Monday, November 25, 2019

General Humanities I: Final Exam Assignment





On the first day of class, I asked you “what do you think is the oldest theme in ancient literature?” The options were:
·        “I love you, why don’t you love me?”
·        “I hate you, why don’t you die?”
·        “I can’t believe you’re dead! (sob)”
·        “Damn, that’s a pretty rainbow.”

While these were meant to be silly and simplistic, they still represent many of the core themes we encountered in this class, which were about the beauty and complications of love, the drive for conquest and revenge, the pain of death and loss, and the symbolic power of Nature. All the works in class contribute to one or more of the themes, and reveals how different times and cultures grappled with often contradictory ideas and emotions.

For your final exam paper, I want you to choose ONE of the themes above and explain how 2 or 3 works challenged how you see and understand this concept. Imagine you’re writing this to someone who hasn’t taken the class yet, so they know nothing about the books. Briefly introduce each one as you discuss it, and then help us understand how Sappho (for example) examines the meaning of loss in her poems. The goal of this paper is to show off what you’ve learned, and to play “connect the dots” with your readings, to show how each one builds on and responds to the one before.

Quote like this: In Act 4, scene 3 of Hamlet,  Hamlet tells Polonius that “A man may fish with the worm that hath eat of a kind and eat of the fish that hath fed of the worm” (197). [cite the page number of the edition you have]

REQUIREMENTS
·        No set page limit; do what you think is sensible and adequate
·        Quote from at least 2 works in class, but you can do up to 3
·        Write for someone outside of class; don’t write to me and say, “It’s like that one ghost story said, you know, the one about the lady with the egg face…”
·        DUE Friday December 13th by 5pm: hard copy preferred, but e-mail accepted

Friday, November 22, 2019

For Monday: Finish Hamlet, Act V (no questions--but exam in class)

Be sure to finish Hamlet for Monday's class, where we'll have our final Comprehension Exam over Act V of the play. Bring your book as usual and as long as you've read it you shouldn't have much trouble.

This will be our LAST official class. I'll also assign the Final Exam assignment which won't be due until the date of our exam on Finals Week. So be sure to come to class to learn all about this! 

See you then! 

Tuesday, November 19, 2019

For Friday: Shakespeare, Hamlet, Act Four


NOTE: No class on Wednesday, since I won't be back in the office until around 10:30. So read Act Four and do the questions below for Friday.

ALSO: All Three Groups have answered, so this is a BONUS set of questions. If you know you've missed questions this round or in the past, answer these and they can help you. Otherwise, you don't have to answer them--but consider them for class on Thursday.

Q1: By the end of Act Four, Laertes becomes a second Hamlet, swearing "my revenge will come." What distinguishes Laertes from Hamlet? How might Laertes' reaction to the business of revenge help us read and understand something important about Hamlet?

Q2: How does the King reveal himself not only as a Machiavellian ruler, but also someone who has read The Prince (and even, perhaps, seems to quote it)? Does he make any  mistakes that Machiavelli might disapprove of toward Hamlet or his kingdom?

Q3: How has Ophelia changed by Act Four, particularly in her language? Has she gone truly mad here, or is she, too, taking a page from Hamlet's book? Is there any "method" in her madness, or is she truly speaking nonsense?

Q4: We also see a different side of Hamlet in Act Four: how does he present himself to other people in these acts? Is he still acting mad? Or is he trying another approach? Consider his lines, "Nothing but to show you how a king may go a progress through the guts of a beggar" (197). 

Friday, November 15, 2019

For Monday: Shakespeare, Hamlet, Act Three



The"Love and Death" group should answer TWO of the following questions.
The students in this group are: Danielle M, Kara C, Sydney W, Bekkah T, Madison G, Erica M, Heather B, Raven J, Jack A, and Mya C

Q1: Read Hamlet's famous "to be or not to be" speech carefully: what is he really arguing here? It begins with him asking "should I keep on living or find a way to end myself," but how does he answer this question? What interesting idea or metaphor can you find in this speech that complicates his question, or his character?

Q2: Why does Hamlet turn so violently on Ophelia in Act 3, scene 1? What does he seem to be accusing her of?  Is he merely acting mad here, or is he using his madness to speak the truth? Any clues? 

Q3: Discuss a scene where Hamlet switches from prose to verse (or the other way around). Why is this? How does prose (or verse) help us understand what he's saying, and who he is while he's saying it? 

Q4: In Act 3, scene 4, Hamlet argues with his mother over her 'bad' behavior much as he had earlier chided Ophelia in scene 1. By the end of it, the Queen gasps, "O Hamlet, thou has cleft my heart in twain!" Is she saying this because he's made her see the true nature of her sin? Or is she heart-broken at his apparent madness? In other words, has he won her over to his side, or does she just seem to be humoring him? 

Monday, November 11, 2019

For Wednesday: Shakespeare, Hamlet, Act Two



The “Rainbow” Group should answer TWO of the following. In case you've forgotten, the group consists of Cody G, Mariana E, Kate C, Tim V, Savanna T, Skyler H, Callie C, Taylor J, Jaren S, Kyle F, .Babette R 

REMEMBER: Reading Shakespeare is tricky if you're not used to it. USE THE NOTES on the side to help you. Also, you don't have to understand every word, every speech. Just get the gist and try to pay attention to Hamlet's language: can you tell when he's being serious, and when he's being satirical? When does he make fun of people? When does he make fun of himself? When do we see the 'real' Hamlet? Or is he always acting? 

Q1: All of Act One is in verse (iambic pentameter, like the Sonnets), but in Act Two, when Hamlet enters in scene 2, he talks in prose throughout the entire act (as does everyone around him). You can tell it’s prose because (a) each line has more than 10 syllables, and (b) the lines aren’t indented, but run to the end of the page. Why do you think this is? Why would Hamlet, a prince, insist on speaking prose, which is usually a “low” language of the common people? Also, why does everyone around him, including Polonius, also speak in prose? Hint: could it be some sort of act?

Q2: Hamlet has another famous speech at the end of the Act where he compares himself unfavorably to an actor: “O, what a rogue and peasant slave am I…” Why does he, a prince, envy an actor? What can the actor do that he can’t? And why might this be a meta-moment where Shakespeare (a playwright) is marveling at the power of actors (and the theater)?

Q3:  Polonius seems quite willing to exploit his daughter and expose Hamlet’s follies to the King and Queen. Why is this? What does he hope to gain from showing them Hamlet’s love letters? And why does Ophelia (who may be in love with Hamlet) go along with this? Couldn’t she have refused?

Q4: Two of Hamlet’s old friends, Rosencrantz and Guildenstern, arrive to keep watch on him for the king. Hamlet knows they’re dong this, but plays along. However, he probably talks too much. What does he reveal about his state of mind and his character in this passage? In other words, how does Shakespeare show us what’s really going on in his mind when he’s acting “mad”?

Friday, November 8, 2019

For Monday: Shakespeare, Hamlet, Act One



The "Revenge" Group (Group 2) should answer TWO of the following questions. The members of the group are Liv C, Marissa M, Tara S, Jordan H, Kele P, Cody T, Estelle L, Anthony J, Casi B, Zach W, Brookelyn L

Q1: What did watching the 2009 BBC Hamlet help you see, notice, or understand about the play as you started reading? How did the performance “solve” some aspect of the play that might have otherwise confused you? Would you recommend other students watch this version first before reading the play?

Q2: One of Hamlet’s most famous speeches occurs very early in the play: Act One, scene 2, which begins, “O, that is too, too sullied flesh would melt” (29). What is he complaining about in this soliloquy (poetic monologue)? Try to read this speech like a poem and find a metaphor that can help you interpret his complaint as a whole (for example, why should “sullied flesh” melt?). Since this is our first big moment with Hamlet, does this speech make us sympathetic for him? Or wary of him?

Q3: Why do Ophelia’s brother (Laertes) and father (Polonius) distrust Hamlet so much? Why don’t they encourage his attentions (and as she thinks, love) towards her? Wouldn’t it be a good match for her to marry a king’s son, the Prince of Denmark?

Q4: Why might Polonius strike you as a Machiavellian figure, or at least someone who has read The Prince thoroughly? Consider the advice he gives both his son and his daughter, and how he comes across in the play in general.

Monday, October 28, 2019

For Wednesday: Finish Machiavelli's The Prince



The"Love and Death" group should answer TWO of the following questions.
The students in this group are: Danielle M, Kara C, Sydney W, Bekkah T, Madison G, Erica M, Heather B, Raven J, Jack A, and Mya C

Q1: Considering that the prince’s only business is war, how does Machiavelli regard neutrality?  Can a prince remain neutral when two neighboring states go to war?  If not, which side should he support?  Why might this be one of the most significant decisions a prince can make?

Q2: In a world of turncoats, flatterers, and assassins, whom should a prince turn to for advice?  What considerations does Machiavelli urge when compiling a prince’s personal staff?  Why might this decision make or break a prince’s rule?

Q3: Toward the end of the book, Machiavelli writes that “because fortune is a woman...if she is to be submissive it is necessary to beat and coerce her” (81).  Why does Machiavelli personify fortune as a woman, and what does it mean to “beat” fortune as a woman?  (as a side note, what do you think this says about Renaissance culture?) 

Q4: In his biography of Machiavelli, Miles Unger writes that "Machiavelli was one of the first philosophers since ancient times to treat people not as children of God but as independent adults, forced to make choices without guidance from an all-seeing Father and to suffer the consequences of their mistakes." Do you feel that The Prince carries an anti-religious message, or that he, himself, is criticizing religion? Or is he merely trying to describe how politics works realistically without moral judgement? 

Friday, October 25, 2019

For Monday: Machiavelli, The Prince, Chs.10-19





The “Rainbow” Group should answer TWO of the following. In case you've forgotten, the group consists of Cody G, Mariana E, Kate C, Tim V, Savanna T, Skyler H, Callie C, Taylor J, Jaren S, Kyle F, .Babette R 

Answer two of the following:

Q1: In Chapter 11 Machiavelli writes, "the main foundations of every state...are good laws and good arms; and because you cannot have good laws without good arms, and where there are good arms, good laws inevitably follow, I shall not discuss laws but give my attention to arms" (40). Why are arms more important than laws, especially since most countries today believe that a Constitution (or related document) is the foundation of a ruler's power? 

Q2: In Chapter 13, he writes that "armor belonging to someone else either drops off you or weighs you down or is too tight" (46). How does this metaphor relate to the business of being a Prince and and wielding "good arms"?

Q3: In these chapters, Machiavelli describes the various qualities necessary to become an ideal prince. How do these compare to the qualities of an ideal courtier/gentleman in Renaissance society? How realistic or idealistic is he in presenting these qualities to the reader? (in other words, does he believe that the ideal is possible--or does he acknowledge it's all a sham?) 

Q4: In one of his more controversial statements, Machiavelli states that "it is far better to be feared than loved if you cannot be both" (54). Why is this? Also, what does this say about his fundamental understand of human psychology based on his study of history and politics? And does fear necessarily mean hatred? 

Monday, October 21, 2019

For Wednesday: The Prince, Letter to Lorenzo and Chapters 1-9 (pp.7-35)


The "Revenge" Group (Group 2) should answer TWO of the following questions. The members of the group are Liv C, Marissa M, Tara S, Jordan H, Kele P, Cody T, Estelle L, Anthony J, Casi B, Zach W, Brookelyn L

Answer TWO of the following for Wednesday’s class:

Q1: In the opening letter to Lorenzo de Medici, how does Machiavelli try to sell the importance of his book? Why does Lorenzo (who is in power) need to read the book and listen to Machiavelli (who is disgraced and exiled)?

Q2: According to the opening chapters, what is the biggest danger for a new prince? Why is winning the war only the beginning of his struggle for conquest? Consider his ideas for conquering nations such as Turkey and France, etc.

Q3: Though most books would encourage a prince to be kind and merciful to his subjects, Machiavelli, attempting to be honest, claims that a prince must often be cruel to rule his nation. However, he clarifies that “it is a question of cruelty used well or badly” (31). How can cruelty be used “well”? Isn’t any use of cruelty evil?


Q4: In Chapter 6, he talks about “armed” and “unarmed” prophets, which means people who inspire great changes among the people. Why, according to him, do “all armed prophets…conquer, and unarmed prophets come to grief” (21)? What makes being a prophet so dangerous? 

Final Exam Paper, due by December 9th

The Final Exam paper is pasted below if you missed class on Tuesday (or simply lost it). Note the due date: no late papers will be accepted ...