Exporting your annotated bibliography from NOODLE
Watch the following video:
Then follow these directions to export your annotated bib to word or google doc.
Please bring a printed and stapled copy to class on MONDAY.
Week 6 Syllabus: April 29
THERE ARE THREE PRIMARY INTERPRETATIONS of Shakespeare's tragedy, Romeo & Juliet: 1) scholars who see the play as an indictment of civic responsibility, that the feuding families' hatred cause the tragic death of their children; 2) scholars who see individual responsibility and tragic character flaw within Romeo and Juliet themselves, whose lust and rash desire result in their downfall, and 3) scholars who view the play as an indictment against institutional failure--the church, the politic--who fail to protect young adults from life's harsh reality. These are only three, of course, but are common interpretations. What do YOU think the play is about? What does Shakespeare want YOU to learn from his tragic play?
MONDAY, April 29
Today we will begin a close reading of Act 1.
In small groups, examining I.i and I.ii. Some interpreting of lines, and then writing about their importance in the context of the play.
After quote analysis, answering some study guide questions on scenes one and two.
HW: If you haven’t finished reading Act 1, you should have. Get caught up!
WEDNESDAY, May 1
Watching the 1968 Zefferelli film version of Romeo and Juliet, prologue to act one, and I.i and I.ii.
Small group work on the act one study guide, I.iii.
HW: If you have act one scenes one through three study guide complete, no homework.
THURSDAY, May 2
Watching act one of the Zefferelli film.
Completing the study guide for act one.
Performing the meeting between Romeo and Juliet.
HW: Read act two. Just as with act one, pay attention to extremes and opposites in your marginal notes!
Week 5 Syllabus: April 22
BRING ON WILLIAM SHAKESPEARE! The iconic tragedy, Romeo & Juliet, features everything you would want in romantic-death-comedy: teenage romance, street-fighting with swords, out-of-control family parties and drunken exploits, a marriage, a court case, even illegal drug use and murder. And that doesn’t even include the dual suicide which ends the play! We will begin finding out more about William Shakespeare’s youth and his Elizabethan England, and will prime-the-pump for our play-reading by re-re-re-reading the Act 1 prologue. Remember to bring your script! Annotations will be worth DOUBLE Homer’s Odyssey.
MONDAY, April 22
Documentary on the life of William Shakespeare. Who was he? Where did he grow up, and what did he do that eventually led to him becoming the world’s most famous playwright in English? How did his life in England influence his work?
Ending class by reading and annotating the prologue to Act 1, a Shakespearian sonnet (duh!)
HW: If you haven’t finished your annotated bibliography on your mythic figure do so. Light homework because of Passover.
WEDNESDAY, April 24
The first half of class we will practice performing the prologue to Act 1.
The second half, we will resume “In Search of William Shakespeare,” this part focusing on William’s 20s, about which we know little for certain.
HW: Read act one. While reading, use the audio of the play on Folger’s excellent web site. We meet Romeo, and he’s obsessed with Rosaline. His friends try to break him out of his sappy-romantic funk by bringing him to a party—but he meets (and instantly falls in love with) Juliet. The feeling is mutual!
Annotate for conflicting imagery: love/hate, hot/cold, day/night, sin/piety, sun/moon. It’s all there, and it all symbolizes something.
Week 4 Syllabus: April 15
IF YOU HAVEN’T PURCHASED YOUR COPY OF Romeo & Juliet, do that now. Please note, you will need the LARGER edition, which is approx 5.5” x 8.5” in size. You can purchase that via our NEW bookstore, here. This week we will begin practicing some acting/vocal techniques, as we practice performing some scenes from Antigone. At the same time, we will wrap up our research project, which will require students to produce an annotated bibliography on a mythic character of your choosing. Once done, we will start preparing for our reading (and performance of) Shakespeare’s iconic tragedy.
MONDAY, April 15
Practicing oral delivery of lines. We’ll try two different exercises:
First, we will read through one Chorus passage, reading one word at a time, in a circle. This will help with careful reading of lines, and force you to think about inflection;
Second, we will practice lines between Antigone and the Chorus at a distance, to help you work on projection.
We will spend a few minutes revisiting the google sheet, on which students should report out their source information on the Greek myth project (annotated bibliography)
HW: Purchase your copy of Romeo & Juliet. Make sure you get the LARGER format of the Folger Library edition.
WEDNESDAY, April 17
Working on the “Antigone Noodle Project", writing ONE annotated paragraph for EACH of the five sources you choose.
HW: Not done with these paragraphs? Work on these tonight for homework (I know, I said these would not be homework. But you should be done with these by now.)
THURSDAY, April 18
Rehersal of an assigned scene from Antigone.
You will be assigned a role in one scene in the play.
You and other performers will read through the scene; you will discuss what happens in the scene, and your characters motivation in the scene; afterwards, you will work out master gestures, blocking, and symbolic costuming for your scene.
Lecture on fidelity (to family—filial peity; to state—civic peith; to god—divine peity). What is the lesson of Sophocles’ play “Antigone”?
HW: Reading introduction to Shakespeare’s Romeo & Juliet.
Week 3 Syllabus: April 8
NOW THAT YOUR COPY OF HOMER’S ODYSSEY has been returned, we will finish a short research project on Greek mythology. The final product will be an annotated bibliography with five paragraphs, one for each source. Sources will include: one overview, one art work, one print media, and one lengthy source (plus one of your own choosing). To work on the project, we will be in the Library this week, so report directly there. While working on it, scholars will be reading Seamus Heaney’s translation of Sophocles’ play Antigone (his version is entitled Burial at Thebes.) Finally, students should obtain a copy of Shakespeare’s Romeo & Juliet, and you can purchase that via our NEW bookstore, here.
NOTE: This is the LARGER edition, and is approx 5.5” x 8.5” in size.
MONDAY, April 8
Report directly to the Library. We will work on our research project there.
I will have your copy of Homer’s Odyssey in the Library, and will return them there. .
HW: Read the second part of Heaney’s play for class on Thursday.
Wednesday, April 10
Today we are meeting in C-236, our classroom.
Here’s a link to the assignment.
With partners, finishing our “Antigone Noodle Project", writing ONE annotated paragraph for ONE of the sources you choose.
We will create a Google-sheet that lists research topics and databases/sources wherein scholars are finding information about their mythological figure.
HW: Finish reading Heaney’s play for class on Thursday.
THURSDAY, April 11
Returning to the library to work on your research project.
My expectation is that you should LEAVE with all your sources located, and have at least ONE of the annotations completed in Noodlebib.
HW: Review the play. Where do you see the conflict between loyalty to the gods (following divine law, relating to family, burial) and loyalty to the state (following law of city-state, ruler(s), etc.)? Note 5 key passages that relate to these topics, and list them on a google doc. Add your commentary…2-4 sentences that explain what the passage means.
Week 2 Syllabus: April 2
WE ARE WRAPPING UP OUR EPIC POETRY unit this and next week, completing a quick review of all our English skills that we’ve been practicing, as well as writing a personal narrative and completing an annotated bibliography on a Greek god/hero before moving on into drama. For this unit, we will read and practice performing Seamus Heaney’s translation of Sophocles’ play “Antigone,” which he calls “Burial at Thebes.” We will then move into our reading performance of Shakespeare’s “Romeo & Juliet.” That will be the next book you’ll need to purchase—more detail on that next week.
TUESDAY, April 2
Practicing our poetry analysis skills, and the three rules of poetry.
Our focus will be the poem, “Ithaka.” After individual annotation and class-wide discussion, we’ll write a paragraph in small groups.
After posting these on Squarespace classroom blog, we will turn our attention to a Smithsonian article on geographic Ithaka.
Collecting your Odyssey annotations, and new seating chart.
HW: Read the end of this graphic novel version of the epic poem, pages 58-71, which retells Odysseus’ return to Ithaca. That’s located here. Also, read through the seven paragraphs posted on Squarespace about the poem, “Ithaka.”
THURSDAY, April 4
Starting in the same groups as Tuesday, analyzing your (and other groups’) paragraph about the poem “Ithaka.”
Revising these paragraphs, and posting the revision as a comment to your first draft.
Shifting into Greek drama, we will read an overview of Sophocles tragedies: Oedipus Rex, Oedipus at Colonus, and Antigone.
HW: Read through the first half of the play for class on Monday, page 5 through 38. Here’s a link to the play. We will meet in the library next week for research work on Greek mythology—starting with Antigone!
What does the "Ithaka" in C.P. Cavafy's poem mean?
Type your response here. When you post your group’s paragraphs, please type the first name and last initial of EACH group member into the “NAME” field (only use the first scholar’s NT email address, and leave the URL field blank):
Week 1 Syllabus: March 19
QUARTER GRADES ARE DUE ON WEDNESDAY at 9:00 am. I am committed to collecting and grading annotations AFTER break, so that if you are behind, you may use break to get caught-up with these notes. However, I do want to briefly check in to see that everyone is in good standing with their notes, to avoid any “misunderstandings.” Also when we return from break, everyone will write a paper on Greek mythology. More on that after break.
MONDAY, March 18
Finishing the Armand Assanti version of the film.
While watching, I will do a spot check on everyone’s annotations. If you don’t have your book in class today, please make sure you have your copy with you in class on Wednesday.
HW: Finish your annotations. Make sure they are A-quality for when you get back from break.
WEDNESDAY, March 20
After watching the reunion of Penelope and Odysseus—which, I feel, the screenwriters butcher, doing a serious disservice to Penelope and homophrysene—we will turn to an essay about the ancient Greeks.
Examining a chapter from Why Homer Matters, looking for particularly well-crafted sentences and carefully chosen words. What does this writer do to connect to the connect to his readers?
HW: No, really, double check your annotations in Homer’s Odyssey.
Thursday, March 21
Examining a modern re-telling of Odysseus’ journey and his reunion with Penelope, in the form of Chuck No-land in the film Castaway. Were Odysseus a 21st century hero, how would his tale unfold?
With your partner, read through the sentences that we selected yesterday. Keep notes of your own on the handout. What is this writer doing to improve his style? Which types of words does he use to create emphasis and to connect with his readers?
HW: Enjoy break. I will collect and grade annotations when you return in April.
Week 10 Syllabus: March 11
ODYSSEUS SYMBOLIZES THE TRANSITION BETWEEN the warrior hero and the thinking hero. The warrior is concerned with forces of nature, right versus wrong, deals in brute force. The thinking hero is more concerned with forces of social order, strategy, issues of social justice. This is Odysseus’ essential transformation: the warrior must die, lose his ego and bravado, and the reasoned husband, father and king’s heart must be reborn if order is to exist on Ithaca. How will this be accomplished? Will Odysseus complete this transformation?
MONDAY, March 11
Careful reading of book 21, the slaughter in the great hall. The helpers to Odysseus on his hero journey play a key role in this chapter. Pay attention to what the swineherd, cowherd, and the nurse do to help Odysseus rid his palace of the suitors and their ilk.
Watching the penultimate section of “The Greeks: Crucible of a Civilization,” wherein we will see Pericles plan to defeat the Spartans fail miserably.
HW: Go back and find one chapter that you have not annotated well, and re-read and annotate it.
WEDNESDAY, March 11
Finishing the documentary. The death of Socrates and the fall of Athenian empire, and setting the stage for the second half of the Classical Age.
HW: Gather together your Greek mythology notes, as you will hand these in during class on Friday. Staple these together, and print out any typed notes (if you typed them). I’d like to review these as a whole.
Friday, March 8
The dramatic ending before the actual ending, book 21, known as the test of the bow, or death in the great hall. We will read and annotate this together.
HW: Review and complete annotations for any missing chapters in your book.
Week 9 Syllabus: March 4
THE HERO ARRIVES HOME, AT ITHACA. In an almost textbook example of the symbolic transformation of self, death and rebirth, Odysseus returns in disguise, literally changed into an old, homeless beggar. No longer is he the boastful, arrogant general of the Trojan War. Tempered by suffering, Odysseus has learned to keep his cards close to his chest, will not reveal his true self until the suitors doom is sealed. Pay careful attention to the helpers on his hero journey: Telemachus, who is on a journey of his own; Penelope, who provides a nobler role-model for the returned king; Eumaeus and Philoetius, the swineherd and cowherd respectively, who supply the king and prince with information and weapons.
MONDAY, March 4
Mr. Easton is out today to care for sick family. In his absence, students will begin watching a wonderful production of Homer’s Odyssey. Pay careful note of Hollywood’s careful re-creation of the epic poem, but also where they deviate from the story. For example, the script breaks out of the poem’s organizational structure, discarding en media res for a more convenient chronological story-telling. We see a very suitable portrayal of Ithaca from book one, but somehow the dialogue between Zeus and Athena is discarded—too costly to shoot? Keep track of both faithful renderings and deviations from the original.
HW: Read and annotate book 20 for class on Wednesday.
WEDNESDAY, March 6
We will watch the film, up to and including Odysseus’ journey to the Underworld and his meeting with Tiresias. We will leave off there, and watch the remining part after we’ve finished the poem.
Lecture/Q&A about Odysseus’ return, up through and including book 20.
HW: Reading book 21 tonight for class tomorrow.
Friday, March 8
The dramatic ending before the actual ending, book 21, known as the test of the bow, or death in the great hall. We will read and annotate this together.
HW: Review and complete annotations for any missing chapters in your book.
Week 8 Syllabus: February 26
THE HERO ARRIVES HOME, AT ITHACA. In an almost textbook example of the symbolic transformation of self, death and rebirth, Odysseus returns in disguise, literally changed into an old, homeless beggar. No longer is he the boastful, arrogant general of the Trojan War. Tempered by suffering, Odysseus has learned to keep his cards close to his chest, will not reveal his true self until the suitors doom is sealed. Pay careful attention to the helpers on his hero journey: Telemachus, who is on a journey of his own; Penelope, who provides a nobler role-model for the returned king; Eumaeus and Philoetius, the swineherd and cowherd respectively, who supply the king and prince with information and weapons.
MONDAY, February 26
Reading aloud from three student answers to the “Odysseus: faceted or flawed?” essay question.
We will discuss using the dual “What has the writer done well? What might the writer improve?” method, wherein we critically but constructively analyze three student responses.
HW: Revise and re-post a new draft of this assignment to Canvas. I will begin grading these on Thursday.
WEDNESDAY, February 28
Reading aloud from three student answers to the “Odysseus: faceted or flawed?” essay question.
We will discuss using the dual “What has the writer done well? What might the writer improve?” method, wherein we critically but constructively analyze three student responses.
HW: Revise and re-post a new draft of this assignment to Canvas. I will begin grading these on Thursday.
THURSDAY, February 29
Starting with 20 minutes of silent reading in Homer’s Odyssey. This is a chance for students to either catch up, or get ahead on their reading.
Remember, use your bookmarks and the reader’s questions handout to pre-read and post-check your comprehension. Your annotations will be worth twice as much for the Odyssey than Achebe’s Things Fall Apart.
We will watch a second (and final) Star Trek episode. In “Who Mourns for Adonis?” Captain Kirk will meet and murder the Greek god Apollo, Athena’s brother.
Reading book 18 together in class. A scholar will connect their iPad to the Apple TV and project/play the audio.
HW: Read book 18 and 19 for class on Monday.
2 ¶s: Is Odysseus faceted or flawed?
Kindly post your two argumentative paragraphs here as a comment to this post. When you enter the comment, please include your first and last name, use your NT email address, and leave any other items blank.
Week 7 Syllabus: February 19
IS ODYSSEUS FACETED, OR FLAWED? The writing assignment this week will ask you to take a position on our ancient Greek hero and make an argument based upon the first twelve books in the epic poem. We will continue reading with the expectation of finishing the book before Spring Break. That way, students can use that time as an actual vacation from school. If you’re behind, you CAN use it to catch up. But that’s not the way I’d spend my time off.
TUESDAY, February 20
Looking at a modern interpretation of book nine’s lotus eaters encounter, specifically the last episode of Star Trek’s first season, wherein Captain “Odysseus” Kirk must forcibly remove his enthralled crew from a planet under the lotus’ influence.
In the last 10 minutes of class, returning to our small groups to share out research notes on book 11, “The Dead”
HW: Haven’t finished reading books 13 or 14? Do that between now and Thursday.
THURSDAY, February 22
Writing assignment, a character analysis of Odysseus. We will use AI to generate a response in class, and see how it does.
HW: Reading books 15 for class on Monday. The writing assignment in Canvas is due Monday as well.
Week 6 Syllabus: February 12
THIS IS THE HALF-WAY POINT IN 3RD quarter. As it happens, we are also approaching the half-way point of Homer’s Odyssey. Books 1-4 cover the story of Telemachus (his bildungsroman); books 5-8 cover Odysseus journey to Scheria and meeting King Alcinous and Queen Arete; and books 9-12 detail Odysseus’ retelling of his core adventures/trials. The second 12 chapters will include his return to Ithaca, his planning for revenge, killing the suitors, reuniting with Penelope, and taking control of Ithaca., man of pain, on the island of Calypso the concealer. In respect to Campbell’s hero journey, the epic poem’s first half include Odysseus’ initiation and resurrection (death & rebirth). The second half is Odysseus’ final battle and his return. We never really see his departure per se, though he certainly crosses many thresholds, both accepts and refuses calls to adventure.
MONDAY, February 12
Q&A lecture on books 9 and 10; these sheets will be collected as an exit slip.
Watching the third installment of the Greeks: Crucible of Civilization.
HW: Complete the writing assignment listed in Canvas, due by class on Wednesday
WEDNESDAY, February 7
In-class reading of book 11, probably the creepiest in all literature. Odysseus will meet his dead family members, friends, comrades from the Trojan War. He will also meet significant women and divine figures. Each ghost represents some lesson for Odysseus. What are they?
Finishing the Greeks documentary with the fall of Athens and the end of Greece’s golden age.
HW: Reading books 12, 13, and 14 for class on Tuesday, Feb. 20.
Week 5 Syllabus: February 5
WE LEAVE TELEMACHUS BEHIND TO MEET Odysseus, man of pain, on the island of Calypso the concealer. Moving on from the bildungsroman, we now see Odysseus at his absolute lowest: defeated by monsters, disappointed by irresponsible crew, and abandoned by all Greek gods. No longer the hero of Troy, nor the king of Ithaca, Odysseus will arrive at Scheria, the Phaecian island of King Alcinous and Queen Arete naked, insane with fear, and practically dead. How will Odysseus be reborn as husband, father, and ruler?
MONDAY, Febraury 5
Because of the late-start, our time will be limited. Today we will experiment with a new structure for sharing of your questions.
We will shift from small-group brainstorming of questions to individual listing of annotated questions, to small group stand-and-shares, to “ambassador” style of reporting, and then end with an old-fashioned Q&A.
Our focus will be books 5, 6 and 7.
HW: Read book 8. Here, Odysseus is entertained by the Phaecian king, and we’ll see Odysseus get the chance to demonstrate some of his athletic prowess. But we will also see him break down in tears at Domodokous’ song about the Trojan War.
WEDNESDAY, February 7
We are going to watch clips from The Greeks: Crucible of Civilization to better understand the context of ancient Greek hero-culture.
During the documentary, take notes on the fall of aristocratic rule and the development of democratic government.
HW: Read book 9 for class tomorrow.
Thursday, February 8
Picking up on our Q&A on books 8 and 9.
Time permitting, we will return to the documentary “Crucible of a Civilization.”
HW: Read book 10. Then, this writing assignment: Demodocus sings a song at the request of King Alcinous to entertain Odysseus. He tells a story about Aphrodite and Ares, who are caught in the act (naked) by Aphrodite’s husband, Hephaestus. What is the purpose of this tale, told at this moment, while Odysseus recovers from his lengthy ordeal in Scheria, about to return home to Ithaca? Write this paragraph and post it to Canvas by class on Monday. The assignment is called, “Demodocus’ song.”
Week 4 Syllabus: January 29
AS YOU READ THROUGH HOMER’S ODYSSEY, pay attention to key Greek themes, particularly xenia (hospitality) in the first four books. Why is the suitors behavior so egregious? Now that Telemachus is a young man, how should he behave in response to their transgressions? Note that our story does NOT begin with the key hero, Odysseus, but rather his progenitor. What does this tell us about the importance of lineage to the future survival of Ithaca and Odysseus & Penelope’s kingdom?
MONDAY, January 29
Questions: How asking the right question is the only way to get to the right answer.
Brainstorming questions for books one and two of the Odyssey.
Lecture answering students’ questions, covering divine mantle, xenia, the suitors behavior and Telemachus & Penelope’s dilemma.
Second part of class, watching part of lecture on Heracles’s role in Greek myth, while students finish Heracles cartoon panel.
HW: read and annotate book three, Telemachus’s visit with Mentor.
WEDNESDAY, January 31
Listening to book four together as a class.
Make sure you’re reading the questions/notes prior to reading the chapter. You should review those same questions AFTER reading, checking your annotations.
HW: Revisit your annotations for books one through four.
Revisions to your short story essay are due tomorrow. Finish those!
Thursday, January 25
What are the key take-aways from the Telemachia? Class wide discussion/lecture.
Notes on homeric similie (nature based, compares action of poem); anthropormorphic; libations/hekatombs—ritual sacrifice to gods); suppliant—one who asks/begs in a servile manner
Meeting Odysseus for the first time.
HW: Finish reading book five. Also, read books six and seven for class on Monday.
Audio for Wilson's Odyssey
Click on the image above to access mp3 files of the Wilson translation.
Week 3 Syllabus: January 22
WE WILL COVER FOUNDATIONAL, GREEK myths and other information about the Trojan War, Hesiod’s “Theogany,” and Homer’s Iliad in order to prepare for The Odyssey, which we’ll begin formally this week. Remember, we are working with Emily Wilson’s translation. Some key, ancient Greek concepts reviewed include: xenia (from last week) and kleos, philia, hubris, and nostos. We will discuss “willing suspension of disbelief” and “ embracing ambiguity and contradiction” as that applies to studying mythology.
MONDAY, January 22
Key concepts for Homer’s Iliad.
Question/answers about the pre-Trojan War readings.
How to reconcile the complexity of Greek myth.
Reading handout on “Creation of the Titans and the Gods” by Donna Rosenberg
HW Finish reading the aforementioned handout. Also read “Translation & Homer’s Odyssey.”
WEDNESDAY, January 24
Watching a documentary on Greek mythology: “Greek Myths and Monsters”
Exploring the myth of Heracles, the earliest and greatest of ancient Greek heroes.
Sample “cartoon” version of the Heracles myth.
HW: Based on the Hamilton reading on Heracles, create an illustration of ONE of Heracles’s feats/stories, using the comic panel provided, adding: a) narration, b) spoken word(s)/dialogue, c) illustration, and d) color. Due Monday.
Thursday, January 25
Watching and taking notes on a second documentary, this one on the female Olympian gods: “Complex Goddesses: Athena, Aphrodite, & Hera”
Starting Homer’s Odyssey, reading and annotating book one in class. Because of the shortened day, we won’t read the entire chapter, but we’ll get through Athena’s conversation with Zeus about helping Odysseus.
HW: Read book two for class on Monday.