due Tues. 12/1 and Wed. 12/2

due Tuesday 12/1:

1. Go back over the column two discussions you have written concerning different kinds of poetry/languages in A Midsummer Night's Dream. Underline important, specific nouns as they appear.

2. Write a claim about different kinds of poetry/language in A Midsummer Night's Dream, plus your best piece of evidence for the kind of character discussed. Include your four "rows." Try to include three or four specific nouns, mostly derived from your column two discussions.

Although this is Tuesday night's homework, you may hand it in on Wednesday, as I won't be in class. We'll have a substitute.

due Wednesday 12/2:

Choose a poem or matched pair of poems to write an essay about. You may choose one of the poems you wrote a simile for, or you may choose a different poem (or matched pair of poems) that we have studied. If you choose a different poem, write a simile for that poem ("what is the poem like?") or for each of the paired poems. Have your choice and your simile(s) ready to present in class.

due Friday 11/20

1. Do "row 3" (full-page version) of your chart about MSND.

Over vacation: "row 4."

due Thursday 11/19

1. , Write in a comment on this blog post, a simile for "Poetry," 792, "Sestina," 793, and "Ars Poetica" (794); then write a simile for the way one of these poems (or ["Do not go gentle into that good night"]) SOUNDS.

2. Have two "rows" (pages, really) of your "chart" on MSND. Your starting questions are, how does the language of each character differ from the language of the other characters? Is there anything notable that is common to the language of the different characters?

due Wednesday 11/18

1. MSND 4.2 and 5.1.1-107. No reading journal necessary.

2. Write a discussion in response to one of the following prompts, each concerning the poem "Poetry" on p. 792. If you prefer, you may combine two or more of the prompts. Email your discussion to me, or hand it in in person.

a. This poem is included in a section called "stanza forms." How would you describe the stanzas in this poem? How are they typical stanzas, or atypical stanzas? Do the stanzas reflect the content in any way?

b. The poem sounds like a lecture on poetry. Setting the stanza form aside, is it anything more than a lecture, or to put it another way, is there anything that makes it an unusual lecture?

c. What does the spekaer like and appreciate? Do these things have anything in common?

due Tuesday 11/17

1. Read the rest of MSND 3.2 (3.2.82-389) and do a reading journal about it.

2. Read "Ars Poetica," on p. 794 and email a discussion about it, answering one of the following prompts:

a. Describe the importance of references to the senses (i.e. images) in this poem.

b. On the one hand, the senses play an important role in this poem; on the other, the poem has parts that don't refer to the senses, like "A poem should be equal to: not true." How might the sense-infused parts and the parts that are not sense infused be related to each other?

If this homework assignment is taking you too long, stop reading 3.2 of MSND before the end of the scene and do a reading journal based on what you've read up until then.

due Monday 11/16

Read to the end of 2.2 in MSND, and do four-part journal.

Read "Sestina," p. 793, and discuss it in an email that you send to me in the usual way. In your discussion, please respond to one OR both of these prompts:

a) First thinking about the different images that arise, can you detect a pattern of imagery/ If so, discuss.

b) Is the poem more cozy and warm, or more anxious? Discuss.

1. Midsummer Night's Dream 2.1.188 to end of scene and 2.2.1-34; reading journal.

2. An example of the fairy, Puck, Titania, and Oberon at their most poetic, an a few words to distinguish how in each case the characters' way of being poetic is different from the others' way of being poetic. (The exercise we started to do in class.)

due Thursday 11/12

1. Casablanca analysis, cont.

2. Read 1.3.1-187; no journal necessary tonight.

due Wednesday 11/11

1. Continue to work on your Casablanca analysis.

2. NOTE CHANGE: A Midsummer Night's Dream, 1.2 (the entire scene), and journal, as yesterday.

due Tuesday 11/10

1. Work on your analysis (chart, claim, evidence); final version due Friday; find the scene on Youtube.

2. Do a reading journal concerning lines 1.1.48-252. It will have four parts:

(1) Three sentence summary of the reading.

(2) A question or two that the reading gave rise to.

(3) a word from the reading you found striking, with a sentence of explanation as to why.

(4) quote an image you found striking, and explain why in a couple of sentences.

due Monday 11/9

1. Hand in your analysis of Casablanca, including a chart, a claim, five pieces of evidence ranked in order of awesomeness.

2. Read A Midsummer Night's Dream, Act 1, Scene 1, lines 1-56.

due Friday 11/6

Be ready to hand in your analysis of The Real Inspector Hound: chart, claim, five pieces of evidence in order of awesomeness. (No discussion required.)

Due Monday: same for Casablanca.

Due Thursday 11/5

1. Continue to work on your Real Inspector Hound analysis. Don't forget the different parts (see previous post). Due Friday.

2. Do row three of your Casablanca chart. If you need to see another scene and make a specific request, we'll watch it.

due Wednesday 11/4

PLEASE NOTE: if your chart-work leads you to desire to see a particular scene from Casablanca, and you come to class with a specific request, we will locate the scene and watch it.

1. "Joy Sonnet in a Random Universe" and "Sonnet," both on page 789: compare and contrast in an email to me.

2. Do your second row of a chart on Casablanca, using the scene we've watched as at least your starting point.

3. If you want to work more on your chart, claim, and five top pieces of evidence for your Real Inspector Hound analysis, do so. This package of work is due Friday.

due Tuesday 11/3

Finish your Real Inspector Hound chart and come up with a claim, an x + y = z claim if possible. To be graded.