Metaphors in Macbeth- Check you sef and see if you can add them to your ryhmes

http://www.novelguide.com/macbeth/metaphor-analysis

Watch Macbeth on Your Own Sweet Sweet Time

Sick?  Suffering from early senioritis? Watch Macbeth on your own sweet, sweet, time.  

The Largest Vocabulary in Hip-Hop

Matt Daniels Article Here 

Matt Daniels is a designer, coder, and data scientist at Undercurrent in New York City. His past works include the Etymology of "Shorty" and Outkast, in graphs and charts. He decided to examine the vocabulary of hip hop artists, and this is what he found. – May 2014

Wu Tang Clan and Shakespeare

In this TEDx talk, Akala examines the correlation between hip-hop and "Shakespeare" and how these two seemingly different genres of language have become the custodians of both language and knowledge.

Please answer the following questions:

            1.)   What is iambic pentameter based on?
            2.)   What is Hip-Hop short for?   What is its word derivation?
            3.)   What are the five elements of hip-hop?
            4.)   How are hip-hop artists similar to the Shakespeare regarding their position of being custodians                       of language and knowledge?
             

Master Harold and the Boys

Here are the videos for "Master Harold and the Boys".  Each section is 15 minutes long.   Please finish viewing these clips by Friday, April 19th.   You will have to respond to two of the questions below.   (these questions are from Ms. Butler's class  in Springfield, PA.  Go Cougars!

Master Harold Part 1

Master Harold Part 2

Master Harold Part 3

Master Harold Part 4

Master Harold Part 5

Master Harold Part 6

1.  How is Hally’s character shaped by his father’s inadequacies and imperfections?  In what sense is he his father’s son?  In what sense does he try to compensate for his father’s shortcomings?

2.  In what ways is the relationship between Hally and Sam like and unlike a father-son relationship?

3.  The play uses a personal relationship to make a statement about a social and political situation. In what respect can it be seen as also using political tensions to make a point about personal relationships?

4.  Is the background of apartheid in South African social and cultural mores/society essential to the play, or could you imagine other settings and contexts in which Sam might be vulnerable to Hally’s mistreatment?  Do you think the play is ‘dated’ now that apartheid has been abolished?

5.  Is Sam’s failure to react with violence realistic?  What their options are available to him?

6.  What is Willie’s function in the play?  Does his presence affect the dynamics between Hally and Sam?  Does it give the audience any essential information about the other two characters?  How would the play be different without him?

7.  What are the advantages and disadvantages of the play’s focusing only on three characters and using a single setting?  What could Fugard have gained by showing Hally, Sam and Willie in other contexts?  By having them interact with other characters?

8.  Is the play’s ending hopeful?  Pessimistic?  Cynical?  How do you think the playwright could have improved the ending?  What were you still left wondering?

9.  Hally seems obsessed with past events.  What comment do you think Fugard is making through Hally about the past and its impact on the present?

10.  What do Sam and Hally learn during the course of the play?  How do you think this knowledge might affect their future lives?

11.  How does Master Harold deal with the following:

Ø  Intense relationships and the impediments to them

Ø  Happy memories giving way to the recovery of the past through vivid recreation

Ø  Important offstage characters precipitating onstage action

Ø  Hopes and dreams entertained, then shattered

FABLES OF AFRICA

Here is the link to your lovely Fables

http://www.gateway-africa.com/stories/

Blog Post 3: Sonic Devices (Due 3/12-3/13)

“Williams, as it happens, also lets the vowel of age chime with another word: glaze, which has the same end consonant sound as trees. Later, broken shares a vowel with snow and a consonant with covered and seedhusks—well, it's clumsy work, trying to trace these audible subtleties. I'll just point to the beauty of "the flock has rested,/ the snow/ is covered with broken/ seedhusks"—without trying to describe any further what we hear: The hearing itself is an action of consciousness, a kind of awakening and of keeping.” -Robert Pinsky, from Slate.com

In this commentary, the poet Robert Pinsky remarks on William Carlos Williams’ ability to create a sonically pleasing piece of poetry written entirely in blank verse: that is to say, a poem devoid of end-rhyme. After reading the poem (below) discuss the following:

How has W.C. Williams used language to create interesting sounds? What does this add to the text? Do sonic devices contribute to meaning, or are they parallel to it?

Finally, try to write a sentence that could be used in your personal narrative which employs similar techniques!

"To Waken an Old Lady" by W.C. Williams

Old age is

a flight of small

cheeping birds

skimming

bare trees

above a snow glaze.

Gaining and failing

they are buffeted

by a dark wind—

But what?

On harsh weedstalks

the flock has rested,

the snow

is covered with broken

seedhusks

and the wind tempered

by a shrill

piping of plenty.