Work with your group to answer the questions below.
Work with your group to complete the exercise below.
Work with your group to identify the invocation of the Muse. Be prepared to cite specifically where it can be found in the text, explain the substance of the invocation, and analyze the significance of this trait. Explain how this feature connects to the narrative element of beginning the plot in medias res.
Work with your group to identify the traits of the heroic epic listed below. Classify each trait as form, content, or both. Be prepared to explain your classifications.
Using your four strongest genre traits--1 form and 3 content--prepare a brief presentation:
Work with your group to complete the prompts below. Be prepared to present your findings to the class.
Work with your group on your assigned passages. The full alternate translations are availabled in the "Files" tool in Canvas.
Work with your group to answer the questions below using your assigned chapter.
Homework #1 will be evaluated on the following criteria:
Work with your group to answer the questions below, focusing on your assigned chapter.
Work with your group to use your assigned story to answer the questions below.
Work with group to answer the questions below.
Work from your notes for In-Class #7 or In-Class #8 to develop a focused, analytical thesis that engages with representations of power or representations of stroytelling. Analyze your idea in relation to at least 2 of the texts studied in this unit. Write a short essay (minimum 500 words) supporting your thesis with analysis of the texts. Be sure to include specific, cited textual support.
Homework #2 will be evaluated using the following criteria:
Be sure to use specific examples from your texts to support your claims.
1. Examine the invocation of the muse section of the heroic epics we've studied and discuss the framing of key ideas in the texts; then consider the differences between the ancient and the Renaissance epics.
| Odyssey | Aeneid |
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Tell me about a complicated man. Muse, tell me how he wandered and was lost when he had wrecked the holy town of Troy, and where he went, and who he met, the pain he suffered on the sea, and how he worked to save his life and bring his men back home. He failed, and for their own mistakes, they died. They ate the sun God's cattle, and the god kept them from home. Now goddess, child of Zeus, tell the old story for our modern times. Find the beginning. |
Wars and a man I sing--an exile driven on my Fate, he was the first to flee the coast of Troy, destined to reach Lavinian shores and Italian soil, yet many blows he took on land and sea from the gods above-- thanks to cruel Juno's relentless rage--and many losses he bore in battle too, before he could found a city, bring his gods to Latium, source of the Latin race, the Alban lords and the high walls of Rome. Tell me, Muse, how it all began. Why was Juno outraged? What could wound the Queen of the Gods with all her power? Why did she force a man, so famous for his devotion, to brave such rounds of hardship, bear such trials? Can such rage inflame the immortals' hearts? |
| Divine Comedy (was not part of reading) | |
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O good Apollo, for this last task, I pray you make me such a vessel of your powers as you deem worthy to be crowned with bay [leaves]. One peak of cleft Parnassus hertofore has served my need, now must I summon both on entering the arena one time more. Enter my breast, I pray you, and there breathe as high a strain as conquered Marsyas that time you drew his body from its sheath. O power divine, but lend to my high strain so much as will make clear even the shadwo of that High Kindom stamped upon my brain, and you shall see me come to your dear grove to crown myself with those green leaves which you and my high theme shall make me worthy of. |
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2. Examine the epic/extended metaphor or simile below: identify vehicle and tenor and explain how specific elements of the figurative comparison are significant to the character, plot, and cultural context of the epic it comes from.
3. Now look across all three extended comparisons in 2. and identifying similarities and differences between the way this form is used in antiquity and in the Renaissance epic.
4. Choose ONE of these context elements to examine in more detail and analyze similiarities and differences across the texts. What do you think the devleopment of this trait suggests about the evolution of the epic, for example as a literary genre, in its cultural significance/purpose, in terms of the production of this kind of work (oral tradition, copied manuscripts, printed texts; literacy, markets, changing ideas of authorship etc.)
Work with your group to answer the questions about The Sunjata below.
Work with your group to synthesize ideas across texts as indicated below.
Examine Laüstic and "Story 3" from the Heptameron. These texts have a similar theme--identify as specifically as you can what that is. Then, examine how each portrays this theme. How might the differences be related to differing cultural discourses?
Work with your group to analyze Don Quixote as indicated below.
Option 1: The texts studied in part iii can be seen as innovations on clasical forms. Choose ONE of the texts from weeks 11-13 and explain how the form is related to a genre from antiquity--the heroic epic or the episodic epic. Then, explain how the form innovates or transforms the classifcal form. Be sure to use specific examples from your part iii text and examples from classical texts as needed. Finally, address the significance of the transformations of form you identify in relation to content.
Option 2: The texts studied in part iii have thematic resonances with earlier works. Choose ONE of the texts from weeks 11-13 and identify a clear, specific theme that is related to another text studied in weeks 1-10. Explain how the theme functions in both works and significant similarities and differences between the representation of your theme in the two texts. Then, in your conclusion, explain how the representation of the theme in each is related to at least 1 specific cultural discourse.
Work with your group to answer the questions below.
Work through these steps with the whole class example, and then with your group's assigned text.
Close reading is the basic builiding block of literary analysis. In this exercise, we will practice close reading and show how it can be used for a variety of tasks.
Work with your group to write a prose version of your assigned stanza below. Write it for an audience of fellow students. You should include every idea from the stanza. If there is something in the original you do not understand, use strategies like reading for context clues and looking up terms in the dictionary.
Parting they seem'd to tread upon the air,
Twin roses by the zephyr blown apart
Only to meet again more close, and share
The inward fragrance of each other's heart.
She, to her chamber gone, a ditty fair
Sang, of delicious love and honey'd dart;
He with light steps went up a western hill
And bade the sun farewell, and joy'd his fill.
How was it these same ledger-men could spy
Fair Isabella in her downy nest?
How could they find out in Lorenzo's eye
A straying from his toil? Hot Egypt's pest
into their vision covetous and sly!
How could these money-bags see east and west?--
Yet so they did--and every dealer fair
Must see behind, as doth the hunted hare.
Return to Boccaccio's original story in The Decameron. Develop a claim based on your close reading above as indicated in the prompt below.
Re-read the section of the original story that describes the develping relationship between the lovers (p. 283-top of 284).
Re-read the section of the original story that describes how the brothers discovered the lovers were having an affair (p. 284). You may also consider other descriptions of the brothers (283, 286).
Direct response to a-f below. Answers should be thorough and clear, and should include direct quotations as needed. Quotations should be cited with parenthetical MLA citations
Find an example of an extension of tradition in contemporary society. Your example can be from any medium--literary text, song, image-based medium, film, etc. Your example should demonstrate allusion or adaptation. It may not simply be a translation of an ancient text, but should be an allusive reference or a clear adaptation. Once you have found your example, do the following:
Homework #4 will be evaluated on the following criteria:
presentation due in class in Week 16 as assigned
written components due by midnight Wednesday 5/3
In their book Teaching Shakespeare with Purpose: A Student-Centered Approach, Ayanna Thompson and Laura Turchi establish that "learners gain independent facility with complex texts when their teachers: (a) demonstrate close reading while enumerating their analytical moves; (b) acknowledge contradictory readings and/or interpretive lenses; (c) facilitate dynamic class discussions of specific passages through specific frames." This assignment invites you to put these moves into practice in a mini-lesson, first by modeling close reading and then guiding your classmates through a close reading and text-based discussion.
You’ll take the following steps as you complete this assignment:
As you can see from the attached rubric, you will be assessed on both the written and practical components of this assignment.
Passage of this assessment is based on the successful scoring of mostly threes and fours with an average score of 80% (25/32). See the rubric below for more specific guidelines. Failure to pass this assessment may result in failure of the course or redoing the assessment.
You will design a close reading exercise for the class that will be presented in Week 16. Your presentation should be approximately 15 minutes long and engage the class. You should be able to evaluate whether the class has successfully completed a close reading analysis through your presentation/activity.
Working through the questions below will help you prepare for your presentation. Formal written responses to these questions are due after the presentation during exam week.
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Unsatisfactory 1-A level of performance that demonstrates a lack of understanding of the topic and little competence when attempting to implement related activities to the topic. |
Basic 2-A level of performance that demonstrates a limited level of understanding of the topic and low level of competence when implementing related activities to the topic. |
Proficient 3-A level of performance that demonstrates a fairly high level of understanding of the topic and some degree of competence when implementing related activities to the topic. |
Distinguished 4- A level of excellence that demonstrates a very high level of understanding of the topic and strong competence to implementing related activities to the topic |
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Candidates will analyze and interpret literary texts through critical
reading and in relation to historical, cultural, literary, linguistic,
and aesthetic contexts.
ENG: 1 5-9, 7-12: ELA9.b., ELA.12.h. Liberal Arts: Critical Thinking |
Candidate’s prep notes and modeling exhibit little or no attention to language/detail. Candidate does not demonstrate the ability to analyze and interpret literary texts. | Candidate’s prep notes and modeling exhibit some attention to language/detail. Candidate attempts to analyze and interpret literary texts, including the critique of embedded social narratives and the ability to read with and against a text. | Candidate’s prep notes and modeling exhibit careful attention to language/detail. Candidate demonstrates evidence of the ability to analyze and interpret literary texts, including the critique of embedded social narratives and the ability to read with and against a text. | Candidate’s prep notes and modeling exhibit exceptional attention to language/detail. Candidate demonstrates ample evidence of the ability to analyze and interpret literary texts, including the critique of embedded social narratives and the ability to read with and against a text. |
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Candidates create opportunities for students to engage in
literary analysis and interpretation through critical reading and
in relation to historical, cultural, literary, linguistic, and aesthetic
contexts.
ENG: 1, 2 5-9, 7-12: ELA.6.L., ELA.9.a.,ELA.9.b., ELA.9.e., ELA.9.f., ELA.9.h. Core Teaching Practices: 2 Liberal Arts: Creativity |
Candidate lacks a plan and struggles to implement a mini-lesson in close-reading. Candidate may or may not model and guide students through analysis and interpretation of a literary text. | Candidate attempts to plan and implement a mini-lesson in close-reading. Candidate shows limited effectiveness in modeling and guiding students through the analysis and interpretation of a literary text. May lack attention to interpretive lenses. | Candidate plans and implements a mini-lesson in close-reading. Candidate models and then guides students through the analysis and interpretation of a literary text, with attention to multiple theoretical or critical lenses. | Candidate effectively plans and implements a mini-lesson in close-reading. Candidate models and then guides students through the analysis and interpretation of a literary text, with attention to multiple theoretical or critical lenses. |
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Candidates select texts that are relevant, appropriate to students'
needs, and represent a range of world literatures, cultural and historical
traditions, genres, and the experiences of a range of genders, ethnicities,
and social classes, and can articulate those qualities.
5-9, 7-12: ELA.2.e., ELA.3.d., ELA.9.b., ELA.12.b.,, ELA.12.i., ELA.12.k. Liberal Arts: Communication |
Candidate provides an insufficient rationale for text selection that does not reflect consideration of instructional purpose, students’ needs, and the value of representation of diverse world literatures, cultural and historical traditions, genres, and the experiences of a range of genders, ethnicities, and social classes. | Candidate attempts to provide a rationale for text selection that reflects some consideration of instructional purpose, students’ needs, and the value of representation of diverse world literatures, cultural and historical traditions, genres, and the experiences of a range of genders, ethnicities, and social classes. | Candidate provides a rationale for text selection that reflects consideration of instructional purpose, students’ needs, and the value of representation of diverse world literatures, cultural and historical traditions, genres, and the experiences of a range of genders, ethnicities, and social classes. | Candidate provides a thorough rationale for text selection that reflects careful consideration of instructional purpose, students’ needs, and the value of representation of diverse world literatures, cultural and historical traditions, genres, and the experiences of a range of genders, ethnicities, and social classes. |
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Candidates frame texts to facilitate access and to engage learners. 5-9, 7-12: ELA.1.a., ELA.10.d. Liberal Arts: Communication |
Candidate fails to introduce the mini-lesson and frame the selected text. May not facilitate access or engage learners. | Candidate attempts to introduce the mini-lesson and frame the selected text to facilitate access and engage learners. | Candidate introduces the mini-lesson and frames the selected text to facilitate access and engage learners. | Candidate skillfully introduces the mini-lesson and frames the selected text to facilitate access and engage learners. |
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Candidates facilitate discussion and elicit and interpret individual students'
thinking
ENG: 5 Core Teaching Practice 1, 3 Liberal Arts: Communication, Critical Thinking |
Candidate does not facilitate discussion that advances learners’ shared understanding. May stall at a superficial level or fail to encourage and respond to multiple points of view. | Candidate attempts to facilitate discussion but may not advance beyond superficial understanding of the selected text and the processes of textual analysis and interpretation. Attempts to encourage and respond to multiple points of view. | Candidate facilitates discussion that advances learners’ shared understanding of the selected text and the processes of textual analysis and interpretation, while encouraging and responding to multiple points of view. | Candidate effectively facilitates discussion that advances learners’ shared understanding of the selected text and the processes of textual analysis and interpretation, while encouraging and responding to multiple points of view. |
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Candidates use reflective practices to design, monitor, and adapt
instruction as a means for gauging professional growth.
5-9, 7-12: P.2.b. |
Candidate may or may not reflect on experiences modeling and facilitating close reading and discussion. Response lacks depth or consideration of how experiences could inform future instruction. | Candidate attempts reflection on experiences modeling and facilitating close reading and discussion. Response may lack depth or consideration of how experiences could inform future instruction. | Candidate reflects on experiences modeling and facilitating close reading and discussion, with consideration of how it could inform future instruction. | Candidate thoroughly and thoughtfully reflects on experiences modeling and facilitating close reading and discussion, with consideration of how it could inform future instruction. |
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Organization and Coherence Liberal Arts: Communication |
Candidate’s rationale and reflections are not organized effectively. No discernable logic to order of paragraphs. Main ideas may be difficult to identify. | Candidate’s rationale and reflections are organized somewhat effectively, with an implied logic to the order of paragraphs. May be harder to pick out main points from supporting material. | Candidate’s rationale and reflections are organized coherently and effectively, with logical transitions between paragraphs. Main points and progression of ideas are mostly clear. | Candidate’s rationale and reflections are organized coherently and effectively, with logical transitions between paragraphs. Main points and progression of ideas are clear. |
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Sentence-level clarity Liberal Arts: Communication |
The document includes consistent errors that impede the reading experience or obscure meaning. | The document includes more frequent errors that occasionally impede the reading experience or obscure meaning. | The document generally uses grammar, syntax, spelling, and formatting in ways that support clear communication of ideas, with very few errors. | The document is polished. Uses grammar, syntax, spelling, and formatting in ways that support clear communication of ideas. |