Lord of the Flies Chapter One (Sound of the Shell) to Chapter Six (Beast from Air)

1. Before reading spend five minutes writing about the first 24 hours of the O'Maley Experiment* . Share this writing with me in a document called "LotF O'Maley Experiment."

2. Read and take notes on the first six chapter of Lord of the Flies (pages 7-108).

Take notes on the following characters and visual motifs (symbols) in relation to the essential questions below them:

Significant recurring characters (as determined by last year's students) Piggy Simon Jack Ralph Roger Sam and Eric Robert, Maurice, Bill Littluns: boy with mulberry birthmark, Johnny, Percival, Henry Take notes on how the characters are first introduced, how they are described, what they say,  what they think, what they do, what others say about them. What conflicts--internal and external--are the characters involved in? How do the characters change, evolve, develop? How might the descriptions, actions, thoughts, changes be allegorical (symbolic)? What does all of this have to do with the big questions about human existence that the novel explores?

Significant visual motifs (as determined by last year's students) * Glasses/specs * Butterflies (and/or maybe other small creatures) * Fire * Conch/shell * Pigs/boar/sow/Lord of the Flies * Places on the island (places of power, Simon's place, the "scar")  * Vegetation on the island: creepers, candle buds * Painted faces/mask * Other aspects of the boys' appearance: hair, clothing * Shelters/hut * Rock * Stick sharpened at both ends *Beast(s)/monster(s) Take notes on how the visual motifs are first introduced, how they are described, how they are used, what characters say about them, what characters think about them. (Notice the motifs in the chapter titles!) What conflicts--internal and external--are the motifs involved in?  How do the visual motifs change, evolve, develop? How might the descriptions, uses, and thoughts about the motifs be allegorical (symbolic)? What does all of this have to do with the big questions about human existence that the novel explores?

Essential questions William Golding said, "I believe man suffers from an appalling ignorance of his own nature." What is human nature (in your view, in Golding's view)? If we are ignorant of our own nature as Golding claims, what effect does that ignorance have on lives (your life, the lives in the novel)? Can we replace ignorance with understanding? How? (What does your experience suggest? What does the novel suggest?) William Golding wrote that the theme of Lord of the Flies "is an attempt to trace back the defects of society to the defects of human nature...the shape of society must depend on the ethical nature of the individual and not on any political system." What does Golding mean by "defects in society" and "defects in human nature"? How do defects in our nature create defects in our civilization? (Consider the world outside the novel and inside the novel.) What can be done about these defects? (What do you think? What does the novel suggest?) Key words/concepts to use to create your own essential question: fear / control / reason / charisma / intuition / impulse / cruelty / kindness / needs / desires / hope / pessimism / extroversion / introversion / power / responsibility / violence / isolation / connection / ignorance / understanding / order / chaos [I took these words from the discussion we had about the O'Maley experiment added a few of my own]

3. Be prepared for a simple quiz about setting, plot, characters, and visual motifs (symbols) in relation to themes on January 2 and/or 3. (Chapter titles can be very helpful to organize your thoughts about the book.)

4. Prepare for a Socratic Seminar on January 2 and 3. Do the following and share it with me in a document entitled "LotF Socratic Seminar chapters 1-6". Plagiarism (copying or paraphrasing other people's ideas) will result in a zero on this assignment. 

• Choose an essential question from above that Lord of the Flies addresses or use the words above to create an essential question of your own. 

• Choose a character that Golding uses to explore the question. [It is often very rewarding to write about the less obvious characters.]
• Find four or more passages in the novel in which Golding uses the development of the character to explore the question. Include page numbers.
• Further prepare for the discussion by explaining how Golding uses the character to explore the question in each passage.

• Choose a visual motif that Golding uses to explore the question. [It is often very rewarding to write about the less obvious visual motifs.]
• Find four or more passages in the novel in which Golding uses the development of the visual motif to explore the question. Include page numbers.
• Further prepare for the discussion by explaining how Golding uses the visual motif to explore the question in each passage.

Directing Hamlet Assignment

Complete the following project by Friday, December 20.

Directing Hamlet Assignment

You are applying to be the director of a new film version of Hamlet set to begin production in 2014. After studying parts of several versions of Hamlet you have begun work on an application consisting of (1) a screenplay excerpt based on a passage you’ve chosen from the play, (2) a proposal explaining your choices (including proposed actors), and (3) a visual representation of some significant aspect of your screenplay excerpt.

Additional Directions (READ THE DIRECTIONS)

(1) screenplay excerpt:

Turn the excerpt you have chosen into a screenplay with interpolated film directions about elements such as setting, movement, speaking, facial expression, sound, music, camera shot selection, etc. Use the screenplay format. (See screenplay format handouts. You might also be interested in looking at parts of Kenneth Branagh's screenplay.)

(2) proposal:

Write a proposal to the producers of Hamlet 2014.

Overall
* The first section will provide an overview of your vision for a complete, new Hamlet. Consider visual style and setting, acting choices and character depictions, edits to (and versions of) Shakespeare's script, etc. Consider how these choices will contribute to a particular interpretation of the play's meaning and to a particular effect on the audience. (Here's a website where someone named Ulrike Bohm has explained ideas for a screenplay. I don't expect your explanation to be this lengthy but exemplary explanations will be equally thoughtful. See rubric below.)

* The second section will explain specific, meaningful ways your Hamlet will differ from and/or build upon famous productions of Hamlet by the likes of Olivier, Zeffirelli, Branagh, Almereyda, and Doran.

The Excerpted Passage
* The third section will explain and justify the choices you've made in the screenplay excerpt. Consider setting descriptions, camera shot selection, acting directions, sounds and music, etc. How do the choices help you express your interpretation of the scene and its significance?; 

* The fourth section will explain and justify choices in your visual representation of the selected passage. (How do the choices you've made help you express your interpretation of the scene and its significance?) If you consulted any sources to help you understand visual components of film making, such as storyboards, costuming, lighting, blocking, etc. discuss those sources here.

Overall (again)
* The fifth section will explain and justify other choices for your Hamlet. Consider actors and a soundtrack for example. What other elements might be worth highlighting in your proposal?

* Conclude in the sixth section with a summarizing, final pitch to the film producers: convince them to choose you.

(3) visual representation:

Your visual representation could be a storyboard¹, costume sketches, stage/film lighting scheme², stage/film blocking scheme³, live performance, demo film⁴. The visual representation will be assessed for choices, clarity, care, and creativity.

1 A storyboard is a series of illustrations (or other images) used to depict a film (or other moving) sequence before the production of the actual film (or other moving sequence). Do some research for directions, examples, and advice.

2 A theatre/film lighting scheme is a plan for the use of lights (what type and color, where, and when) during a performance or during filming. Do some research for directions, examples, and advice.

3 A blocking scheme is a plan for the movement (where, when, and how) of actors during a performance. Do some research for directions examples and advice.

4 See me if you are interested in this option.

All of this is due by the end of the school day Friday, December 20*.[Assessment worth two end-of-unit grades.]

 

* You may ask for an extension on the visual representation but must still complete the script excerpt and proposal (including including section four in which you explain your visual element).

 

**********************

Hamlet Screenplay Project

Grading Rubric

Proposal (40%)

The following elements should be developed persuasively with description, detail, and explanation: vision for film as a whole, comparison with other film versions, explanation of screenplay on a single passage, explanation of visual component, other film considerations (actors, music, etc.), and final pitch. The writing should demonstrate a lively, mature style and shows command of standard English conventions.

Advanced: Persuasive development of elements; vivid, meticulous writing

Proficient: Reasonable development; clear writing with few errors

Adequate: General development; clear writing with several errors

Needs Improvement: Partial, incomplete development; errors detract from clarity

Screenplay/Script (30%)

Visual directions and acting directions should be inventive and demonstrate an understanding of the passage. Screenplay conventions and English language conventions should be followed with attention and care.

Advanced: Visual and acting directions are inventive, vivid, dramatic, suggestive, and revealing. Writing shows a command of style, syntax, diction; use of format is accurate and meticulous.

Proficient: Directions include vivid and revealing moments. Writing and formatting are not quite ready for formal presentation to potential producers, but show evidence of attention and care.

Adequate: Enough appropriate directions and setting directions for the reader to picture the scene. The writing is clear but contains several errors in writing and/or script conventions.

Needs improvement: The script contains some plausible directions but too few to constitute a viable screenplay. Errors in writing and formatting conventions detract from clarity.

Visual element (30%)

The visual element should, like the screenplay, be inventive and demonstrate an understanding of the passage. It should be substantial, perhaps even ambitious, and should be produced with attention and care.

Advanced: The visual element is vivid, inventive, insightful, revealing, and suggestive. The visual element is ambitious and was produced with substantial care and is ready to be shared with potential producers.

Proficient: Overall, the visual element is appropriate and includes vivid and revealing aspects. The visual element is substantial and was produced with care and could be made ready for a presentation to producers with some additional work.

Adequate: The visual element is accurate and appropriate overall but with less invention and insight. The visual element could be presented in an emergency with out embarrassment.

Needs improvement: The visual element contains some implausible, inaccurate, or inappropriate elements. Or, perhaps it shows too little evidence of understanding.  It was produced hastily and sloppily, needing substantial improvement before a presentation.

 

Important Reminders about Hamlet End-of-Unit Work

Very important note #1:
Several students have not shared thread discussion preparation responses with me. (Click here for directions.) This end of unit activity is culmination of a lot of work on your threads and, therefore, counts toward the "end of unit assessment" part of your grade (70%). Not turning in these notes will have a significant impact on your grade.

Very important note #2:
By now you should be familiar with the Director Hamlet assignment due Friday, December 20 which is a week from today. (Click here and then scroll to number 4.) You should have a plan about how you are going to complete all of the components over the next seven nights. By next Tuesday (which is the next chance we'll have to talk in class because of the in-class essay on Monday) you should have finished about half of the project. Be prepared to share your progress. Email me with any questions you have as you work on this project between now and Tuesday.

Very important note #3
Don't forget to bring* the prompt and annotated passage with you to class on Monday. I will not read essays that are not accompanied by annotated passages. 

*(in shared electronic form or in paper form)

Very important note #3b
When planning your essay consider...
* an engaging opening with a big, thematic idea that leads into the thesis (like the one you created for your Jamaica Kincaid essay)
* a bold, daring, insightful thesis that addresses the prompt (strategies and theme).

* How will you organize your paragraphs? By strategy? By section of the passage? By character within the passage? (This was an interesting idea in C-block.) Other?
* How will you weave in supporting quotations? (Remember to cite act, line, and scene. Remember to use a slash for line breaks.)

* if time permits, end by returning anew to your bold, daring, insightful thesis. Then, help the reader understand why the thesis matters: this is often accomplished by returning to the opening big, thematic idea. 

a possibly important note #3c
If you're struggling with strategies (or techniques), here is a list (posted on last year's blog) of figures of speech in Hamlet. Each is defined and accompanied by at least one example from Hamlet.  Strategies (or techniques) can also be found in the Hamlet Review sheet.

If you're interested in learning a bit more about syntax-related strategies click here and scroll down. You'll find a note about periodic sentences and "balanced" (or parallel) sentences (including antithesis). I mention this because one of you asked about the parallel structure in Polonius' advice to Laertes.  (My favorite kind of balanced sentence is chiasma. The balance is turned inside out. ) 
 

Hamlet End-of-Unit Assessments

End-of-Unit (Summative) Assessments for Hamlet

1.  Thread Writing and Discussion
Participate in the thread discussion on Tuesday, December 10. Share Preparation directions for the thread activity can be found here. [Assessment worth one end-of-unit grade.]

2. Test
Take the Hamlet test on Thursday, December 12. Review for the Hamlet test can be found here. [Assessment worth one end-of-unit grade.]

3. In-Class Passage Analysis (Q2) Essay
Write a passage analysis essay during class on Friday, December 13 on Monday, December 16. Bring an annotated passage of your choice* (100 to 200 lines, give or take) to class on Friday, December 13. Annotate with the prompt in mind. Pay particular attention to how particular literary strategies contribute to thematic development in the passage. In other words, make sure you apply what you've learned about literary strategies to your analysis of the passage. Don't just point out the strategies but explain how they're thematically significant.

* You cannot choose Hamlet's soliloquies in 1.2, 2.2, 3.1, or 4.4.
[Assessment worth one end-of-unit grade.]

Here's the prompt:

AP English Language Q2/AP English Literature Q2 Style Essay

Choose a passage from Hamlet that is rich in content and style. Write a formal essay in which you explain how William Shakespeare’s use of literary strategies in the passage contributes to the play's exploration of how the human mind concocts a range of responses to the inherent imperfections of the world: deceit, corruption, loss, mortality, and uncertainty.

4. Directing Hamlet Project
Complete the following project by Friday, December 20.

Directing Hamlet Assignment

You are applying to be the director of a new film version of Hamlet set to begin production in 2014. After studying parts of several versions of Hamlet you have begun work on an application consisting of (1) a screenplay excerpt based on a passage you’ve chosen from the play, (2) a proposal explaining your choices (including proposed actors), and (3) a visual representation of some significant aspect of your screenplay excerpt.

Additional Directions (READ THE DIRECTIONS)

(1) screenplay excerpt:

Turn the excerpt you have chosen into a screenplay with interpolated film directions about elements such as setting, movement, speaking, facial expression, sound, music, camera shot selection, etc. Use the screenplay format. (See screenplay format handouts.)

(2) proposal:

Write a proposal to the producers of Hamlet 2014.

Overall
* The first section will provide an overview of your vision for a complete, new Hamlet. Consider visual style and setting, acting choices and character depictions, edits to (and versions of) Shakespeare's script, etc. Consider how these choices will contribute to a particular interpretation of the play's meaning and to a particular effect on the audience.

* The second section will explain specific, meaningful ways your Hamlet will differ from and/or build upon famous productions of Hamlet by the likes of Olivier, Zeffirelli, Branagh, Almereyda, and Doran.

The Excerpted Passage
* The third section will explain and justify the choices you've made in the screenplay excerpt. Consider setting descriptions, camera shot selection, acting directions, sounds and music, etc. How do the choices help you express your interpretation of the scene and its significance?; 

* The fourth section will explain and justify choices in your visual representation of the selected passage. (How do the choices you've made help you express your interpretation of the scene and its significance?) If you consulted any sources to help you understand visual components of film making, such as storyboards, costuming, lighting, blocking, etc. discuss those sources here.

Overall (again)
* The fifth section will explain and justify other choices for your Hamlet. Consider actors and a soundtrack for example. What other elements might be worth highlighting in your proposal?

* Conclude in the sixth section with a summarizing, final pitch to the film producers: convince them to choose you.

(3) visual representation:

Your visual representation could be a storyboard¹, costume sketches, stage/film lighting scheme², stage/film blocking scheme³, live performance, demo film⁴. The visual representation will be assessed for choices, clarity, care, and creativity.

1 A storyboard is a series of illustrations (or other images) used to depict a film (or other moving) sequence before the production of the actual film (or other moving sequence). Do some research for directions, examples, and advice.

2 A theatre/film lighting scheme is a plan for the use of lights (what type and color, where, and when) during a performance or during filming. Do some research for directions, examples, and advice.

3 A blocking scheme is a plan for the movement (where, when, and how) of actors during a performance. Do some research for directions examples and advice.

4 See me if you are interested in this option.

All of this is due by the end of the school day Friday, December 20.[Assessment worth two end-of-unit grades.]

Hamlet Act Five

1. Read and take notes on 5.1. Pay particular attention to how this scene deals with questions of human mortality (death). Notice how the scene deals with a range of responses to human mortality (death) by moving from sharp humor, to thoughtful consideration, to outward grief. How does each section work? Where do the shifts occur? Why might Shakespeare have structured the scene this way and why might he have placed this scene immediately before the tragic end? These are ideas and questions to consider while reading and taking notes. (Don't forget your motif/thread.) Due Friday (12/6)

2. Read and take notes on 5.2. Pay particular attention to how various plot, motif, and theme threads get woven together in the end. Consider the relationship of how people die to
Due Monday (12/9).

3. In a Google Document labelled "Following a Thread in Hamlet" do the following:

Write down your motif.
Write down the act, scene, line of every place you noticed your motif in the play. (If you'd like you can copy this from your notes. If you're thin on notes: Here you'll find searchable text. (Click on the act then search for words related to your motif within each act.)

Write down a quotation from act one that develops your motif. (Include act, scene, and line.)
Write a thorough explanation of what the quotation means (in context) and how the quotation develops the significance of the motif.

Write down a quotation from act two that develops your motif. (Include act, scene, and line.)
Write a thorough explanation of what the quotation means (in context) and how the quotation develops the significance of the motif.

Write down a quotation from act three that develops your motif. (Include act, scene, and line.)
Write a thorough explanation of what the quotation means (in context) and how the quotation develops the significance of the motif.

Write down a quotation from act four that develops your motif. (Include act, scene, and line.)
Write a thorough explanation of what the quotation means (in context) and how the quotation develops the significance of the motif.

Write down a quotation from act five that develops your motif. (Include act, scene, and line.)
Write a thorough explanation of what the quotation means (in context) and how the quotation develops the significance of the motif.

Then explain the development and significance of the motif in play overall. Use quotations and other details to support your explanation.(These were often underdeveloped in the act 1-2 responses.)

Due Monday (12/9) Tuesday 12/10.