Screenplay

SCREENPLAY

Develop a screenplay. Your screenplay will include all dialogue and all shots (close-up, middle-shot, long-shot) for your film. It also needs to include all setting locations and set pieces as they appear or disappear. It will follow the formatting of the example screenplay that I give you. We will make copies of it so that every member of your group has a copy. You may choose to write a screenplay for your own pitch or for one of the two pitches voted on by the group. Each group member must turn in their own script.

Your Screenplay must include:
1) Title page (Title, name of work your screenplay is based on, theme it explores, date, word count)
2) Transition, camera effect, sound effect, or screen type (if applicable) These directions should be in a ALL CAPS.
3) Description of each setting/ character
4) All dialogue must be written out (no ad lib).
5) Stage directions.

We will be using these scripts next class to create a storyboard so do your best work!

Please use the script for North by Northwest as a jumping off point for style.

Terms to know:
MASTER SCENE- General location of the scene being shot
EXTERIOR-- Outside
INTERIOR-- Inside
L.S.-- Long Shot
E.L.S.-- Extreme Long Shot
M.S.-- Medium Shot
E.C.U.-- Extreme Close Up
P.O.V.-- Point of View

5-5/6 2008 Mao and the Cultural Revolution

Our classes are off by a day so make sure you are looking at the correct campus.

Sheldon

Lesson:
We took a YIRTS quiz for "Red Azaleas"
We went over the Cultural Revolution as a class
We went over propaganda techniques. IF absent, go to propagandacritic.com and report on three of the techniques used for propaganda.
We had four people give their impromptu speech.

HMWK: Read "Guessie grows up" Answer the following question: "What techniques were used to turn people towards Maoist ideas that you see in the story?"


Churchill

Lesson:
We had a quiz for "Daughter of the Yellow River"
If absent, please look up the Great Leap Forward and write a half page regarding what happened.

HMWK: Read Red Azaleas. No study guide.

"Daughter of the Yellow River" study guide

Name:______________________

“Daughter of the Yellow River”

Answer 3 of the 4 questions below for next class. Make sure to prove that you have read by responding to the questions with evidence from the text. Each answer should be a least 1/2 page typed.

1. How does Granny Duo stand out as an individual in her society? What kinds of values does she seem to possess or represent that make other people feel threatened by her? Do you think those same values still threaten people in American society today?

2. Do you think love is the most important value in a long-term relationship? If so, does that make it acceptable for Granny Duo to leave her husband for Ergeze? Why or why not?


3. Is marriage an important social institution? Why or why not? Should Granny Duo have stayed with her husband in the end?


4. How did you react to Grandpa Duo’s forgiveness of Granny and Ergeze’s actions at the end? Why do you think he was able to forgive them? Do you think that kind of forgiveness could happen in our society today?

Questions for white privilege reading

Directions Describe how you have been affected by two or three of the conditions McIntosh lists in the article. Examine the statement that racism is not “individual acts of meanness,” but “invisible systems conferring dominance on [a] group.” Answer the following questions:

How is racism perpetuated by the idea that it consists of random or unusual acts?



How can we begin to challenge racism once we begin to perceive it as systematized?



How can that perception help us make racism visible?



How can “visibility” contribute to change?

Wild Swans Study Guide

Name:_________
Excerpt from Wild Swans by Jung Chang
Study Guide

The basics of the story: (What is the story about?)
1. What is the general setting of this story (where and when)? What factors in the country of China are affecting people’s daily lives?





2. How does the setting of the house that the author’s grandmother lives in after she becomes a concubine to General Xue contribute to the oppression she feels?





3. List and briefly describe the main characters.




4. What is the major conflict in the plot of this story?




The themes of the story: (What does it mean?)
5. Identify the major themes of this story. For instance, you might consider:
∑ Lives of concubines
∑ Filial piety (a love and respect for one's parents and ancestors.)
∑ Structure of Chinese society
∑
Name at least two themes being explored here and back them up through evidence in the story.







6. This story is written as a family biography. In what way might the fact that Jung Chang is writing a biography of her family affect the story? Answer in a short (3-4) sentences paragraph on the back of this sheet.


Bonus Question: How do you pronounce X and Q in proper names in this story?

Crouching Tiger, Hidden Dragon Study guide (alternative to Shadow Magic)

Name:

Crouching Tiger, Hidden Dragon Viewing Guide
Main Characters:
Li Mu Bai—Wudan-trained master fighter and close friend of Lu Shien
Sir Te—Friend of Li Mu Bai’s; recipient of the Green Destiny sword
Lu Shien—Strong female fighter and close friend of Li Mu Bai
Jen—Daughter of Governor Yu; in love with Lo
Dark Cloud (Lo)—Roaming warrior; in love with Jen
Jade Fox—Rebel female warrior who killed Li Mu Bai’s master

Directions: Please answer the following questions in 2-3 complete sentences.

1. What does Lu Shien tell Jen about the reality of being a fighter? How is it different from the glorified view she has?






2. What does Jen seem to desire most, something she sees marriage standing in the way of? Explain.







3. Explain the folktale that Lo tells Jen about the man who flew away.








4. What role does honor play in the lives of Lu Shien and Li Mu Bai?







5. What do you think Jen’s motivation is for what she does at the end of the film? Is she following Lu Shien’s advice of “staying true to herself”? Why or why not?

Persepolis fishbowl questions

Answer three of the following to get credit for the fishbowl discussion:

The New York Times hails Persepolis as "the latest and one of the most delectable examples of a booming postmodern genre: autobiography by comic book." Why do you think this genre is so popular? Why did Satrapi chose this format in which to tell her story? What does the visual aspect add that a conventional memoir lacks? How does Persepolis compare to other comic books? Would you call this a comic book, or does it transcend this and other categories? Where would you place this book in a bookstore? With memoirs, comic books, current events?

Written as a memoir, is Persepolis more powerful than if Satrapi had fictionalized the story? Why or why not? Compare this book to other memoirs you have read. What are the benefits and drawbacks of memoirs?

In an Associated Press interview, Satrapi said, "The only thing I hope is that people will read my book and see that this abstract thing, this Axis of Evil, is made up of individuals with lives and hopes." And in her introduction to Persepolis, she explains that she wrote this book to show that Iran is not only a country of "fundamentalism, fanaticism, and terrorism." How does Satrapi go about challenging this myth? How does Persepolis dispel or confirm your views on Iran? In what ways does reading this book deepen your understanding and knowledge of Iran, and the current situation in Iraq?

How is Persepolis organized and structured? What has Satrapi chosen to emphasize in her childhood? How is the passage of time presented? Describe Satrapi's drawings. How do the drawings add to the narrative of the story?

Describe the writer's voice. Is it appealing? Which aspects of Marji's character do you identify with or like the most, the least? Did your reaction to the little girl affect your reading experience?

How did the revolution exert power and influence over so many people, including many educated and middle class people like Satrapi's parents? Why did so many people leave after the revolution? Why do you think Marji's parents send her off to Austria while they stay in Tehran? Why don't they leave/escape as well?

"Every situation has an opportunity for laughs." (p. 97) Give some examples of how the ordinary citizens of Iran enjoyed life despite the oppressive regime. What made you laugh? How does Satrapi add comic relief? How are these scenes relevant to the story as a whole?

What kinds of captivity and freedom does the author explore in Persepolis? What stifles or prevents people from being completely free? How do they circumvent and defy the rules imposed on them and attempt to live ordinary lives despite revolution and war? Give some examples of their small acts of rebellion.

"In spite of everything, kids were trying to look hip, even under risk of arrest." (p. 112) How did they do this? What do you think you would have done had you been a child in this environment? What acts of rebellion did you do as a teen? In way ways is Satrapi just a normal kid?

What is the role of women in the story? Compare and contrast the various women: Marji, her mother, her grandmother, her school teachers, the maid, the neighbors, the guardians of the revolution.

What is Satrapi suggesting about the relationship between past and present, and between national and personal history? What role does her family history, and the stories of her relatives, play in shaping Marji?

Photo Essay

PHOTOGRAPHY ESSAY

THREE CUPS OF TEA

Due dates: Friday, 3/ (alpha)
Monday 3/ (omega)




As an artistic project to accompany our study of literary non-fiction, you will be creating a photo essay to beautifully display your exploration of themes in this unit. You may photo anything or anyone you wish, but you must be able to tie your work to Three Cups of Tea or the writing from this unit.

Think about the central issues and questions that have been raised in this unit. Take one or several issues from our unit and explore them in this final project. To help you narrow down some topics or issues to explore, we’ve included a list of suggested topics below. Your work must show depth of thought and considerable effort. This assignment is worth 75 points so show off your talents. This is no time for half-hearted taping to lined paper ripped out of your notebook.

Other Requirements:
o Typed or calligraphy where appropriate
o Each photo needs to be accompanied by a short explanation of your work. Total typing should equal at least one page
o Include at least three references to Three Cups of Tea or other works we have explore in class
o You may work in pairs on this assignment but we will expect double the effort & double the thought.

Examples of topics:
What is success? What is greatness? What does it take to be a hero?
What is fate? Is our script written?
How do we tell our story?
How does one make a difference in our world today?
What is progress?
Quotes to inspire your work:
“When it is dark enough you can see the stars”—Persian Proverb
“We don’t envy your restless spirit”—Urkien Sherpa
“Greatness is always built on this foundation: the ability to appear, speak and act, as the most common man”—Shams-ud-din Muhammed Hafiz
“Trust in Allah but tie up your camel”
“There is a candle in your heart, ready to be rekindle. There is a void in your soul, ready to be filled. You feel it don’t you?”—Rumi
“Let nothing perturb you, nothing frighten you. All things pass. Patience achieves everything”—Mother Theresa
“When your heart speaks, take good notes”—Judith Campbell

3 CUps of Tea Final Discussion

Name(s):___________________________

3 Cups of Tea final discussion

With your group, respond to the questions below. Please be thorough in your resonses. Your group does not need to come to a consensus so you may represent multiple view points in the space provided. This will be graded so write legibly.

1. There is a telling passage about Mortenson’s change of direction at the start of the book: “One evening, he went to bed by a yak dung fire a mountaineer who’d lost his way, and one morning, by the time he’d shared a pot of butter tea with his hosts and laced up his boots, he’d become a humanitarian who’d found a meaningful path to follow for the rest of his life.” What made Mortenson particularly ripe for such a transformation? Has anything similar happened in your own life?











2. Relin gives a “warts and all” portrait of Mortenson, showing him as a hero but also as a flawed human being with some exasperating traits. Talk about how Relin chose to write about Mortenson’s character—his choice of details, his perspective, the way he constructs scenes. Is Mortenson someone you’d like to get to know, work with, or have as a neighbor or friend?










3. At the heart of the book is a powerful but simple political message: we each as individuals have the power to change the world, one cup of tea at a time. Yet the book powerfully dramatizes the obstacles in the way of this philosophy: bloody wars waged by huge armies, prejudice, religious extremism, cultural barriers. What do you think of the “one cup of tea at a time” philosophy? Do you think Mortenson’s vision can work for lasting and meaningful change?








4. Have you ever known anyone like Mortenson? Have you ever had the experience of making a difference yourself through acts of generosity, aid, or leadership?











5. The Balti people are fierce yet extremely hospitable, kind yet rigid, determined to better themselves yet stuck in the past. Discuss your reactions to them and the other groups that Mortenson tries to help.












6. After Haji Ali’s family saves Greg’s life, he reflects that he could never “imagine discharging the debt he felt to his hosts in Korphe.” Discuss this sense of indebtedness as key to Mortenson’s character. Why was Mortenson compelled to return to the region again and again? In your opinion, does he repay his debt by the end of the book?










7. References to paradise run throughout the book—Mortenson’s childhood home in Tanzania, the mountain scenery, even Berkeley, California, are all referred to as “paradise.” Discuss the concept of paradise, lost and regained, and how it influences Mortenson’s mission.








8. Mortenson’s transition from climbing bum to humanitarian hero seems very abrupt. However, looking back, it’s clear that his sense of mission is rooted in his childhood, the values of his parents, and his relationship with his sister Christa. Discuss the various facets of Mortenson’s character—the freewheeling mountain climber, the ER nurse, the devoted son and brother, and the leader of a humanitarian cause. Do you view him as continuing the work his father began?











9. Mortenson hits many bumps in the road—he’s broke, his girlfriend dumps him, he is forced to build a bridge before he can build the school, his health suffers, and he drives his family crazy. Discuss his repeated brushes with failure and how they influenced your opinion of Mortenson and his efforts.














10. The authors write that “the Balti held the key to a kind of uncomplicated happiness that was disappearing in the developing world.” This peaceful simplicity of life seems to be part of what attracts Mortenson to the villagers. Discuss the pros and cons of bringing “civilization” to the mountain community.
Pros Cons














11. Much of the book is a meditation on what it means to be a foreigner assimilating with another culture. Discuss your own experiences with foreign cultures—things that you have learned, mistakes you have made, misunderstandings you have endured.


















12. Did the book change your views toward Islam or Muslims? Consider the cleric Syed Abbas, and also the cleric who called a fatwa on Mortenson. Syed Abbas implores Americans to “look into our hearts and see that the great majority of us are not terrorists, but good and simple people.” Discuss this statement. Has the book inspired you to learn more about the region?

3 Cups Final Reading Assignment

Name:______________________________

3 Cups of Tea final reflection

Respond to the following quotes:
First, respond in the context of Three Cups of Tea. How does this quote relate to the story.
Second, argue whether you agree or disagree and explain why.

1. “When it is dark enough you can see the stars”—Persian Proverb





2. “We don’t envy your restless spirit”—Urkien Sherpa





3. “Greatness is always built on this foundation: the ability to appear, speak and act, as the most common man”—Shams-ud-din Muhammed Hafiz





4. “Trust in Allah but tie up your camel”- hand lettered sign in Skardu





5. “There is a candle in your heart, ready to be rekindle. There is a void in your soul, ready to be filled. You feel it don’t you?”—Rumi





6. “Let nothing perturb you, nothing frighten you. All things pass. Patience achieves everything”—Mother Theresa




7. “When your heart speaks, take good notes”—Judith Campbell


Respond to the following questions within the context of Three Cups of Tea. You may include your own opinion but for full credit use examples from the book to support your thoughts. I know these questions are huge but give them a shot. You may attach additional paper if needed.

8. What is success? What does it take to be a hero?







10. What is fate? Is our script written?








11. A book club had the following to say about 3 Cups of Tea: “While no one could argue the merits of what Mortenson accomplished, several in our group felt the style of this book was biased and self-serving, lacking in any objectivity. For us, this lead to a rousing debate about the state of "nonfiction" in today's writing.” Respond to these thoughts and your own opinion of what “nonfiction” writing should look like.








12. How does one make a difference in our world today?








13. What is progress?

Interview Tips!

Getting a Good Interview

The first thing to remember with interviewing is that while you need to come prepared with specific questions to ask, you also need to be prepared to throw those questions out the window if something more interesting comes up. Be ready to ask follow-up questions and to follow the conversation where the person you’re interviewing leads it—it may end up taking you to a different but more interesting place than you intended. For a thirty-minute interview, a list of 10-15 questions is probably a good number to have prepared in advance. Do not just “wing it”—even if it’s someone you know well, you still need to have questions ready!

1. Start with a specific question, rather than a vague one. “Tell me about yourself” is really vague; “Tell me about the place you grew up” is better. With your first interview, it’s okay to ask more general questions, but you should still have some idea of the slant you want to take with your interview. Decide before you write your questions which aspect of the person’s life you want to focus on, but be willing to shift that if need be.

2. Try to ask questions that require the person to tell you specific stories, or anecdotes, rather than general information. Anecdotes make for much more interesting writing. Examples:
o “Tell me about the first time you knew you wanted to be a ___________”
o “Can you remember a time when you doubted yourself? How did you feel?”
o “What is the best part of your day?”

3. After you get some of these specific stories, you can follow up with further questions about them. So, if the person you’re interviewing is a doctor and she tells you that her moment of doubt was when her first patient died, you’ll want to ask follow-up questions about that experience that give you the real details of the moment—the sights, sounds, thoughts running through her head, etc. You could ask her to describe the first thing she saw when she left the emergency room, for example. These are the kinds of memories and details that Relin uses in Three Cups to make Mortenson’s experience come alive.

4. One great idea for an anecdotal question is to ask the person to show you a favorite photo and explain it to you. This only really works if you’re at the person’s home, though you could also ask the person to bring some photos to the interview if you’re doing it somewhere else. This requires the person to give you concrete details about a particular event, which is exactly what you want.

5. Sometimes the best material you’ll get is when you say that you’re ready to go, so be ready to listen at that moment, and write like crazy!

6. Take good notes! Even with a tape recorder, it’s important that you write down what you hear, too. You will need to use direct quotes in your final piece, so make sure you are accurate in everything you write down—it’s very important not to misquote someone else’s words.

3 cups character sheet and read schedule

Three Cups of Tea
Moufazer Ali – Balti porter who was carrying Mortenson’s pack down K2 in 1993 when Mortenson got separated and lost. Mortenson’s close assistant for the next decade.
Haji Ali – chief of Korphe village where Mortenson is sheltered and where first CAI school is built. Ali becomes a father figure to Mortenson
Twaha Ali – Haji Ali’s son, friend and advisor to Mortenson
Jahan Ali – First female graduate of the Korphe school, first female graduate of the Korphe school
Jerene and “Dempsey” Mortenson – Greg Mortenson’s mother and father, former missionaries in Africa
Christa Mortenson – Greg’s sister to whom he is very devoted, mentally disabled, perhaps through childhood illness or vaccine reaction
Jean Hoerni, PhD – Swiss-born physicist and computer pioneer as well as a wealthy mountain climber who funded the first school in Korphe, Pakistan
Mohammed Ali Changazi – trekking agent and tour operator of questionable integrity who both aids and obstructs Mortenson’s efforts
Hussein – Korphe’s most educated citizen who studied through grade twelve in Lahore, Pakistan. Becomes first teacher at Korphe school.
George McCown -- wealthy Californian whom Mortenson meets by accident in Korphe, powerful advocate for Mortenson’s work
Tara Bishop Mortenson – doctoral student in psychology when she met Mortenson at a banquet honoring Sir Edmund Hillary. Her deceased father, a National Geographic photographer, had been a mountain climber who scaled Mt. Everest.
Ghulam Parvi – educated at University of Karachi, he is the second man Mortenson hires to help the new Central Asia Institute begin building schools
Suleman Minhas – Pakistani taxi driver whom Mortenson hired as CAI’s general “fixer” in Islamabad

3 Cups of Tea Reading Schedule

Date Alpha/Omega Pages
February 19/20 1-33
February 21/22 34-69
February 25/26 70-97
February 27/28 98-124
February 29/ March 3 125-153
March 4/5 154-183
March 6/10 297-331

Interview Project Set Up

Eugene IHS: Literature & the Arts

Interview Project


Interviewing is a useful form of research in many ways. To become more accustomed to interviewing, you will be conducting two interviews this semester. They will both be with the same person and be used to create a work of creative non-fiction. The following will be included in this project:

1. Class discussion and brainstorming
2. Role-playing
3. Question writing and practice anticipating results of questions
4. Tape recording interviews
5. Writing up interview material
6. Editing, revising, and rewriting
7. Managing time! Don’t procrastinate
8. Reviewing various models of interviews
9. Transforming the interview into creative nonfiction


You will need:

A. Someone to interview. They must be at least a generation older than you are and not a relative.

B. A script or a plan for asking them for the interview and phone numbers. Request time politely. You will set up two interviews at once. Do not wait until the first interview to set up the second. The first must be by ___________ and the second should be between _____________. Plan on at least 30 minutes for each interview.

C. Interview questions, prepared and rehearsed plus a tape recorder. You must record the final interview. Be sure to practice with the recorder ahead of time. It can be quite embarrassing if it doesn’t work. This tape will be submitted to me with your final write-up. You may tape both if you choose. Plan ahead! You may check out a tape recorder from the room but the amount of recorders is limited so plan ahead.



I am sending home a letter with you for your parents/ guardians to sign. Please return this by _____________. This will be a homework grade.


*******YOU SHOULD HAVE YOUR INTERVIEWS SET UP BY ______________.

I am available every morning before school and evening after school for help with this assignment. Please schedule a time if you are struggling.

Parent Letter for interview

2008

Dear Parent or Guardian,


During this final semester, your son or daughter will do an interviewing project intended to encourage practice with using people as sources of information and as an exercise in creative non-fiction. The person your child selects needs to be: a good talker, willing to show interest and give the student time, and a non-family member at least one generation older. Your suggestions, guidance and help may be useful in this area.


In school, we will discuss interviewing, write, and role-play interview questions. Outside of school, the student will conduct two face-to-face interviews. The first interview is done to get a whole, but sketchy picture of the person’s life, career and interests (Due ____); the second and final interview (Due _______) focuses in depth on 1-3 subjects of interest to the student and to the subject that will help lead the students to create a work of creative non-fiction regarding the subject. The second interview should be audio taped. Tape recorders are available for check out from their teacher if needed but any help from parents in obtaining this will be greatly appreciated. Creative, interesting writing always results from the project. The writing phase of the project will begin after the first interview is completed. Following the conferences and rewrites, I will see and take a final grade on the writing. The writing will then be followed with a thank-you note mailed to the adult your child interviewed.

How can you help? Encourage whenever it’s needed. You may need to help the initial contact. Tenth graders are skilled users of the telephone and can make the call to set up the appointment themselves. Help with any phase of the brainstorming-- who to interview, ways to make the contact, what questions to ask. Help with the role playing -- role play what to say or request on the phone, role-play and rehearse before the interviews, role-play and rehearse before the interviews, role play to try out wording of questions, role-play with a tape recorder to avoid technical difficulties. Help with transportation if they need it. Keep this letter posted on your refrigerator door as a reminder of the due dates.


Thank you now, in advance, for your help. Please sign and return only the bottom portion of this slip to indicate that you have seen and discussed this assignment with your child. Call or send a note to school if you have further questions.

Caleb Kostechka Due Dates:
10th Grade Literature & the Arts


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


Please return this slip by ________________.
This indicates I have seen and discussed the project with my son or daughter.

Student Name:________________________


Parents/guardian signature___________________________

Letter to Mr.K

Letter to Mr.K
Transition
1. What have been your strengths/ weaknesses in making the transition to sophomore year?
2. As a student, what are your strengths? In what areas would you like to improve?
3. What has been your greatest success in high school this year?
4. What is your action plan for making the improvements you’d like to see? What’s your plan to maintain your strengths?
5. What has been the best thing we have done in class this year?
6. Which activity, assignment, or project was the biggest challenge? Do you have suggestions to make this stronger?
7. How have you contributed to our classroom community? What can you do to make our class a better place to learn and feel safe?

Gilgamesh Final Discussion Questions (Not The Study Guide)

READING GROUP DISCUSSION:
BOOK I:
1) This book opens with a positive description of Gilgamesh ending with the word “perfect.” Then, in the next paragraph the description changes, and the word “arrogant” is used. What is the “true” picture of Gilgamesh?
2) The solution to the trapper’s problem is the introduction of sex to the wild man by Shamhat, who is not what we would call a prostitute, someone who sells her body for personal gain, but a priestess of the goddess of love who has dedicated herself to being a servant of the goddess. Discuss the ways in which her union with Enkidu changes him. Is this a change for the good? What does he gain, and what does he lose?

BOOK II:
1) Now that Enkidu has gained some self-awareness, Shamhat continues to teach Enkidu. What lessons does he learn from her in this book?
2) The book begins with a violent fight but ends in the beginnings of friendship. What is your theory about why this happens?

BOOK III:
1) Much of this book is a debate between the two friends. The argument is over whether the two should journey to the Cedar Forest and kill the monster Humbaba. Do you agree or disagree with: Enkidu’s objection to the adventure? Gilgamesh’s reason for insisting on the adventure? His mother Ninsun and the elders’ objection to the adventure?
2) There is disagreement over whether to kill the monster Humbaba. Presented with all the arguments, whose side would you take and why?

BOOK IV:
1) This book is notable for its repetitive descriptions and the interpretation of dreams. Each day the two men travel exactly the same amount of miles, set up camp the same way, and each night Gilgamesh has an ominous dream which Enkidu interprets as favorable. Repetition, interpretation of dreams—what do you see as the importance of this book to the narrative? Why do you think that Enkidu interprets all Gilgamesh’s dreams as “favorable”?
2) The monster Humbaba is portrayed as pathetic, comic, and scary. Did you find yourself sympathizing with him at all as you read, and if so, why?

BOOK V:
1) The two friends exhibit real fear in this book. In this way, they are unlike other heroes in later epics—Beowulf and Odysseus, for example. For Gilgamesh and Enkidu, fear is not a shameful trait. What does sharing their fear accomplish?
2) With the help of the god Shamash, the two defeat the monster in an epic battle. When Humbaba begs for his life, why does Enkidu persuade Gilgamesh to refuse?

BOOK VI:
1) Of the six insulting examples Gilgamesh throws at Ishtar, which one is most convincing to you? Why?
2) Deeply insulted, Ishtar prevails on her father, the sky-god, to let her have the Bull of Heaven to wreak vengeance on Gilgamesh and his city. The images of the gigantic bull are fierce, but again, the two friends work together to kill the

monster. What does Enkidu’s action at the finish of the battle tell us about him?

BOOK VII:
1) At the end of Book VI, Enkidu has a frightening dream, and in Book VII he recalls it for Gilgamesh along with another bad dream. Gilgamesh tries to interpret the dreams as favorable, but Enkidu realizes that his fate has been sealed. How has Enkidu angered the gods?
2) When Enkidu realizes his fate, he curses both the trapper and Shamhat, who brought him to the city of Uruk, but Shamash offers a more balanced view. What is his view, and how does Enkidu react to it? Discuss why you do or don’t believe that Enkidu is the villain in this myth.

BOOK VIII:
1) The loss of Enkidu is devastating to Gilgamesh. How does he express his grief and how does he honor his friend’s memory? What would he do today?
2) After Enkidu’s death, the epic goes in a new direction. Gilgamesh begins a long, beautiful lament for his dead friend. Discuss the changes that Gilgamesh undergoes as a result of his friendship with Enkidu.

BOOK IX:
1) Gilgamesh now realizes that he, too, will die and allows his life to fall apart; he does not bathe, shave, or take care of himself (somewhat reminiscent of the original Enkidu) because he is terrified about death. On his journey to find Utnapishtim, the first stage—the trip through the tunnel—is successful. What are the dangers in this first part of the quest?
2) So many dreams appear in this myth. What two examples can you remember from any of the books of the myth explain the purpose of dreams in Gilgamesh?

BOOK X:
1) The tavern keeper, Shiduri, seems to offer Gilgamesh good advice for living after Enkidu’s death. Why doesn’t Gilgamesh pay attention?
2) What is the significance of Gilgamesh’s passage through the darkness underneath the twin-peaked mountain?

BOOK XI:
1) When Gilgamesh asks Utnapishtim to reveal the reason the gods made him immortal, the man recounts the ancient story of the Flood. This is the “vision” of the “primeval days before the Flood” promised in the Prologue. But this vision doesn’t seem to help Gilgamesh find the answer to his question, “Must I die too?” Scholars differ on the reasons for including this account of the Flood; why do you think the narrator included it?

2) In the Prologue, the unknown narrator takes the reader proudly through the city of Uruk. These same lines are spoken by Gilgamesh at the end of the tale. What is significance of this? What has Gilgamesh learned by the end of his epic journey?

Gilgamesh Study Guide

Literature and the Arts Name: __________________________
Gilgamesh Study Guide
SETTINGS
Name and briefly describe each of the following.

Approximate time the story takes place:

City:

Geographic Area:

Home of the evil giant:

CHARACTERS
For each of the following, identify the character and give a brief description of important characteristics.

Our hero! The protagonist:



Mother:


Father:


Man created by the gods to challenge and befriend the hero:



Evil giant:

PLOT LINE
What task do Gilgamesh and Enkidu set out to accomplish?


Who takes on the role of a mentor (remember Odyssey?) in the story?


List two challenges that Gilgamesh faces.




At the conclusion of the story, what important lesson has Gilgamesh learned?

Othello Logs: Part 2

Log #1: Add subtext to the “Temptation Scene” 3.3
Log #2: “To Act or not to act” on assignments page.
Log#3: Log entry of choice from the book
Log Entry #4: Whoops, I told you to practice. There is no log entry #4
Log Entry #5 Reflections on your acting and respond to 6 assertions below.
Othello’s real problem is his own jealousy.

It is very important to the play for Othello to be black.

Desdemona is not a spineless woman. She has good sense, stubbornness and courage. She can stand up to Othello for the sake of what she thinks is right, even when he is in a dangerous mood and few people would care to face him.

Desdemona is not angelically pure. The potential for unrestrained desire must be in her character in order for the drama to work.

Iago is not a “motiveless malignity” as he has been called – a devil who does evil for its own sake. He has a thirst for power and the wit to contrive a way to get it. Desdemona’s death is a side effect he did not really intend.

Iago’s cleverness is not total. He builds into the intricate structure of his plot a piece of terrible stupidity; he fails to understand his wife.

Log Entry #6: Reflections on the film version.

Log #2: To Act or not to act

Name;________________________

To Act or not to Act: Log #2

For this assignment you will either be acting next class or creating subtext within the script. If you are acting, you will be expected to practice your part to read with emphasis on voice inflection and subtext. If you are acting, for you log simply make notes on how you will be adding inflection and subtext for your character in your section. You will be turning in these notes.
If you are not acting, your job will be to add your own subtext to the script. Take the following pages and add at least 20 lines of subtext. This can take the form of how a line is delivered (“Zounds” Othello shouted with all the anger and jealousy in his heart. His voice so filled with rage it frightened the lurking vultures outside the window (94)) or through actions of the characters (“I’faith, sweet love, I was coming to your house,” Bianca cooed as she sauntered up to Cassio with a tempting look in her eyes (165). Make sure you cite the line to which you are making an addition. After the addition, write what you are trying to show that is not in the lines. You will be turning this in as a log entry.

Company 1
3.4.19-94 (“Where should I lose that handkerchief” through Othello’s exit) Othello asks Desdemona for the handkerchief and rebukes her when she cannot produce it.

Lines: Desdemona, 36; Emilea, 3; Othello 54


Company 2

3.4.95-163 (“Is not this man jealous?” through the exit of Desdemona and Emilea). Cassio again asks Desdemona for help, and she explains that Othello does not seem himself. (Cut the longer speeches of Cassio and Desdemona and be able to provide reason for these cuts)

Lines: Emilea, 19; Desdemona, 38; Iago, 13; Cassio, 18


Company 3

3.4.164-196 (“Save your friend, Cassio!” to the end of the scene). After Desdemona’s exit, Cassio says he has found a strange handkerchief in his lodging. When his lover, Bianca, appears, he asks her to copy the embroidery.

Lines: Bianca, 17; Cassio, 25