillwriteresponsepapersthatemphasizethedevelopmentofcriticalliterary skills(seereadingscheduleforindividualprompts). Studentswillalsowriteanalysesinresponsetostudentperformancesofascene.These willemphasizethedecisionsthatthegroupsmadeintranslatingthescenefromwords onthepagetoperformance. 20%Paper(1,250words) Studentswillapplytheskillstheydevelopedwritingresponsepaperstowritingadeeper criticalanalysisofatext,performance,orfilm. 20%MidtermExam Studentswilldemonstratethattheyhaveread,watched,andthoughtaboutthetexts wehavereadandwatched.theywilldemonstrateaworkingknowledgeofthecritical vocabularythatwehavestudied.theywilldemonstratetheabilitytoapplythecritical literaryvocabularyandskillstoanalysisinessayformat. 20%FinalExam Studentswilldemonstratethattheyhaveread,watched,andthoughtaboutthetexts wehavereadandwatched.theywilldemonstrateaworkingknowledgeofthecritical vocabularythatwehavestudied.theywilldemonstratetheabilitytoapplythecritical literaryvocabularyandskillstoanalysisinessayformat. RequiredTexts ChristopherMarlowe,TheCompletePlays(Everyman,2003) ISBN: GaminiSalgado,ed.ThreeRevengeTragedies(Penguin,2004) ISBN: WilliamShakespeare,Othello(Norton,2003) ISBN: FilmsToBeScreenedInClass SimonCurtis,TheChangeling(1993) OliverParker,Othello(1995) AlexCox,TheRevenger stragedy(2002) DerekJarman,EdwardII(1991) Attendance: BecauseIvalueparticipation,Iexpectyoutobepresentandpunctual.Attendanceisyour responsibilityandthereisnosuchthingasan excusedabsence.youmaymissupto4classes withoutpenaltybeyondlosingparticipationpoints. 82
13 13 StudentswithDisabilities Qualifiedstudentswithdisabilitieswillbeprovidedreasonableacademicaccommodationsif determinedeligiblebytheofficeofaccessibilityservices(oas).priortograntingdisability accommodationsinthiscourse,theinstructormustreceivewrittenverificationofastudent s eligibilityfromtheoaswhichislocatedatl.66.00nb( ).itisthestudent s responsibilitytoinitiatecontactwiththeofficeandtofollowtheestablishedproceduresfor havingtheaccommodationnoticesenttotheinstructor. Source:ReasonableAccommodations:AFacultyGuidetoTeachingCollegeStudentswith Disabilities,4 th ed.,cityuniversityofnewyork,p.3. ( Plagiarism: PlagiarismandcheatingareviolationsofCUNY spolicyonacademicintegrity: Plagiarismisthepresentationofsomeoneelse sideas,words,orartistic,scientific,or technicalworkasone sowncreation.usingtheideasorworkofanotherispermissible onlywhentheoriginalauthorisidentified.paraphrasingandsummarizing,aswellas directquotations,requirecitationstotheoriginalsource. Plagiarismmaybeintentionalorunintentional.Lackofdishonestintentdoesnot necessarilyabsolveastudentofresponsibilityforplagiarism. Itisthestudent sresponsibilitytorecognizethedifferencebetweenstatementsthatare commonknowledge(whichdonotrequiredocumentation)andrestatementsofthe ideasofothers.paraphrasing,summarizing,anddirectquotationareacceptableforms ofrestatement,aslongasthesourceiscited.studentswhoareunsurehowandwhen toprovidedocumentationareadvisedtoconsultwiththeirinstructors.thelibraryhas freeguidesdesignedtohelpstudentswithproblemsofdocumentation. ( Byregisteringinthiscourse,youarepromisingtoabidebyalltherequirementsstatedinthis policy.studentsinbreachofthispolicyareliabletoseverepenalty,includingdisciplinary action.seealsopp.44 5oftheJJCUndergraduateBulletinforfurtherexplanation.Seealso MLAHandbook,7 th ed.,p.2. ReadingSchedule 1)Introduction tomurder PartI:SexandSociety:GenderedViolence Sex,Marriage,andMurder 2)Middleton,TheChangeling,Act1 Due:Responsepaper 83
14 14 WordsandInterpretation:Individualwordscandramaticallyaffectthepossible interpretationsofatextandskillfulauthorsdeploywordsinstrategicways,often weavingpassagestogetherthroughverbalrepetitionsorechoes.however,weoften glossoverthecraftoflanguagewhilereading,focusing,instead,onplotinplaceof senseandstructure.thisisespeciallyimportantwhenconsideringhowawordmight shiftinmeaningdependingonitscontextoritsrelationtootherwords.usefulplacesto lookforwordsthatarekeytoatextareatthebeginningof books/chapters/acts/scenes/sectionsandepithetsusedforcharacters.chooseone wordthatyouthinkisimportantfromeitherofthetexts(youmayconsideroneword thatisrepeatedinmultipleplacesorinvariousgrammaticalforms).lookitupinthe OxfordEnglishDictionary(availablethroughtheJJClibrarywebsite DONOTuseany dictionaryotherthantheoed).innomorethantwopages,discusshowthisword affectsthemeaningofthetextasawhole.thingsyoushouldthinkaboutincludewhich definitionsarepossibleinagivencontext,andifmorethanoneis,howoneoranother affectsthemeaningofthetext;whenadefinitionwasactuallyinuseandifitwouldbe validinthetextyouarediscussing;theetymologicalsubtextawordmaycarry. 3)Middleton,TheChangeling,Acts23 4)Middleton,TheChangeling,Act45 Due:Responsepaper AskingQuestions:RolandBarthessuggeststhatinterpretationistheappreciationofthe pluralityofatext. 1 Theinterpretationofatextinthissenserequiresseveralsteps.After achievingabasicreadingofatext who,what,where,when thenextstepistoask why? Thatis,youneedtoposequestionsofthetextthatyouneedtoanswerinorder tofullyunderstandit.thereareseveralkindsofquestionsthatyoucanpose,butyou wanttoposeinterpretiveorresearchquestionsasopposedtofactualquestions.the differencebetweentheseisprofound.factualquestionsarethingsthatyoucouldlook upinadictionary(orgoogle)andgetasatisfactoryanswertomoveonwithyour reading.interpretiveorresearchquestionsarechallengestofigureouttherelevanceof thetext,whatitistryingtogetanaudiencetounderstand.theplacetobegin formulatingquestionsisinambiguitiesinthetextorthingsthatcausedyouconfusion. Thosetendtobethemomentsthatrequireinterpretationandtheyarealsothepoints wherethetextistryingtogetyoutoreflect,makechoices,andthroughthisprocess, learnsomething.startbyaskingyourselfthesimplequestions whatdoifind confusing? and whyisthatconfusing? Youwillusuallyfindcluesinthestructureofthe textorinrepetitionsoflanguageorinchanges(incharacters attitudes,inwhatwords meanatvariouspointsinthetext,generalincompatibilitiesamongscenes).thebig questionthatyouwilleventuallywanttoaskiswhythelessonyouarelearningthrough thetextmatters,butfornow,explaininnomorethantwopageswhattheconfusionor ambiguityis,howthetextcreatesit,andtheeffectthatithasonyouasareader.does 1 Roland Barthes, S/Z (New York: Hill and Wang, 1974), p
15 15 itmakeyouuncomfortable,frustrateyou,leaveyouwantingtoknowsomething?does itmakeyoustartguessingaboutpossibleoutcomes?canyouseesomekindofmoral quandaryinit? 5)Middleton,TheChangeling Performance:Group1 ChooseamurderscenefromTheChangelingandtranslateitfromtextonthepagetoa performanceintendedtoelicitfromtheclassroomaudienceaparticularinterpretation. Thinkabouttheelementsofthescenethatyouwanttheaudiencetopayattentionto (Isacharactersympathetic?Doesthevictimdeservetheirfate?Dothecharactersseem tobeawareofothercharacters motives?howdoesthesettingaffectthescene?) 6)FilmScreening:TheChangeling Due:Responsepaper Argument:Nowthatyouhavehadpracticeposingquestions,thenextsteptoeffectively readingandwritingaboutliteratureisformulatinganargument(youwillwanttolook aboveattherequirementsforpapersforfurtherdiscussionofthis).thisprovesoneof themostdifficulttasksinliteraryanalysisformanypeople.simply,aninterpretationof atextisanargumentforhowtounderstanditandwhythatmatters.ifwestartfrom theassumptionthatalltextsaretryingtoteachussomething,thentheinterpretationis anargumentforwhatitistryingtoteachus,howitdoesso,andwhythatlesson mattersforthetext.innomorethantwopages,posearesearchquestionaboutoneof thetextswearereadingfortheweekandformulateanargumentaboutthetext.be suretopointtopassagesinthetextthathighlightambiguitiesandhowtheydirectyou tointerpretthetextasyoudo. 7)TheChangeling Due:Group1paperoninterpretationofascene Due:Group2reviewofperformance Trust:PointofView 8)Shakespeare,Othello,Act1 9)Shakespeare,Othello,Acts23 Due:Responsepaper Evidenceandinterpretation:Fundamentaltomakinganargumentconvincingistheuse ofevidencetosupportit.inthecaseofliteraryanalysisthismeansquotingthetext. However,fortheuseoftextualevidencetobemeaningfulintermsofmakingan argument,youneedtoexplainhowtheevidencedoeswhatyouclaimitdoes.thatis, youseethelanguage(orstructureorcharacter,etc.)asambiguousinsomesenseandin needofanalysistofullyexplainhowtounderstandwhatthetextisconveying.yetitis importanttorememberrolandbarthes spremisethatinterpretationistheappreciation ofthepluralityofthetext;therearemultiplepossibleinterpretationsforanymoment ofambiguityandyouaremakingacaseforoneofthose.therefore,itisnecessaryto 85
16 16 showwhattheambiguityisandthenshowevidencefromthetextthatsupportsyour interpretation(disambiguation)ofthatambiguity.youneedtoexplainhowitdoeswhat youclaimbecauseyouraudiencedoesnotnecessarilyreadthesamewayyoudo.your interpretationisimmediatelycleartoyoubecauseyouhavemadetheconnectionsin yourhead.youneedtomakethemcleartosomeoneelse.pleaseformulatean argumentandsupportitwithtextualevidenceandinterpretationofthatevidenceina responsepaperofnomorethan2pages.iwouldlikeyoutoprovideaclearargument, andtextualsupport.pleasedosomeclosereading,meaningofnomorethan45linesif possible. 10)Shakespeare,Othello,Acts45 11)Shakespeare,Othello Performance:Group2 ChooseamurderscenefromOthelloandtranslateitfromtextonthepagetoa performanceintendedtoelicitfromtheclassroomaudienceaparticularinterpretation. Thinkabouttheelementsofthescenethatyouwanttheaudiencetopayattentionto (Isacharactersympathetic?Doesthevictimdeservetheirfate?Dothecharactersseem tobeawareofothercharacters motives?howdoesthesettingaffectthescene?) 12)FilmScreening:Othello 13)Othello Due:Group2paperoninterpretationofascene Due:Group3reviewofperformanceofascene 14)MidtermReview 15)MidtermExam PartII:ThePoliticsofMurder PlotsWithinPlots 16)Tourneur,TheRevenger stragedy,act1 Due:Responsepaper Setting:Fundamentaltoreadingdramaortowatchingaperformanceisan understandingofsetting.whereistheactionhappening?whatcountry?whatwerethe relationsoftheauthor scountryandthecountryofthesetting?whattown?whatdo weknowaboutit?arethecharactersinpublicorprivate,inthemarketplace,church, thebedroom?considerhowtakingintoaccounttheinformationsuppliedbythesetting ofonescenesetsuphowweshouldbereadingandinterpretingthatscene. 17)Tourneur,TheRevenger stragedy,acts23 18)Tourneur,TheRevenger stragedy,acts45 86
17 17 Due:Responsepaper Character:Aswehaveseeninourreadingforthesemesteruptothispoint,acharacter canfundamentallyshapeourexperienceofeventsandhowweinterpretthem. Moreover,itisoftenthefirstversionofastorythatwehearthatwewillbemost sympatheticto.withthosestatementsinmind,considertheeffectsofcharacteron yourexperienceoftherevenger stragedy.innomorethantwopageswritearesponse paperinwhichyoumakeanargumentandusetextualevidencetosupportit. 19)Tourneur,TheRevenger stragedy Performance:Group3 ChooseamurderscenefromTheRevenger stragedyandtranslateitfromtextonthe pagetoaperformanceintendedtoelicitfromtheclassroomaudienceaparticular interpretation.thinkabouttheelementsofthescenethatyouwanttheaudienceto payattentionto(isacharactersympathetic?doesthevictimdeservetheirfate?dothe charactersseemtobeawareofothercharacters motives?howdoesthesettingaffect thescene?) 20)FilmScreening:TheRevenger stragedy 21)TheRevenger stragedy Due:Group3paperoninterpretationofascene Due:Group4reviewofperformance KingKilling:HowtoPointedlyMurderaMonarch(andGetAwayWithIt) 22)Marlowe,EdwardII,Act1 23)Marlowe,EdwardII,Acts23 24)Marlowe,EdwardII,Acts45 Due:Responsepaper Presenceandabsence:Althoughitmightseemobvious,ourexperienceofaneventis profoundlyaffectedbywhetherornotweseeit.watchingamurdertakeplaceonthe stageisfardifferentfromhearingthescreamfromoffstage,whichisstilldifferent againfromhearingacharacterrecountthediscoveryofamurder.edwardiiisnotorious foritsconcernwithvisibility,orrather,makingsignificantpointsthroughwhatis explicitlykeptinvisible.consideroneeventorsceneinwhichvisibilityorinvisibilityis importantanddiscusshowthatchoiceaffectsinterpretation. 25)Marlowe,EdwardII Performance:Group4 ChooseamurderscenefromEdwardIIandtranslateitfromtextonthepagetoa performanceintendedtoelicitfromtheclassroomaudienceaparticularinterpretation. Thinkabouttheelementsofthescenethatyouwanttheaudiencetopayattentionto 87
18 18 (Isacharactersympathetic?Doesthevictimdeservetheirfate?Dothecharactersseem tobeawareofothercharacters motives?howdoesthesettingaffectthescene?) 26)FilmScreening:EdwardII 27)EdwardII Due:Group4paperoninterpretationofascene Due:Group1reviewofperformance 28)FinalExamReview Due:Finalpaper ThroughoutthesemesterwehavebeenreadingandperformingEarlyModernplays.However, wehavealsowatchedmodernadaptationsoftheplaysforthescreen.whatistheinterestin fivehundredyearoldplaysinanarchaicdialectofenglishforamodernaudience?inafinal paper,chooseoneofthetextsthatwehavereadandreflectonsomecombinationofthe following:whatisthedifferenceinexperiencebetweenreadingaplayandwatchingitonfilm? Aretheinterestsoftheplayandofthefilmthesame?Howismurderdeployedwithinthe narrativeandwhatdoesitaccomplish?dowefindourselvesoutragedbythemurder(s)ordo weseeinthemurder(s)justice?doweachievecatharsis?how?youmay,ofcourse,gobeyond thesebasicquestions,butyoumustaddresstheissuesofmurderandoftherelevanceofatext tothepresent. 29)Finalexam 88
program_japanese
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