Discussion questions (week 10)

Remember to type out your answers to these questions if you want to get credit for ideas that you don't have a chance to share in discussion!

1. Our discussions of Shakespeare often return to his discussion of power -- perhaps the power sought by monarchs (Theseus, Henry, Macbeth) or the power sought by private citizens (Hermia and Lysander, Shylock, Pistol). But how does Kurt Vonnegut discuss power and the powerful in Slaughterhouse V? How is this discussion of power different from and similar to the discussion of power in the Shakespeare plays (and sonnets) we have read -- particularly Henry V and Macbeth? Why is Vonnegut treating power similarly to the way Shakespeare treats it? Why is he treating it differently?
   
   
2. [This question might be rewritten later this week if I can think of a better way to phrase it.] In what ways does Shakespeare's narrative technique in Henry V and in Macbeth seem similar to Vonnegut's narrative technique in Slaughterhouse V? Think, here, about the order in which the two writers put their plots together: the use of the Chorus in H5, say, or of the problematic narrator in S5. You might think about how all three texts move between the supernatural (God in H5, the Tralfamadorians in S5, the witches/Fates in M) and the ordinary.
   

Upcoming movies

Here are the movies that TAs will be showing over the next five weeks:

• Tue. Nov. 27: Scotland, PA (2001)
  
• Wed. Nov. 28: Macbeth (1948)
  
• Wed. Dec. 5: Henry V (1944)
  
• Wed. Dec. 12: Macbeth (1979)
  
• Thur. Dec. 13: Prospero's Books (1991)

All movies begin at 6:30 in Humanities 1101. Be sure to sign in before you leave!

Discussion questions (week 9)

Discussion questions are back! In case you have forgotten their rules, my expectations are as follows:

• Before discussion you will spend about an hour reviewing your notes, rereading portions of the play, and thinking through answers to these questions.
• You will type and print your answers so that, in theory, I might be able to call on you in discussion on Friday and you will be ready with an answer. (Historically, I haven't called on people; still, I like having this as a threat.)

There are two questions for this week:

1. Take any speech in H5 as your own -- it doesn't have to be as long as the Archbishop's speech that we looked at on Friday, but it should be at least 30 lines. Look at the speech for four things:
   1. How and why does it use repetition?
   2. How does it try to persuade its audience?
      
   3. In a more general sense, how does it suggest the techniques by which language asserts power?
   4. How does the speech respond to, create, and transform metaphors that exist elsewhere in the scene or the play?
      
   
   
   
2. Put together an outline of Henry V by act, noting the setting, main characters and main action for each scene. This should take about ten minutes. Spend fifteen or twenty minutes thinking about the logic of this organization. Why does Shakespeare fly us around so much? Why do we jump to the French side when we do? Why do we get scenes with the barfolk when we do? Why do we get scenes with Katherine and Alice when we do?
   

Essay 2 assignment

Here, in case you wanted it, is a PDF of the assignment for the second mini-essay and the second essay.

Following the plot

I realize that our discussion on Friday was more than a bit fragmented. If you are baffled by Henry V, let me suggest three techniques that might help you tackle the text a bit more easily:

1. Read a summary of the play before or at the same time that you read the script. Prof. Dubrow has written study guides for each of the plays we are tackling this semester, which are all online here. If you are interested in detailed scene-by-scene summaries there are, obviously, dozens of options out there. After a quick survey of the options, I have to say that I prefer the Cliffs Notes scene-by-scene summaries of Henry V, available for free online, which seem generally more accurate and articulate than other versions I could easily find. (Ignore their pedantic "commentary," of course.)
   
   
2. It is usually ideal to read the script before watching a movie adaptation of the play so that your reading isn't influenced by any one interpretation of the text. Still, if you are having trouble understanding the characters, arguments, or plots of Henry V it might be worth watching a movie version before you have finished reading, so that the play seems like more than page after page of dull political speeches.
   
   
3. I know I've been advocating this every week, but I'm serious: if you get the audiobook versions of these plays and listen to them either when you're just walking around campus or if you sit down and listen to the audio while you follow along in the script you will become far, far more comfortable with the content of the plays.

It goes without saying, I hope, that the single best way to master any of these plays is to reread them -- twice, if that's possible. Remember that you will be responsible at 7:30 pm on Dec. 21st for every line of Henry V. Unless you have an eidetic memory you won't be remembering every line after one quick reading.

Discussion questions (week 7)

In preparation for the midterm next week, our discussion on Friday will function as a sort of mini-review. To this end, I'd like you to come to class having completed three review-centric tasks:

1. Write up a list of the terms that Heather has put on the board, and their definitions. I'd like to spend the beginning of discussion reviewing terms you're unsure about.
   
   
2. Write up a list of the themes that pertain to MSND, the sonnets, MoV, and H5. These lists should include those themes Heather has put on the board or suggested in her lectures, but don't stop there -- add to these lists any themes you find striking or persuasive but which haven't come up in class.
   
   Pay particular attention to the themes that apply to multiple texts -- again, these may or may not be themes that Heather has put on the board.
   
   
3. MOST IMPORTANTLY, write an essay question in the style of Heather's examples. You can download the essay questions Heather wrote for last year's midterm here (PDF). Notice that these questions usually
   1. Require comparison either between plays or within a single play
   2. Connect to ideas Heather has raised in lecture once or twice, but not to issues central to those lectures
   3. Ask you to connect a theme (e.g. the role of power in politics and in relationships) to a technique (e.g. closure, pairing, mirroring, etc.)
      
   
   

Essay 2: a preview

Your second essay isn't due for two months. That sounds like a good thing, but since it will be due at the very end of the semester you might want to begin thinking about it now so that you don't find yourself crushed by all the work you have to do in the last week of classes.

You will be able to write on any one or two performances (cinematic or theatrical) of any of the plays we read from now until the end of the semester: The Merchant of Venice, Henry V, Macbeth, or The Tempest.

Although I reserve the right to change the wording in the next month, the essay topic will look more or less like this: 

How does this performance respond to the themes of the play? What themes does it emphasize? What themes does it ignore? What themes does it add? As a scholar of Shakespeare, why do / don't you feel that this interpretation was successful?

In your analysis, take into consideration at least two of the following:

• Directorial decisions, including the setting
• Actors' interpretations of their roles
• Blocking, intonation, and other features of actors' performances
• Costume design, scenery and stage design, music, lighting, and (if applicable) camera work

Your essay should focus on a single performance, but you are welcome to refer occasionally to a second performance if you feel you can make your point more successfully through comparison.