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2 Elizabethan England Trivia 1. What was the name of Shakespeare s theatre? 2. Briefly describe the appearance of the Globe Theatre. 3. How did it burn down in 1613? 4. Where was Shakespeare born? 5. Who was Queen Elizabeth s father? 6. How did Elizabeth s mother die? 7. For how long did Elizabeth rule England? 8. What is a vagrant? 9. List three snack foods eaten in Elizabethan England. 10. What was the worst punishment for criminals used in Elizabethan times?

3 Analyzing and Responding Critically to Poetry Poetry is written and read for enjoyment and catharsis. It is a language of emotion, and thus is not always easy to dissect and analyze. Unfortunately, however, it is our job as academics to analyze and criticize everything. Not even poetry will escape our nit-picking wrath. Go From Big to Small When analyzing poetry, you start with the poem as a whole and gradually move towards an examination of single words. Work in this order: 1. Poem 2. Stanzas 3. Lines 4. Words Poem Look at the poem as a whole and start with general questions: What does the poem make me feel? Why do I like/dislike the poem? What style is used in the poem? What is the tone or atmosphere in the poem? Stanza Next look at the individual stanzas. Why are the stanzas separated as they are? Does the topic or tone shift between stanzas? Does the style shift between stanzas? Does the rhyme scheme change? Line Now you must examine the lines within each stanza. Look for poetic devices such as simile, metaphor, personification, juxtaposition, alliteration, imagery, etc. What poetic devices are used? What are the effects of the poetic devices used? What images are created in the poem? What images are juxtaposed? Why?

4 Words You must also examine the poet s choice of words. List the strong words used. What effect does the diction have? Why do you think the poet chose these words? Finally you must come to some conclusions about the poem. Try to determine its purpose. What is the poet s point? What does the poet want me to feel? Once you have answered these questions, you are ready to write a paragraph discussing your analysis of the poem.

5 Terms 1. Simile Poetic Terms Quiz Definitions + Examples a) Vivid description that uses concrete images 2. Personification 3. Juxtaposition 4. Metaphor 5. Alliteration 6. Onomatopoeia 7. Hyperbole 8. Irony 9. Cacophony 10. Euphony b) When what occurs is the opposite of what would normally be expected c) Occurs when a word mimics the sound it describes d) Bent double like old beggars under sacks. e) Occurs when a part represents the whole f) Occurs when two images, ideas, characters, or thoughts are placed near each other to create contrast g) The rhythm, or beat of a poem h) A series of rhyming couplets i) A comparison not using like or as j) A series of words starting with similar sounds k) Soothing, sweet sounds l) I would rather die than go to English class. m) Harsh, discordant sound n) The predominant tone or mood in a poem

6 Protagonist main character with whom the audience becomes most invested. Antagonist character most in conflict with protagonist Round Characters characters that are developed and multi-faceted Flat Characters characters that are one-dimensional, have little depth, and play a limited Role Stock flat characters that fit common roles. Eg. Cop, banker, thug, etc. Stereotype stock characters who also fit typical stereotypes. Eg. Blond Bimbo, gay hairdresser, hippie, drunk sailor, etc. Foils two characters who are extremely different (even opposite) and create contrast. Confidant character in whom the protagonist confides. Provides insight to main character.

7 Character Sketch Sample In the film Casablanca, one character dominates the screen with personality and presence. Rick, played by Humphrey Bogart, is a cool, cynical café owner, handsome, impeccably dressed, and determined to protect his own interests. Having had his heart recently broken, Rick is careful not to become emotionally invested in anyone else. When his girlfriend asks if she will see him later that night, Rick replies that he never plan[s] that far ahead. Early in the film, Rick exclaims (in one of many classic lines), I stick my neck out for no one. However, Rick s calloused exterior softens when he is faced with a great moral dilemma: whether or not to help Victor Lazlo and Ilsa escape. Ultimately, Rick proves he is a compassionate man, able to put the greater good ahead of his own selfish interests. He helps Lazlo escape, and even insists that Ilsa go with him. Though he didn t get the girl in the end, Casablanca s Rick has become an icon of masculinity and coolness.

8 Character Types Type Definition Example Protagonist Antagonist Round Flat Stock Stereotype Foils Confidant

9 Characterization Characterization is the method through which an author reveals and develops the personalities of characters within a text or film. There are three main types: 1. Direct Characterization from the narrator This occurs when the narrator makes direct statements about a character. Eg. He was a brooding, temperamental teacher with a penchant for inflicting scholastic suffering. 2. Indirect Characterization from the character s own words and actions This occurs when the words and actions of a character reveals aspects of his/her personality. Eg. 3. Indirect Characterization from the words and actions of other characters We also learn about characters from the words and actions of other characters. Eg.

10 Ad Campaign Evaluation Teacher Overall Concept /5 Is it clear? Does it make sense? Does it show careful thought and consideration? Magazine Ad /10 Does it fit with the campaign concept? Is it effective? Does it demonstrate careful and deliberate work? Commercial /10 Does it fit with the campaign concept? Is it effective? Does it demonstrate much thought and effort? Total /25 Ad Campaign Evaluation Teacher Overall Concept /5 Is it clear? Does it make sense? Does it show careful thought and consideration? Magazine Ad /10 Does it fit with the campaign concept? Is it effective? Does it demonstrate careful and deliberate work? Commercial /10 Does it fit with the campaign concept? Is it effective? Does it demonstrate much thought and effort? Total /25

11 Ad Campaign Evaluation Student Please list the names of your group members (including yourself) and assign a grade for each member out of 10. You may also write comments in the box below pointing out the extra effort or lack of effort from one or more group members. 1. /10 2. /10 3. /10 4. /10 5. /10 Comments: Ad Campaign Evaluation Student Please list the names of your group members (including yourself) and assign a grade for each member out of 10. You may also write comments in the box below pointing out the extra effort or lack of effort from one or more group members. 1. /10 2. /10 3. /10 4. /10 5. /10 Comments:

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13 Analyze an Ad Assignment Individually or with a partner Your task is to analyze a magazine ad by answering the following questions and writing a brief statement that expresses the essence of your findings. You must determine exactly what an ad says and explain how the ad says it. Choose an ad that is ripe for analysis, one with different levels of meaning and message. How to Analyze an Advertisement Finding Ads' Hidden Messages There's more to advertising's message than meets the casual eye. An effective ad, like other forms of communication, works best when it strikes a chord in the needs and desires of the receiving consumer -- a connection that can be both intuitive and highly calculated. The following questions can help foster an awareness of this process. Use them for class or group discussions or your own individual analysis of ads or commercials. You may be surprised by the messages and meanings you uncover. Answer these in point form: 1. What is the general ambience of the advertisement? What mood does it create? How does it do this? 2. What is the design of the advertisement? How are the basic components or elements arranged? 3. What is the relationship between pictorial elements and written material and what does this tell us? 4. What is the use of space in the advertisement? Is there a lot of 'white space" or is it full of graphic and written elements? 5. What signs and symbols do we find? What role do they play in the ad's impact? 6. If there are figures (men, women, children, animals) what are they like? What can be said about their facial expressions, poses, hairstyle, age, sex, hair color, ethnicity, education, occupation, relationships (of one to the other)? 7. What does the background tell us? Where is the advertisement taking place and what significance does this background have? 8. What action is taking place in the advertisement and what significance does it have? (This might be described as the ad's "plot.") 9. What theme or themes do we find in the advertisement? What is it about? (The plot of an advertisement may involve a man and a woman drinking but the theme might say something about jealousy, faithlessness, ambition, passion, etc.) 10. What about the language used? Does it essentially provide information or does it try to generate some kind of emotional response? Or both? What techniques are used by the copywriter: humor, alliteration, definitions" of life, comparisons, sexual innuendo, and so on? 11. What is the item being advertised and what role does it play in our culture and society? 12. What sociological, political, economic or cultural attitudes are indirectly reflected in the advertisement? An advertisement may be about a pair of blue jeans but it might, indirectly, reflect such matters as sexism, alienation, stereotyped thinking, conformism, generational conflict, loneliness, elitism, and so on. Once you have answered the questions above, you must write a statement (paragraph of 8-12 sentences) that summarizes your findings what is the ad saying and how does it deliver the message?

14 Analyzing and Responding Critically to Poetry Poetry is written and read for enjoyment and catharsis. It is a language of emotion, and thus is not always easy to dissect and analyze. Unfortunately, however, it is our job as academics to analyze and criticize everything. Not even poetry will escape our nit-picking wrath. Go From Big to Small When analyzing poetry, you start with the poem as a whole and gradually move towards an examination of single words. Work in this order: 1. Poem 2. Stanzas 3. Lines 4. Words Poem Look at the poem as a whole and start with general questions: What does the poem make me feel? Why do I like/dislike the poem? What style is used in the poem? What is the tone or atmosphere in the poem? Stanza Next look at the individual stanzas. Why are the stanzas separated as they are? Does the topic or tone shift between stanzas? Does the style shift between stanzas? Does the rhyme scheme change? Line Now you must examine the lines within each stanza. Look for poetic devices such as simile, metaphor, personification, juxtaposition, alliteration, imagery, etc. What poetic devices are used? What are the effects of the poetic devices used? What images are created in the poem? What images are juxtaposed? Why?

15 Words You must also examine the poet s choice of words. List the strong words used. What effect does the diction have? Why do you think the poet chose these words? Finally you must come to some conclusions about the poem. Try to determine its purpose. What is the poet s point? What does the poet want me to feel? Once you have answered these questions, you are ready to write a paragraph discussing your analysis of the poem.

16 Essay Outline Conflict: Thesis: Paragraph #1 Topic Sentence: Paragraph #2 Topic Sentence: Which side of the conflict wins or is dominant? What does it mean/why does it matter?

17 Literary Paragraph Assignment Your assignment is to write a polished paragraph explaining which of the stories studied during this unit you enjoyed the most and why. Format This is a literary paragraph and should therefore follow the guidelines we established in class. You need a clear thesis, two reasons supporting your thesis, evidence, and a conclusion. Your paragraph should also be handed in as a good copy, meaning it should be neat, and free of obvious errors such as spelling mistakes. Type it if you can. Tips 1. Explain yourself! Make sure you explain each of your points. Tell the reader WHY. 2. Be specific! Refer to details from the story. 3. Follow the structure! If you follow the structure demonstrated in the sample below, the paragraph should almost write itself. Sample The Most Dangerous Game by Richard Connell is the best of the stories we studied because it is full of suspense and action. Connell creates suspense during General Zaroff s pursuit of Rainsford. The reader s anticipation grows constantly as the General closes in on his victim. Connell s story is also peppered with action. There are several deadly encounters between the hunters and the prey, and these give the reader the essential moments of excitement. Ultimately, stories should entertain readers, and The Most Dangerous Game does this with a great balance of suspense and action. *NOTE: The sample above represents the minimum required. Feel free to write a longer, more detailed paragraph. Your efforts will be rewarded. Criteria Your paragraph will be marked out of 12 according to the following criteria: Structure thesis, reasons, evidence, conclusion /5 Support refers to specifics from the text /5 Style writing is grammatically correct and your prose are fluid /2

18 Plot Structure Most stories follow a similar plot structure that includes the following elements. Introduction Establishes setting and atmosphere Introduces important characters Initiating Incident This is the first incident that will generate much of the conflict in the story It does not have to be a large or obviously important event, but its effects will help shape the rest of the story This incident marks the beginning of a rise in conflict and action Rising Action After the initiating incident, a series of other events propels the story and conflict builds The rising action is marked by this series of events and conflict Rising action keeps the audience interested and moves the story towards the climax Climax The climax occurs when the action is at its highest point This is the most exciting part of the story Dénouement The denouement comes immediately after the climax It is the brief period during which outstanding conflicts are resolved and loose ends are tied The denouement answers questions that may remain after the climax

19 SECTION A Matching Terms Short Stories Test 1. Dynamic Character 2. Omniscient Point of View 3. Internal Conflict 4. Antagonist 5. Dramatic Irony 6. Setting 7. First Person Point of View 8. Confidant 9. Character Foils 10. Rising Action A. Character who the protagonist confides in. B. The time and place in which a story occurs. C. Character who changes over the course of the story. D. Character most in conflict with the main character. E. When the reader knows something a character does not. F. Character who are opposites and provide contrast for each other. G. Person vs. Self H. Story told using the pronoun I. I. Narrator knows everything about all characters. J. Part of the story where suspense builds towards the climax 11. Climax 12. Situational Irony 13. Atmosphere 14. Round Character 15. Denouement 16. Limited Omniscient Point of view 17. Initiating Incident 18. Theme K. Falling action that occurs after the climax. L. Mood or feeling of a story. M. Event that begins the main conflict in a story. N. Developed, multi-dimensional character. O. Narrator knows everything about one of the characters. P. Most exciting part of the story. Q. Central message or idea of a story. R. When the opposite of what one would normally expect happens.

20 SECTION B Multiple Choice Questions Regarding The Sniper 1. Who is the antagonist in The Sniper? a. The Republican sniper b. The informant c. The enemy sniper d. The Free Staters 2. What point of view is used in The Sniper? a. Omniscient b. Limited Omniscient c. First Person d. Second Person 3. The reader s inside knowledge of the Republican sniper s plan is an example... a. Denouement b. Dramatic Irony c. Theme d. Atmosphere 4. Which of the following best describes the sniper s emotions immediately after he kills the enemy sniper? a. Remorseful and disgusted b. Excited and thankful c. Relieved d. Scared 5. Which of the following best describes the story s theme? a. Liam O Flaherty s The Sniper shows that there are no winners in war. b. Liam O Flaherty s The Sniper shows how frightening war is. c. Liam O Flaherty s The Sniper shows that you should always find out who your enemy is. d. Liam O Flaherty s The Sniper shows that we shouldn t have wars. SECTION C Paragraph Answer ONE of the following with a full, well developed literary paragraph. Be sure to explain your points and provide specific examples from the story to support your answer. 1. What role does dramatic irony play in the story? 2. What is Liam O Flaherty s message? 3. How well does The Sniper fit the typical short story plot sequence?

21 The Sniper By Liam O Flaherty The long June twilight faded into night. Dublin lay enveloped in darkness but for the dim light of the moon that shone through fleecy clouds, casting a pale light as of approaching dawn over the streets and the dark waters of the Liffey. Around the beleaguered Four Courts the heavy guns roared. Here and there through the city, machine guns and rifles broke the silence of the night, spasmodically, like dogs barking on lone farms. Republicans and Free Staters were waging civil war. On a rooftop near O'Connell Bridge, a Republican sniper lay watching. Beside him lay his rifle and over his shoulders was slung a pair of field glasses. His face was the face of a student, thin and ascetic, but his eyes had the cold gleam of the fanatic. They were deep and thoughtful, the eyes of a man who is used to looking at death. He was eating a sandwich hungrily. He had eaten nothing since morning. He had been too excited to eat. He finished the sandwich, and, taking a flask of whiskey from his pocket, he took a short drought. Then he returned the flask to his pocket. He paused for a moment, considering whether he should risk a smoke. It was dangerous. The flash might be seen in the darkness, and there were enemies watching. He decided to take the risk. Placing a cigarette between his lips, he struck a match, inhaled the smoke hurriedly and put out the light. Almost immediately, a bullet flattened itself against the parapet of the roof. The sniper took another whiff and put out the cigarette. Then he swore softly and crawled away to the left. Cautiously he raised himself and peered over the parapet. There was a flash and a bullet whizzed over his head. He dropped immediately. He had seen the flash. It came from the opposite side of the street. He rolled over the roof to a chimney stack in the rear, and slowly drew himself up behind it, until his eyes were level with the top of the parapet. There was nothing to be seen--just the dim outline of the opposite housetop against the blue sky. His enemy was under cover. Just then an armored car came across the bridge and advanced slowly up the street. It stopped on the opposite side of the street, fifty yards ahead. The sniper could hear the dull panting of the motor. His heart beat faster. It was an enemy car. He wanted to fire, but he knew it was useless. His bullets would never pierce the steel that covered the gray monster. Then round the corner of a side street came an old woman, her head covered by a tattered shawl. She began to talk to the man in the turret of the car. She was pointing to the roof where the sniper lay. An informer.

22 The turret opened. A man's head and shoulders appeared, looking toward the sniper. The sniper raised his rifle and fired. The head fell heavily on the turret wall. The woman darted toward the side street. The sniper fired again. The woman whirled round and fell with a shriek into the gutter. Suddenly from the opposite roof a shot rang out and the sniper dropped his rifle with a curse. The rifle clattered to the roof. The sniper thought the noise would wake the dead. He stooped to pick the rifle up. He couldn't lift it. His forearm was dead. "I'm hit," he muttered. Dropping flat onto the roof, he crawled back to the parapet. With his left hand he felt the injured right forearm. The blood was oozing through the sleeve of his coat. There was no pain--just a deadened sensation, as if the arm had been cut off. Quickly he drew his knife from his pocket, opened it on the breastwork of the parapet, and ripped open the sleeve. There was a small hole where the bullet had entered. On the other side there was no hole. The bullet had lodged in the bone. It must have fractured it. He bent the arm below the wound. the arm bent back easily. He ground his teeth to overcome the pain. Then taking out his field dressing, he ripped open the packet with his knife. He broke the neck of the iodine bottle and let the bitter fluid drip into the wound. A paroxysm of pain swept through him. He placed the cotton wadding over the wound and wrapped the dressing over it. He tied the ends with his teeth. Then he lay still against the parapet, and, closing his eyes, he made an effort of will to overcome the pain. In the street beneath all was still. The armored car had retired speedily over the bridge, with the machine gunner's head hanging lifeless over the turret. The woman's corpse lay still in the gutter. The sniper lay still for a long time nursing his wounded arm and planning escape. Morning must not find him wounded on the roof. The enemy on the opposite roof coverd his escape. He must kill that enemy and he could not use his rifle. He had only a revolver to do it. Then he thought of a plan. Taking off his cap, he placed it over the muzzle of his rifle. Then he pushed the rifle slowly upward over the parapet, until the cap was visible from the opposite side of the street. Almost immediately there was a report, and a bullet pierced the center of the cap. The sniper slanted the rifle forward. The cap clipped down into the street. Then catching the rifle in the middle, the sniper dropped his left hand over the roof and let it hang, lifelessly. After a few moments he let the rifle drop to the street. Then he sank to the roof, dragging his hand with him. Crawling quickly to his feet, he peered up at the corner of the roof. His ruse had succeeded. The other sniper, seeing the cap and rifle fall, thought that he had killed his man. He was now standing before a row of chimney pots, looking across, with his head clearly silhouetted against the western sky.

23 The Republican sniper smiled and lifted his revolver above the edge of the parapet. The distance was about fifty yards--a hard shot in the dim light, and his right arm was paining him like a thousand devils. He took a steady aim. His hand trembled with eagerness. Pressing his lips together, he took a deep breath through his nostrils and fired. He was almost deafened with the report and his arm shook with the recoil. Then when the smoke cleared, he peered across and uttered a cry of joy. His enemy had been hit. He was reeling over the parapet in his death agony. He struggled to keep his feet, but he was slowly falling forward as if in a dream. The rifle fell from his grasp, hit the parapet, fell over, bounded off the pole of a barber's shop beneath and then clattered on the pavement. Then the dying man on the roof crumpled up and fell forward. The body turned over and over in space and hit the ground with a dull thud. Then it lay still. The sniper looked at his enemy falling and he shuddered. The lust of battle died in him. He became bitten by remorse. The sweat stood out in beads on his forehead. Weakened by his wound and the long summer day of fasting and watching on the roof, he revolted from the sight of the shattered mass of his dead enemy. His teeth chattered, he began to gibber to himself, cursing the war, cursing himself, cursing everybody. He looked at the smoking revolver in his hand, and with an oath he hurled it to the roof at his feet. The revolver went off with a concussion and the bullet whizzed past the sniper's head. He was frightened back to his senses by the shock. His nerves steadied. The cloud of fear scattered from his mind and he laughed. Taking the whiskey flask from his pocket, he emptied it a drought. He felt reckless under the influence of the spirit. He decided to leave the roof now and look for his company commander, to report. Everywhere around was quiet. There was not much danger in going through the streets. He picked up his revolver and put it in his pocket. Then he crawled down through the skylight to the house underneath. When the sniper reached the laneway on the street level, he felt a sudden curiosity as to the identity of the enemy sniper whom he had killed. He decided that he was a good shot, whoever he was. He wondered did he know him. Perhaps he had been in his own company before the split in the army. He decided to risk going over to have a look at him. He peered around the corner into O'Connell Street. In the upper part of the street there was heavy firing, but around here all was quiet. The sniper darted across the street. A machine gun tore up the ground around him with a hail of bullets, but he escaped. He threw himself face downward beside the corpse. The machine gun stopped. Then the sniper turned over the dead body and looked into his brother's face.