ENG 405: Shakespeare
Assignments

Student Led Activity

During Week 1, all students will sign up for a Student Led Activity slot. Students will present in pairs and be responsible for 30 minutes of class time. During this time, students should design an activity that engages the class in one of the following categories:

• Analysis Activity: This type of activity should prompt the class to perform some type of analysis of the primary or secondary readings. Analysis activities may include open-ended questions, debate, synthesis exercises, thematic analysis, or other creative engagements with the text(s).
• Scene Study: This type of activity will focus on the performance element of a play. Activities may include a demostration performance by the presenters or asking the class to perform lines of a play, and may consider peformance style such as color/genderblind casting. This type of activity should engage with the significance of different performance choices in well-selected lines/scenes.
• Learning Activity: This type of activity should prompt the class to explore new knowlege through research challenges, puzzles, games, or other engagement activities that are related to the relevant primary or secondary readings. Some method of evaluating participant proficiency should be included.

Sonnets

• In-Class Exercise #1: Reading Early-Modern English Verse (Week 1)

In-Class Exercise #1: Reading Early-Modern English Verse

Part 1. Reading for meaning

Shakespeare's language is culturally distant to us, but it is not foreign and it is Modern English--albeit early. On top of this cultural distance, much of Shakespeare's work is written in poetic verse--a type of writing that can be challenging no matter what era it is from. In this exercise, we will develop some reading strategies that you can use to help to acclimate yourself to this writing. Use your assigned sonnet and work through the steps below.

1. Identify the sentences in the sonnet--reorganize so that there is a sentence on each line.
2. Reorder the sentence if necessary into S-V-O order
3. Identify and look up any unknown words, and note definitions for yourself. If there is a word you cannot find a definition for a word, or not a definition that seems to make sense today, try the OED--the Oxford English Dictionary --a diachronic dictionary that shows how the meanings of words change over time. See our Canvas site for login information.
4. Read through the poem now, and write a prose summary of the meaning:

Part 2. Reading for analysis

While it's important to understand meaning, we also want to appreciate and analyze the artistic nuances of Shakespeare's language. Return to the original sonnet and work through the steps below.

1. Identify and describe at least one specific, significant theme in the poem
2. Describe the speaker and any other characters in the poem
3. Identify significant formal features and figurative language in the poem
4. Choose one of the features from 1-3 above, and write a claim explaining this feature and its significance to the meaning of your sonnet.

Hamlet

• In-Class Exercise #2: Close Reading (Week 2)
• Quiz #1 due by midnight Sunday 1/21
• In-Class Exercise #3: Hamlet in Memes (Week 3)
• Digital Engagement #1: Hamlet in Memes

In-Class Exercise #2: Close Reading

Close reading is one of the fundamental tools of literary analysis; it also helps to develop your comprehension skills, especially in texts that are culturally and linguistically distant like the early modern English texts of Shakespeare. To perform a close reading, start with the meaning of passage. Next, examine how the meaning is delivered through specific (often artistic) use of language. In this phase, you should identify figurative language and formal features. If you need a refresher on these concepts, you can find a Selected List of Literary Terms as a review. For an even more comprehensive list of rhetorical figures that someone in Shakespeare's time would have been familiar with, see the Silva Rhetoricæ.

Part 1. Example Passage

Hamlet 1.2.70-73

Gertrude: Good Hamlet, cast thy nighted colour off,
And let thine eye look like a friend on Denmark.
Do not for ever with thy vailed lids
Seek for thy noble father in the dust.

1. Context--what is happening when these lines are spoken; consider both occasion and character relationships:
2. Comprehension--write what the passage means:
3. Identification--name/locate the figurative language and formal features:
4. Analysis--explain how the form is significant for conveying the meaning:

Part 2. Your Turn

Work with your group on your assigned passage, and be prepared to share your results with the class.

• Group A: Passage A: 1.2.1-16
• Group B: Passage B: 1.2.133-146
• Group C: Passage C: 2.2.587-598
• Group D: Passage D: 3.1.164-175

1. Context:
2. Comprehension:
3. Identification:
4. Analysis:

Quiz #1: BCS Ch 6 and Hamlet

Access Period:

This quiz is open from Thursday, 1/18 12:01am through Sunday, 1/21 11:59pm

Instructions:

Quizzes are administered on Canvas through the Quiz tool. They are untimed and OPEN book and notes, CLOSED internet. The quiz may cover any readings within the unit up to the current reading assignment as well as application of any definitions covered in class. You may take each quiz two times before the deadline. The higher of the two grades will be used. This quiz covers:

• Hamlet
• BCS Readings assigned from Ch 6

In-Class Exercise #3: Hamlet in Memes Preparation

In the first homework assignment, we will engage with several important skills for the rest of the term--understanding meaning in the plays, thinking about how visualization is important in drama, and experimenting with adaptation. Work with your assigned group to create memes to represent the most significant moments of meaning in the play. You should create at least 2 memes per student for homework, but use this time in class to determine which specific parts of the play to represent and brainstorm how they could be represented effectively through the genre of the meme.

There are 20 scenes in this play, so for the homework assignment, each student will have their own scene to choose a meme from. Your individual scene will be assigned during class. To prepare for your individual assignment, you will work with your group to practice the process of selecting what to meme-ify and create memes.

• Group A: and Group B: 3.1
• Group C: and Group D: 5.2

Steps

1. Review your scene
2. Discuss what is the most significant element that should be represented
3. Discuss how it could be represented (remember, it's ok to change the tone to fit the medium, but the content should be accurately represented)
4. Create a visual representation with an appropriate caption--be creative!

Tools

Some free meme-maker programs are listed below. It is recommended you use one of these to create your memes. If you want to upload your own images for your meme, links to Shakespeare image databases are also included below: Shakespeare Illustrated, which has images of paintings based on Shakespeare's plays or from Emory University's Shakespeare and the players site, which has images of postcards from late 19th and early 20th century stage adaptations of Shakespeare's plays. However, you are also free to use contemporary images or any image that is representative of the meaning you are trying to convey.

Meme makers

• Meme Maker from Kapwing
• Meme Generator from imgflip
• Adobe Spark cool, but the free access requires a login with school email; maybe better for the homework when you have more time for setup.
• If you have another favorite, feel free to use it: let me know what it is so I can add it to the list.

Image Resources

• Shakespeare Illustrated
• Shakespeare and the Players

Digital Engagement #1: Hamlet in Memes

Due date: midnight, Monday 1/29

Format: see below

Instructions

In this assignment, you will create at least 1 meme to represent key moments in your assigned scene of Hamlet. Your memes can use any visual representation you wish (some Shakespeare-specific sources are provided below), and you may use play quotations, but you are not required to. You should be sure you are representing key moments from your scene, and representing them accurately in terms of the spirit of the meaning (that is, not necessarily using the exact language). Also, you may alter the tone (e.g. more humorous) as long as the meaning is clear and accurate.

You can use an existing meme image, but you should be adapting or writing your own caption. You may also use some other image that is not currently a recognized meme--that is, feel free to create your own meme visualization and caption. Tools for making memes are listed below, and you are also welcome to use other methods like inserting an image and adding text in Word or Power Point if you are more comfortable with that technology.

In addition to your meme, submit an explanation of why you chose the content you did to represent--why is this moment so important to the meaning of the play. Then, explain how your meme captures this meaning. Be sure to explain the significance of visual and verbal representation. Finally, explain why this meme is effective for conveying the meaing from the play. This part of the assignment should have a standard MLA format header and be approximately 400-500 words.

List of Scene Assignments

• Act 1 Scene 1:
• Act 1 Scene 2:
• Act 1 Scene 3:
• Act 1 Scene 4:
• Act 1 Scene 5:
• Act 2 Scene 1:
• Act 2 Scene 2:
• Act 3 Scene 1: [done in class]
• Act 3 Scene 2:
• Act 3 Scene 3:
• Act 3 Scene 4:
• Act 4 Scene 1:
• Act 4 Scene 2:
• Act 4 Scene 3:
• Act 4 Scene 4:
• Act 4 Scene 5:
• Act 4 Scene 6:
• Act 4 Scene 7:
• Act 5 Scene 1:
• Act 5 Scene 2: [done in class]

Tools

Meme makers

• Meme Maker from Kapwing
• Meme Generator from imgflip
• Adobe Spark cool, but the free access requires a login with school email; maybe better for the homework when you have more time for setup.
• If you have another favorite, feel free to use it: let me know what it is so I can add it to the list.

Image Resources

• Shakespeare Illustrated
• Shakespeare and the Players

Evaluation Criteria:

Your submission will be evaluated on the following criteria:

• Meme is a clear and accurate representations of meaning from the play
• Meme demonstrates understanding of play meaning and basic understanding of adaptation
• Explanation provides context for your visual/verbal choices
• Explanation makes a clear case for why these moments are important to the overall meaning in the text
• Explanation makes a persuasive case for why your meme is effective

Merchant of Venice

• Quiz #2 due by midnight Sunday 1/28
• In-Class Exercise #4: Genre Analysis--Comedy (Week 4)
• Quiz #3 due by midnight Sunday 2/4
• In-Class Exercise #5: Analyzing Historical Context (Week 5)
• Digital Engagement #2: Connecting Past to Present due by midnight Monday 2/12/24

Quiz #2: Merchant of Venice

Access Period:

This quiz is open from Thursday, 1/25 12:01am through Sunday, 1/28 11:59pm

Instructions:

Quizzes are administered on Canvas through the Quiz tool. They are untimed and OPEN book and notes, CLOSED internet. The quiz may cover any readings within the unit up to the current reading assignment as well as application of any definitions covered in class. You may take each quiz two times before the deadline. The higher of the two grades will be used. This quiz covers:

• Merchant of Venice I-III
• Definitions covered to this point

In-Class Exercise #4: Genre Analysis--Comedy

Part 1: Comedy as a genre

1. In our BCS reading for this week for this week (pp. 81-85), comedy is defined as "a literary structure ... that moves toward a happy ending and implies a positive understanding of human experience" (81). List as many specific characteristics of comedy given in your BCS text:
2. Now, work from your list and identify examples from the play that demonstrate these traits. If a trait doesn't apply, mark it as N/A.
3. After examining this list of examples, explain how Merchant of Venice fits into the genre of comedy
4. Are there any significant elements of plot that do not fit with the definition of comedy? Explain:

Part 2: Discussion

1. Group A: Analyze the settings introduced in this play: Venice and Belmont. Choose several specific passages that provide details about each and discuss why these settings are important.
2. Group B: Analyze the character of Portia. How does she represent her suitors? How does she represent her own situation? What agency (power to affect her own fate) does she have, and how is this both complicated and enhanced by her father's final wishes? Be sure to provide specific examples.
3. Group C: Analyze the representation of parent-child relationships in this play, considering in particular the relationships between Shylock and Jessica and Portia and her father. How are children controlled by their parents, and why is this significant? What power do children exert? What is the role of duty in this relationship? You might consider as a contrast the relationship in the low comic plot between Lancelet and old Gobbo.
4. Group D: Analyze the representation of Shylock. What seems to be the dominant discourse about Jews in Venice? (provide support) How does Shylock himself describe the way Christians, and particularly Antonio, have treated him? How do these cultural realities influence Shylock's behavior related to the bond and Antonio?

Quiz #3: Antecedants and Adaptation of Merchant of Venice

Access Period:

This quiz is open from Thursday, 2/1 12:01am through Sunday, 2/4 11:59pm

Instructions:

Quizzes are administered on Canvas through the Quiz tool. They are untimed and OPEN book and notes, CLOSED internet. The quiz may cover any readings within the unit up to the current reading assignment as well as application of any definitions covered in class. You may take each quiz two times before the deadline. The higher of the two grades will be used. This quiz covers:

• Gernutus the Jew of Venice
• Marlowe, from The Jew of Malta
• Granville, from The Jew of Venice (available on Canvas)

In-Class #5: Analyzing Historical Context

Readings:

Part 1. Identification

Using the BCS readings for today, work with your group to identify specific elements of Merchant of Venice that are informed by the context about clothing and class covered in those sections. Give specific examples from the play (with act.scene.line references).

Part 2. Analysis

Use the readings from the critical edition of Merchant of Venice edited by Lindsay Kaplan to answer the questions below.

1. Explain the historical realities that caused Jewish people to be marginalized and discriminated against in early modern Europe and England.
2. Explain the origin of stereotypes about Jewish people and how they are related to the legal constraints Jewish people contended with in this period.
3. Explain how Usque describes the treatment of Jewish people in England.
4. How does the representation of Shylock in Shakespeare's Merchant of Venice interact with these historical realities? In what ways does Shylock draw on dominant discourses about Jewish people? In what ways does this character demonstrate subversive discourse? Explain.

Part 3. Homework Preparation

Unfortunately, the upswing in anti-semetic dicourse has made issues raised by this play increasingly relevant today. For this unit's digital engagement, you will be writing a researched blog that educates people about the development of cultural discourses about Jewish people historically and use this explanation to inform your audience about the lasting damage these discourses can do through identification of current-day examples of these ideas. Use your remaining time to begin researching examples and facts about the rising anti-semetism in our culture today.

Definitions for Reference

discourse:

General term for spoken or written communication. More specifically, discourse can be thought of as the cultural conversation about a topic within a discourse community.

discourse community:

A group of individuals that shares a common understanding based on systematic principles of communication and/or vocabulary within a specific discursive situation. Discourse communities have traditionally been based on geography and a common language, such as English or French, but discourse communities can also be more specific groups who share certain experiences and specialized vocabulary specific to their activities: e.g., video game players, members of a class in school, soldiers in the armed forces, etc.

dominant discourse:

The prevailing view about a certain topic within a discourse community.

competing discourse:

Discursive situation where there is no dominant view and two or more opinions/ideas about a topic compete for dominance.

subversive discourse:

Type of discourse that represents a non-dominant position on a topic in a discourse community. A subversive discourse actively works to destabilize the dominant discourse.

Digital Engagement #2: Connecting Past to Present

Due date: midnight, Monday 1/29

Format: researched blog of approximately 500-750 words. See additional instructions below.

Instructions

In this engagement, you will write a blog about the historical origins and representations of anti-semetic cultural discourses. You can draw from the information and examples from the contextual readings in Week 5 as well as from Shakespeare's play. You may also perform additional research about historical discourses, but be sure to use credible sources. Then, connect this discursive past to at least one specific example of anti-semetism in the recent present. You should be able to explain and draw connections among these elements to help situation the issues of today in a broader discourse that stretches into the distant past. The idea is to help readers today understand how events happening today are connected to a broader tradition.

You should also write to a specific audience: for example, if you are addressing a young adult audience, you should use a vocabulary and structure that will be effective for that group. If you are writing to educators, your diction may be more complex.

Your blog should be engaging, factually accurate, and demonstrate synthesis among various ideas and sources of information. It should also include engaging visuals as well as text.

Technical Information

If you are familiar with a blog site already, you may use that site, just be sure that your finished blog is published and publically available--that means you should test your URL (or have a friend test it) to make sure that I will be able to access it and read it.

If you are not familar with a blog site, then I recommend Blogger.com from Google. If you have a Google account, you already have a Blogger site, you just have to activate it by logging in with your Google credentials, or accessing Blogger.com while you are logged in to your Google account.

Basic instructions for using Blogger.com are included below.

Once you have logged in to the main site:

1. Create blog... in the top left
2. Click on "Theme." In this area you can choose and customize your blog's graphic theme.

1. Click on the basic theme you want to use from the options listed. You'll see the theme enlarged. If you like this option, proceed by clicking on the "Customize" button. If not, click the X and choose a different one.
2. In the Customize area, click "Background" to change the image and/or color of the background image for the entire blog site.
3. Use the "Advanced" area to make other changes

Use the "Advanced" menus to examine and make changes to

• Page Text
• Links
• Blog title (this is the look of the title, not the name--that is changed elsewhere)
• Posts
• Any other component you'd like to change

Creating an individual post

1. Click on "Posts"
2. Click on the orange circle with a plus sign (+) New Post button to create your individual post
3. Use the WYSIWYG editor to create your post.
4. Be sure to click the Publish button (or "Update" button after inital publication) to create your public post.
5. Copy your public link by clicking on the view icon (eyeball) to launch the post in a new window. Copy the URL from that window. Alternately, click on the share icon and copy the link. .

Note: You must submit a public URL or I will not be able to access your content. If you submit a URL that has the word "edit" in the path, this is the wrong URL. Ask for help if you need it!

Evaluation Criteria

Your submission will be evaluated on the following criteria:

• Blog accurately represents the historical cultural discourse about Jewish people/anti-semetism
• Blog identifies a current-day example that is relevant to the assignment
• Blog connects historical discourse to a contemporary example effectively
• Blog addresses its intended audience effectively in terms of tone and diction
• Blog is visually effective in terms of text formatting and integration of visuals and links
• Blog is free of proofreading issues
• A functionling public URL is submitted for evaluation

Measure for Measure

• Quiz #4 due by midnight Sunday 2/11
• In-Class Exercise #6: Close Reading 2--Developing an Analytical Framework (Week 6)
• Quiz #5 due by midnight Sunday 2/18
• In-Class Exercise #7: Adaptation Brainstorming (Week 7)
• Digital Engagement #3: Adaptation of Measure for Measure due by midnight Monday 2/26

Quiz #4: Measure for Measure

Access Period:

This quiz is open from Thursday, 2/8 12:01am through Sunday, 2/11 11:59pm

Instructions:

Quizzes are administered on Canvas through the Quiz tool. They are untimed and OPEN book and notes, CLOSED internet. The quiz may cover any readings within the unit up to the current reading assignment as well as application of any definitions covered in class. You may take each quiz two times before the deadline. The higher of the two grades will be used. This quiz covers:

• Measure for Measure I-III
• Definitions covered to this point

In-Class Exercise #6: Close Reading 2--Developing an Analytical Framework

In this exercise, we will take close reading a step further by using it as a tool for creating a broader analytical framework for examining a longer work. Start by close reading a selected passage that focuses on the representation of justice in the play.

1. Discuss the logic of justice that the play presents to this point; consider in particular the representation of Claudio and Juliet's crime and justice and mercy in general by various characters--in particular the Duke, Escalus and Angelo and Isabella. Consider these issues and perform a rhetorical analysis/close reading of the passages below.

1. Group A: Duke: 1.3.20-32, 37-58
2. Group B: Escalus and Angelo: 2.1.1-33
3. Group C: Angelo: 2.2.117-33
4. Group D: Isabella: 2.2.134-36, 139-52

2. Next, find at least 2 passages later in the text related to justice that you can put into conversation with your original passage. List the references act.scene.line here:
3. Finally, describe the relationship among your passages. Be sure to explain the significance in relation to the logic of justice in the play that your collection of passages demonstrate.

Quiz #5: Measure for Measure context readings

Access Period:

This quiz is open from Thursday, 2/15 12:01am through Sunday, 2/18 11:59pm

Instructions:

Quizzes are administered on Canvas through the Quiz tool. They are untimed and OPEN book and notes, CLOSED internet. The quiz may cover any readings within the unit up to the current reading assignment as well as application of any definitions covered in class. You may take each quiz two times before the deadline. The higher of the two grades will be used. This quiz covers:

Readings available on Canvas

• James I, True Law of Free Monarchies pp. 148-154
• Machiavelli, The Prince pp. 160, 162-163
• Marriage, Sex, and Society pp. 181-185
• from The Nun's Rule pp. 241-243
• Prostitution, Pox, and Plague pp. 257-259
• from A Caveat for Common Cursitors pp. 282-286

In-Class Exercise #7: Adaptation Brainstorming

As we have seen, Shakespeare's plays are part of a continuum of literary tradition. Shakespeare often adapted other sources, and his plays in turn have been continuously adapted, starting in the Restoration and continuing to today, to suit them to a variety of new cultural moment. Today, there are two different types of adaptations: direct adaptations that maintain the original language (perhaps trimming some lines and scenes) but set the play in a different time period. Adaptations of this type may also make additional changes, such as gender-blind casting, or modify staging to account for new technologies in a more modern setting. Conceptual adaptations do not maintain the original langauge, but they do keep key elements of the plot; adaptations of this type, like the films She's the Man (Twelfth Night) or 10 Things I Hate about You (Taming of the Shrew) are true to the conceptual framework--including character relationships and main plot elements--even while making significant changes to the original.

Your next Digital Engagement will be writing a concept paper and sample scene for an adaptation of Measure for Measure. In this exercise, you will identify the type of adaptation you want to write and make some key decisions about your version of Shakespeare's play.

1. Describe key elements of the play: what are the plot points/character/setting elements etc. that you feel are so important to the meaning that they must be included in an adaptation.
2. List possible settings, locations, times, situations etc. that would be a good fit for dramatizing this core meaning. Be creative; the only thing off limits is early modern England staging/period.
3. Choose the strongest possibility from the list and start listing the key modifications you would need to make for this adaptation to work, or any problems you would need to solve--you don't need to solve all the problems right now.

Digital Engagement #3: Adapted Scene from Measure for Measure

Format: See Below

Due: midnight Wednesday 10/21

Instructions:

Now that we have explored the various issues involved in adaptation--the medium, comparative fidelity, writing for the cultural moment--you will write your own adapted scene from Measure for Measure. You will create a pitch for your adaptation--approximately 500-750 words explaining the time period, medium [live performance: what kind of theatre? film: what genre conventions?], setting, costume, tone and any other relevant elements (what will you do with the sword fight? How will you deal with bawdy characters and elements? The Duke's disguise?). Then you will choose a scene of dialogue to adapt using your new framework.

You DO NOT have to maintain Shakespeare's original language, but if you do, you should write detailed stage directions to explain staging and delivery. If you use adapted language, be sure core significant meanings are maintained--not line for line, but conceptually.

You should also create four images representing key moments from your adaptation that show your visual design (a process called storyboarding). One of these images should represent a moment from your scripted sample scene. The other three should depict key moments from your adaptation that demonstrate how you will deal with specific elements in the play discussed in your pitch. Use an AI Image Generator to help you. I recommend Bing Images, which is free and powered by the Dall-E image generator: Bing AI Image Generator. You will be prompted to log in with Microsoft credentials: you can use your SHU email and password for this. You may use another image generator if you wish.

Evaluation Criteria:

Your submission will be evaluated on the following criteria:

• Pitch statement makes a clear case for why the chosen time period/cultural context is a good fit with the play
• Pitch statement provides sufficient detail to explain relevant elements for staging and clear description of medium used
• Pitch statement addresses issues that need to be converted from the play to the new context
• Adapted scene has clear stage directions for staging and delivery
• Adapted scene thoughtfully depicts meaning in relation to the original play
• Four relevant images are submitted.
• One image represents the scripted sample scene, demonstrating your vision for the adaptation.
• Three images represent key moments that demonstrate how your adaptation deals with specific elements of the play described in the pitch statement.

Richard III

• Quiz #6 due by midnight Sunday 2/25
• In-Class Exercise #8: Visualizing Meaning (Week 8)
• Quiz #7 due by midnight Sunday 3/10
• In-Class Exercise #9: Timeline Brainstorming (Week 10)
• Digital Engagement #4: RIII Timeline due by midnight Monday 3/18

Quiz #6: Richard III

Access Period:

This quiz is open from Thursday, 2/22 12:01am through Sunday, 2/25 11:59pm

Instructions:

Quizzes are administered on Canvas through the Quiz tool. They are untimed and OPEN book and notes, CLOSED internet. The quiz may cover any readings within the unit up to the current reading assignment as well as application of any definitions covered in class. You may take each quiz two times before the deadline. The higher of the two grades will be used. This quiz covers:

• BCS Ch 3: History pp. 90-94
• Richard III I-III

In-Class Exercise #8: Visualizing Meaning

Part 1: Analysis

1. Discuss how authority is represented in the play. How does Richard exert authority while he does not have any official power? How does he do so once he is king? What are the significant differences between these two states of power? Consider also how Richard uses religion in relation to power--how does he subvert Christian ideology to support his own ends (see, for example, 3.7.96-end of scene)?
2. Compare Richard's success as a wooer--first in 1.2 with Anne and then with Elizabeth in 4.4 starting around line 205, after the Duchess exits.
3. Choose one of the dreams told or shown in the play and discuss its significance and role in the plot (for example, Clarence's dream: 1.4.9-65, Stanley's dream related by his messenger: 3.2.10-18, the dreams of Richmond and Richard starting 5.3.122). Analyze the overall use of dreams in the play. Does a consistent logic of dreams emerge, or does each have a specific meaning only in context? Both, neither, explain.
4. Is there any power for women in this play (see for example 2.2, 4.1, 4.4): if not, why not? if so, what is it (give specific examples)? How is power related to status? (or is it.) Do women have means for altering their own fate? If so how, if not, why not?
5. Analyze the use of violence in this play. Discuss both covert and overt violence and how they differ in their use and meaning. What types of violence are shown and which are only told, and what is the difference? Does a hierarchy of violence emerge in terms of morality--explain (remember, even "good" characters are violent in this play).
6. Compare the characterization Richard and Henry Tudor. How is each marked in terms of morality? How do they differ as leaders? Be sure to examine the speech each makes to the troops before battle as you compare these figures.

Part 2: Visualizing I

Work through this exercise after watching the excerpts of the 1995 film adaptation of Richard III

1. Identify key differences in representations of character
2. Idenitfy key differences in representations of plot--both larger structural changes as well as localized changes
3. Describe the setting--both physical and temporal and identify key elements of setting.
4. Identify at least 1 significant example of delivery and explain why it is important.
5. Identify at least 1 significant example of blocking and explain why it is important.

Quiz #7: RIII Context Readings

Access Period:

This quiz is open from Thursday, 2/22 12:01am through Sunday, 2/25 11:59pm

Instructions:

Quizzes are administered on Canvas through the Quiz tool. They are untimed and OPEN book and notes, CLOSED internet. The quiz may cover any readings within the unit up to the current reading assignment as well as application of any definitions covered in class. You may take each quiz two times before the deadline. The higher of the two grades will be used. This quiz covers:

• BCS Ch 9: The Ideology of Order pp. 318-321
• Richards, Jeffrey. "The Riddle of Richard III." (available on Canvas)
• Kennedy, Maev. "Richard III: DNA Confirms Twisted Bones Belong to King." (available on Canvas)

In-Class Exercise #9: Timeline Brainstorming

For this play, you will create a digital timeline relevant to Richard III. In this exercise, you will complete preparatory work for your homework assignment.

1. In Richard III, Shakespeare takes many liberties with the span of time and order of historical events that are represented. Use the contextual materials for this unit and perform additional research as needed to list key events from the Wars of the Roses with their actual historical times. Then map events from the play to your list using act.scene.line references that you can refer to later.
2. Look at this list and and identify key moments where the differences are particularly significant. These will become points on your timeline.

Tools

You can use any timeline creator tool you wish. One that I recommend is https://time.graphics/editor. This tool does require a free account, but you can log in with an existing Google account. If you have extra time you should start familiarizing yourself with a timeline tool.

Digital Engagement #4: RIII Timeline

Format: See Below

Due: midnight Monday 3/18

Instructions:

In this engagement, you will create a visual timeline to show how historical events of Wars of the Roses correlate to events in Shakespeare's play. As noted, Shakespeare took many liberties with historical events and timespan, so you should represent this in some way in your timeline. Your timeline should include images and may also include lines to quality external resources. Your timeline should be accompanied by a written explanation of your framework and focus and explain the significance of the timing differences shown in your visualization. This part of the assignment should have a standard MLA format header and be approximately 400-500 words.

Tool

• https://time.graphics/editor

Evaluation Criteria

Your submission will be evaluated on the following criteria:

• Timeline accurately represents relevant historical events of the Wars of the Roses
• Timeline accurately correlates events from Shakespeare's RIII, including act.scene.line references to elements of the play
• Timeline includes visual elements including relevant images
• Written explanation clearly describes the framework for your timeline
• Written explanation effectively analyzes differences between history and the play shown in your visualization
• Written explanation is free from proofreading issues, including MLA formatted heading

Othello

• Quiz #8 due by midnight Sunday 3/17
• In-Class Exercise #10: Using a Digital Concordance (Week 11)
• Quiz #9 due by midnight Sunday 3/24
• In-Class Exercise #11: Planning an Infographic (Week 12)
• Digital Engagement #5: Critical Analysis Infographic due by midnight, Monday 4/1

Quiz #8: Othello

Access Period:

This quiz is open from Thursday, 3/14 12:01am through Sunday, 3/17 11:59pm

Instructions:

Quizzes are administered on Canvas through the Quiz tool. They are untimed and OPEN book and notes, CLOSED internet. The quiz may cover any readings within the unit up to the current reading assignment as well as application of any definitions covered in class. You may take each quiz two times before the deadline. The higher of the two grades will be used. This quiz covers:

• Othello I-III
• definitions covered to this point

In-Class Exercise #10: Using Patterns to Build an Argument

Part 1. Feature Pattern

In the first act of the play, there are several moments when the structure of climax (or anti-climax) are used. Analyze the instances listed below. Examine the kiaros of the example (who is using the figure in what context), identify whether it is an example of climax or anticlimax and explain why, and analyze the significance of the example in relation to the larger meaning of the scene/exchange. Then theorize about the use of this figure in the early scenes of the play--is there broader significance to this structural pattern as the play progresses?

1. Group A--1.1.86-87: Awake! what, ho, Brabantio! thieves! thieves! thieves!
   Look to your house, your daughter and your bags!
2. Group B--1.1.148-50: Your daughter, if you have not given her leave,
   I say again, hath made a gross revolt;
   Tying her duty, beauty, wit and fortunes
   In an extravagant and wheeling stranger
   Of here and every where
3. Group C--1.2.36-7: My parts, my title and my perfect soul
   Shall manifest me rightly.
4. Group D--1.2.84-90: If she in chains of magic were not bound,
   Whether a maid so tender, fair and happy,
   So opposite to marriage that she shunned
   The wealthy curled darlings of our nation,
   Would ever have, to incur a general mock,
   Run from her guardage to the sooty bosom
   Of such a thing as thou
5. All--1.3.114-16: and she, in spite of nature,
   Of years, of country, credit, every thing,
   To fall in love with what she fear'd to look on!
6. All--1.3.340-2: Come, Desdemona: I have but an hour
   Of love, of worldly matters and direction,
   To spend with thee: we must obey the time.

1. Use the Digital Concordance to search for the term indicated below. What cultural connotations are attached to your term? Explain distinct meanings (each term listed below has at least 2) that you see. Identify significant patterns in the use of your term.

• Example: light
• Group A: black
• Group B: fair (NOT affair)
• Group C: nature
• Group D: blood

Now come up with your own search term: it can be related to your previous search, but does not have to be.

2. explain why you chose this term
3. how many total hits were there:
4. list some significant/interesting examples:
5. describe patterns that you see in the use of this term:
6. explain significant findings:

Quiz #9: Othello Criticism

Access Period:

This quiz is open from Thursday, 3/21 12:01am through Sunday, 3/24 11:59pm

Instructions:

Quizzes are administered on Canvas through the Quiz tool. They are untimed and OPEN book and notes, CLOSED internet. The quiz may cover any readings within the unit up to the current reading assignment as well as application of any definitions covered in class. You may take each quiz two times before the deadline. The higher of the two grades will be used. This quiz covers:

Choose the quiz for your assigned article

• Habib. "Othello, Sir Peter Negro, and the Blacks of Early Modern England: Colonial Inscription and Postcolonial Excavation."
• Smith, Ian. "Othello's Black Hankerchief."
• Slater, Michael. "Desdemona’s Divided Duty: Gender and Courtesy in Othello."

In-Class Exercise #11: Planning an Infographic

Your next digital engagement will be an infographic that explains the argument of the critical article you have been working on. For this exercise, you will start the planning stages. Complete the following tasks:

1. Identify key points in the critical argument that you will highlight in your infographic. State these points in clear and simple phrases or short sentences.
2. Think about the structure of the argument: draw it (this will help you create a visualization later).
3. Experiment with an infographic maker (see list below). Find one you are comfortable with.

Infographic Makers

• Drawtify - free, no account required. Downloadable desktop/laptop version available. An account is needed to download your graphic in the online version.
• Piktochart - you can create a free account or log in with a Google account. There is an option for "Education" and "Student" that will filter templates.
• Canva - free, account required, but you can log in with Google. Education options available. Free trial available.

Reference: Characteristics of Effective Infographics

• visual presentation is clear, uncluttered, and appealing
• information should be well-organized, with a clear visual path for the viewer to take through the information
• information should be appropriatedly targeted to your audience--in this case, that may mean simplifying language
• visuals (icons, images) should be relevant to the information presented

Digital Engagement #5: Critical Analysis Infographic

Format: Infographic and accompanying explanation (see below)

Due: midnight, Monday 4/1

Instructions

Build in your work in IC11 to create a finished infographic that represents the argument in the critical argument you read. You may include an evaluation of effectiveness in your visualization of the article, but an accurate representation of the argument itself should be included. Your Infographic should adhere to the characteristics of effective infographics (below).

Your infographic should be accompanied by a written reflection explaining your choices (approx. 500 words). This part of the assignment should have a standard MLA format header. Address these issues:

• Why did you use the visual template you selected? How did you customize it to suit your purpose?
• Why did you select the informational points you did?
• Why did you organize information in this way--how is it effective?
• What challenges did you run into during this assignment? What was the best part of this assignment?

Characteristics of Effective Infographics

• visual presentation is clear, uncluttered, and appealing
• information should be well-organized, with a clear visual path for the viewer to take through the information
• information should be appropriatedly targeted to your audience--in this case, that may mean simplifying language
• visuals (icons, images) should be relevant to the information presented

Evaluation Criteria

Your infographic will be evaluated on the following components:

• Format: your infographic should make effective use of sound design principles
• Purpose and Audience: your argument should have a clear purpose and be appropriately targeted to your audience
• Content: your argument should be well organized, clearly articulated, and coherently presented through the infographic
• Mechanics: your infographic should follow conventions of Edited American English and be error free. Note that the tone of your infographic may vary, depending on your audience analysis and purpose.

Your reflection will be evaluated on the following criteria:

• All prompts are addressed
• An MLA format header is included
• Writing adheres to conventions of Edited American English

The Tempest

• Quiz #10 due by midnight Sunday 3/31
• In-Class Exercise #12: Synthesis (Week 13)
• Workshop #1: Visual Representations of The Tempest (Week 14)
• Workshop #2: Exploration of Digital Tools (Week 14)
• Digital Engagement #6: Visual Experimentation due by midnight Saturday 4/13

Quiz #10: The Tempest

Access Period:

This quiz is open from Thursday, 3/21 12:01am through Sunday, 3/24 11:59pm

Instructions:

Quizzes are administered on Canvas through the Quiz tool. They are untimed and OPEN book and notes, CLOSED internet. The quiz may cover any readings within the unit up to the current reading assignment as well as application of any definitions covered in class. You may take each quiz two times before the deadline. The higher of the two grades will be used. This quiz covers:

• BCS Ch 3: Romance pp. 94-97
• The Tempest I-III

In-Class Exercise #12: Synthesis

Part 1. Discussion and Analysis

1. Group A: Prospero is responsible for "raising" not only Miranda, but Ariel and Caliban as well. What kind of father is he? What are his responsibilities towards each of these characters and does he live up to them (why/why not)? What is the role of nature and nurture in the character of the child? What are the reciprocal responsibilities of the child?
2. Group B: Describe Prospero and the King of Naples as rulers (consider Prospero both as ruler of the island and a ruler in Milan before he is deposed). What do these representations of authority figures suggest about the role of authority in the various societies represented? What values are desirable in a good ruler? What are the weaknesses of each as a ruler?
3. Group C: Describe Miranda; discuss how much control she has over her actions in specific situations. What is the relationship between desire and action as represented in the character of Miranda? Is Miranda a typical feminine representation, or does her environment alter her relationship to conventions of femininity--if so, how so? if not, why not?
4. Group D: There are a number of instances of treachery/rebellion in this play. Discuss specific instances of treachery and/or rebellion and compare them. What do these instances suggest about the value system on the island? Are there any cases where treachery/rebellion is a positive action?
5. Group A: What sort of moral system or system of justice is demonstrated in this play? Discuss specific instances and analyze whether a consistent system of morality and justice operates throughout the play. If so, how does it apply across different cultures? If not, what are the differences and why?
6. Group B:Consider Ariel and Caliban as creatures of Prospero and compare them. What capabilities and responsibilities does each have? What desires does each have? How do they complete their work? How do they demonstrate independence? How does Prospero exert control over each of them? If these characters are meant to be foils of one another, what issues are emphasized through the representations of these characters? What is the ultimate outcome for each, and what is the significance of this?
7. Group C: What is the role of magic and superstition in this play? How does it correlate with the contrast between reality and fantasy? What elements are necessary to achieve magic on Prospero's island? How are both magic and superstition related to power?
8. Group D: Discuss the romantic plot in this play. The romantic plot conventionally signals the return of order through marriage or the promise of marriage at the end of the play. Does the romantic plot in The Tempest perform this function? If so, how; if not, why not? What other devices are used to show the restoration of order at the end of the play; what is the key focus?

Part 2. Synthesis

In this final exercise, we will look back over the term and analyze connections among primary texts.

1. Use your work in Part 1. above as a foundation and list a specific themes and concepts in The Tempest
2. list 3-5 cultural/discursive elements in The Tempest. Explain each.
3. return to each of your lists and add notes about other plays we've read this term that can be put into conversation with The Tempest on the basis of the terms/ideas you've identified. Remember, the connection doesn't have to be simply similarity.
4. Choose 3 of your connections to explain to the class and be prepared to share:

Workshop #1: Visual Representations of The Tempest

While there is a dearth of adaptations of a problem play like Measure for Measure, The Tempest, despite it's quirks, has been the subject of an array of multimedia representations for centuries. Characters like Caliban and Ariel have been imagined by artists all over the world, and many film makers have attempted to create Prospero's magical scenes through their craft. In your final Digital Engagement, you will research this visual history and create a collection that explores these visualizations.

Today, you will work on locating and sourcing visualizations.

Challenge 1: Film Versions

Locate as many film versions of The Tempest as you can. Be sure to track complete citation information as indicated below.

For each film, note:

• Title:
• Director:
• Distributor/Studio:
• Year:
• Running Time:
• Database/Catalog where you found it:
• URL (optional):

Challenge 2: Film/TV Adaptations

Find as many adaptations of The Tempest as you can. These are more difficult to locate because they may not be called The Tempest. You may have to do additional research to locate them. Follow the breadcrumbs! Log all of the applicable infomation. I've listed one to get you started.

For each film, note:

• Title: Forbidden Planet
• Director: Fred Wilcox
• Distributor/Studio: Metro-Goldwyn-Mayer (MGM)
• Year: 1958
• Running Time: 1h38m
• Database/Catalog where you found it: IMDb
• URL (optional): https://www.imdb.com/title/tt0049223/

For each TV episode/show, note:

• Episode Title:
• Director:
• Program Title:
• Episode Number:
• Network/Streaming Service:
• Date:
• Running Time:
• Database/Catalog where you found it (if applicable)

Challenge 3: Artworks/still visual representations

Find as many still representations of The Tempest or its characters as you can. As noted, there is a long history of such images, particularly representing the characters of Caliban, Ariel, Miranda, and Prospero. A Google Image search is a good place to start, but a find will only "count" if you can provide full source information as indicated below:

• Title:
• Artist:
• Medium:[for example: oil on canvas]
• Artwork Size: [for example, length and width dimensions. this element does not apply to native digital images.]
• Date:
• Collection: [required for phsyical artwork-- who owns it/where is it located now: e.g.: Tate Museum]
• Database/Catalog where you found it:
• URL: [optional]

Resource

• Creative Commons Licensing

Workshop #2: Planning a Collection

After Workshop #1, you should have numerous examples of visualizations of The Tempest. For your final Digital Engagement, you will select, organize, and present a collection of these visualizations. Today you will work on planning your collection.

Part 1. Purpose and Audience

Your collection should be of use to others, so start by thinking about your audience and purpose. For example, if you want to create a guide to film adapations of The Tempest, your audience would be people interested in Shakespeare and theatre/film. Your purpose would be to create a user-friendly collection that would allow this audience to find out some kind of information (which you would figure out) about this collection of items. Knowing these details would make it easy for you to select and organize your collection.

1. What is your purpose?
2. Describe items that belong in a collection with this purpose:
3. Who would be interested in this purpose? What are their needs?

Part 2. Selection and Data Collection

Now that you have refined your purpose and identified your audience and their needs, return to your data:

1. Identify items that you have already collected that are suitable
2. What additional items should you find: start searching or describe your search process for later:
3. Is there any additional information that you will need about your items besides what you have collected? Explain.

Part 3. Designing your display

Now that you have a sense of what belongs in your collection, think about the best way to deliver the content of your display. Make some notes below; you can focus on how you will deliver your display or you can make notes about different options and consult with me about your final design:

Digital Engagement #6: Visual Digital Humanities

Format: See below

Due: midnight, Saturday 4/13

Instructions

Digital humanities, broadly speaking, is applying digital tools to humanist study. We have been working towards this end for your final Digital Engagement. Over the past week, you have been collecting a specific kind of data, in the last Workshop you developed a purpose to guide the organization and presentation of this data, and you considered who your audience is and their needs.

To complete this assignment, you will do the following:

1. Write a project statement that includes your collection title, a description of your collection, including the criteria for including items in the collection, a description of your purpose and audience, and an explanation of why this collection effectively meets your audience's needs.
2. Present your items

1. Option A: create the digital presentation. For example, if a website with a navigatable slide show of images is the best way to present you items, build that website. Use this option if you have prior experience with the needed digital technology.
2. Option B: provide a list of your items and describe in detail the presentation method you would use, including a mock up of the interface (may be AI generated). Use this option if you are uncertain how to create your ideal collection presentation from a technical standpoint.

For either presentation option, you should include full citation information about your items in some way.

Evaluation Criteria

Your digital collection will be evaluated on the following components:

• The project statement clearly defines the purpose and audience for the collection.
• The concept and organization of the collection is effective for the intended purpose and audience.
• At least 10 individual items are included in the collection.
• All items include required citation information
• The project statement conforms to conventions of Edited American English
• The collection design is functional and visually appealing

Digital Portfolio Project

• Workshop #3 (Week 15)
• Portfolio Review (Week 16)
• Digital Portfolio Project due by midnight, Wednesday 5/1

Workshop #3: Designing an Engagement

Throughout the semester, you have been creating components for your final Digital Portfolio Project. You will create one new element before the final to demonstrate your mastery of not just completing digital engagements, but of designing them. In this workshop, you will start on that work.

In order to create an effective engagement, you need to consider these factors:

1. What objective are you trying to accomplish? For education students, this may be a formal Learning Objective for a specific population of students; for theatre and English students, this may be a specific engagement objective for a specific audience. Describe your objective(s) here:
2. What information inputs are needed to accomplish your objectives? (For example, the information inputs throughout the semester have been primary readings from Shakespeare's canon and various secondary context readings). Be specific, and indicate whether you will need to locate any of your sources--if so, how will you identify/obtain them?
3. What tools are available to you for engaging your audience. For this section, you may wish to look back at all the various tools we've used during the semester as well as thinking about any additional/new ones.
4. Bring it all together: brainstorm how a specific tool or tools could be applied to the information inputs to achieve an effective engagement for your audience.
5. Assessment: explain how you will know whether you've been successful in achieving your purpose.

Tools

Below is a list of tools that you might find helpful.

• Shakespeare Concordance from OpenSource Shakespeare
• Shakespeare in Full: Treasures in Quarto from the British Library (including a searchable database that allows comparison between passages in different versions of a text)
• Digital Facsimile of the First Folio (1623) from the Folger Shakespeare Library
• Silva Rhetoricae: Digital Rhetoric
• Glossary of Literary Terms compilied by Dr. Kip Wheeler
• Early Modern Theatres: A searchable database of English Reniassance drama. Searchable by venue, primary text, and other criteria.
• The Holinshed Project: Holinshed's Chronicles was a major source for historical information--both stories from antiquity translated from classical sources, and stories of English history. The Holinshed Project is a digital, searchable version of this source that also allows comparison between the 1577 and 1587 editions.

Digital Portfolio Review

Format:

Individual in-person meetings during week 16

Description

*Note: this assignment is graded on an S/U basis where S = full credit, U = half credit, and a missed appointment = no credit. Although a complete draft is not required for an "S" grade, students who bring very little for review will receive a "U" grade.

Each student is required to meet with the instructor for individual draft review during week 16. Meetings are by appointment. Students will sign up for appointments during class in Week 15 (11/18). Although a complete draft is not required at the time of your meeting, the more you can bring to the review, the more helpful the meeting will be.

Digital Portfolio Project

Format: See below

Due: midnight, Wednesday 5/1

Instructions

The final project for this course is a Digital Portfolio. Throughout the semester, you have been working on artifacts for your portfolio with the completion of each Digital Engagement assignment. Now, you will prepare edited versions of your DEs and combine them with your new Designed Engagement (started in Workshop 3) and a Reflection on your learning in this class. See the sections below for more information about each of these components of the Digital Portfolio.

Component 1: Individual Artifacts

Final versions of Digital Engagements #1-6 should be submitted as artifacts. Note that you should edit these artifacts based on my feedback on your graded assignment. I recommend that you make edits soon after assignments are returned and then submit the edited versions to the DPP assignment in Canvas throughout the term. This assignment will be open throughout the semester, and you can make multiple submissions.

Component 2: Original Digital Engagement Activity

An important part of your portfolio is a new Digital Engagement Activity of your design. Build on the planning activity in Workshop #3 and consider the modeling of activities throughout the semester to create your own digital engagement that has a clear purpose and audience and a method for evaluating effectiveness. Your engagement should:

1. begin with a brief description that includes a statement of purpose, description of your intended audience, and an explanation of how you will know whether your audience meets the objective(s).
2. the engagement itself. Your engagement should include clear instructions, links to any tools that are needed, and any content used during the engagement. Keep in mind that your engagement should include some kind of collaborative aspect.
3. assessment of the engagement: description of the data (qualitative or quantitative) that you will collect and evaluate to determine whether your engagement was successful. You should also indicate what the threshold of success is.

Component 3: Reflection

Your reflection on this experience should address the following:

1. How does your portfolio reflect your ability to analyze and interpret literary texts through critical reading and in relation to historical, cultural, literary, linguistic, and aesthetic contexts?
2. How does your portfolio demonstrate your familiarity with a variety of technology and digital tools? How does it showcase your ability to employ these tools and technology effectively in conjunction with rhetorical principles and instructional design practices to meet teaching and learning goals?
3. How does your portfolio demonstrate your ability to design authentic, meaningful learning experiences?
4. How does your portfolio demonstrate your ability to facilitate an intended audience’s use of technology to communicate their ideas clearly and creatively?
5. How does your portfolio reflect your preparation to use digital tools in ways that are safe, legal, and ethical? How have you incorporated public domain and Creative-Commons licensed materials into your portfolio?
6. In sum, how will your experiences in this course inform your future efforts using multimedia and digital tools as a content creator, teacher/expert, student, communicator?

Digital Portfolio Project Rubric