Aristotle's definition of Tragedy, Oedipus and Antigone (See the board and the 1st Quarter for study guides and resources), The Comparative Literature Research Paper: Hamlet and Othello, Theater of the Absurd: Rosencrantz and Guildenstern are Dead, Existentialism and The Philosophy Project, Flannery O'Connor, More Short Stories, Metaphysical Poetry, and Metamorphosis
http://www.upworthy.com/bullies-called-him-pork-chop-he-took-that-pain-with-him-and-then-cooked-it-into?g=2
WATCH THE VIDEO/SPOKEN WORD AND STAND UP AGAINST BULLYING!!!
HOW TO MAKE SENSE OF ELIZABETHAN VOCABULARY CLICK HERE
BACKGROUND ON THE PLAY AND SHAKESPEARE'S WORLDVIEW:
the_elizabethan_world_view_ap.doc | |
File Size: | 68 kb |
File Type: | doc |
shakespeare-and-the-elizabethan-world-view.pdf | |
File Size: | 495 kb |
File Type: |
http://emml.mtu.edu/mdh/Insult.html
Shakespeare Insult Generator above
shakespeare_tragedy.pdf | |
File Size: | 235 kb |
File Type: |
http://internetshakespeare.uvic.ca/Library/SLT/ideas/index.html
More info about the Elizabethan Worldview above and below.
the_elizabethan_world_view.pdf | |
File Size: | 348 kb |
File Type: |
http://elsinore.ucsc.edu/melancholy/melFirst.html
http://www.academia.edu/2036717/Hamlet_-_An_Introduction
EVERYTHING YOU WANT TO KNOW ABOUT OTHELLO IS IN THE LECTURE and GUIDE BELOW:
othellolecture.docx | |
File Size: | 378 kb |
File Type: | docx |
othello_guide2.pdf | |
File Size: | 440 kb |
File Type: |
Some study guides for Hamlet, Othello, MacBeth, and King Lear below:
http://www.srvc.net/engl154/html_files/hamlet_lecture.html
http://public.wsu.edu/~delahoyd/shakespeare/hamlet1.html
http://www.project-hamlet.info/courtyard.html
http://www.srvc.net/engl154/othello/LECTURE_ON_OTHELLO.htm
http://public.wsu.edu/~delahoyd/shakespeare/othello1.html
http://public.wsu.edu/~delahoyd/shakespeare/hamlet1.html
http://www.project-hamlet.info/courtyard.html
http://www.srvc.net/engl154/othello/LECTURE_ON_OTHELLO.htm
http://public.wsu.edu/~delahoyd/shakespeare/othello1.html
MacBeth Study Guide:
ap_macbeth_act_i_i_-_iii_study_guide_updated.pdf | |
File Size: | 74 kb |
File Type: |
ap_macbeth_act_i_iv_study_guide_updated.pdf | |
File Size: | 64 kb |
File Type: |
ap_macbeth_act_i_v-_vii_study_guide_updated.pdf | |
File Size: | 73 kb |
File Type: |
ap_macbeth_act_ii_i_-_iv_study_guide_updated.pdf | |
File Size: | 18 kb |
File Type: |
ap_macbeth_act_iii_i_-_vi_study_guide_updated.pdf | |
File Size: | 14 kb |
File Type: |
ap_macbeth_acts_iv_-_v_study_guide_updated.pdf | |
File Size: | 119 kb |
File Type: |
King Lear Questions:
act_1_questions.pdf | |
File Size: | 65 kb |
File Type: |
act_2_questions.pdf | |
File Size: | 55 kb |
File Type: |
act_iii_questions.pdf | |
File Size: | 68 kb |
File Type: |
act_iv_questions.pdf | |
File Size: | 70 kb |
File Type: |
act_v_questions.pdf | |
File Size: | 53 kb |
File Type: |
The Research Paper:
research_paper.pdf | |
File Size: | 53 kb |
File Type: |
the-literary-comparison-contrast-essay.pdf | |
File Size: | 425 kb |
File Type: |
how_to_write_a_literary_analysis-1.pdf | |
File Size: | 39 kb |
File Type: |
MLA FORMAT and Rules CLICK HERE
(SEE MORE TIPS FOR HOW TO WRITE AND EDIT THE PAPER BELOW)
(SEE MORE TIPS FOR HOW TO WRITE AND EDIT THE PAPER BELOW)
CHANGES IN MLA 8TH EDITION:
Note the differences in citing a print book with one author:Eighth edition (the new way):
Jacobs, Alan. The Pleasures of Reading in an Age of Distraction. Oxford UP, 2011.
In this version, only the most essential information is included (author’s name, book title, publisher, and date). Note that the city of publication is not needed, and the medium of publication is eliminated.
Seventh edition (the old way):
Jacobs, Alan. The Pleasures of Reading in an Age of Distraction. Oxford: Oxford UP, 2011. Print.
This version includes the city of publication (Oxford) and the medium (print), which the new eighth edition does not require.
The differences in citing an article from a scholarly journal:Eighth edition:
Kincaid, Jamaica. “In History.” Callaloo, vol. 24, no. 2, Spring 2001, pp. 620-26.
This version identifies the volume (24), the number (2), and the page numbers (620-26) of the scholarly journal, rather than leaving those numbers without clear explanation. This helps readers best make sense of your citation and allows them to locate your source without getting bogged down with extra information or references that can be difficult to decipher. Also note that punctuation is simple; only commas separate the journal title, volume, number, date, and page numbers.
Seventh edition:
Kinkaid, Jamaica. “In History.” Callaloo 24.2 (Spring 2001): 620-26. Web.
This version includes the volume and number (24.2), and page numbers (620-26) of the journal, but does not explain those references. The seventh edition emphasized following a strict punctuation formula, such as parentheses around the date and the colon, while the new eighth edition focuses on providing this information in a more streamlined manner by using only commas to separate each component.
*If your article lacks page #s, use par. # (par. 13) or pars. #s (pars. 13-14).
HOW TO QUOTE SHAKESPEARE PLAYS: http://drmarkwomack.com/mla-style/how-to-quote/quote-shakespeare/
mla_sample_2016.pdf | |
File Size: | 293 kb |
File Type: |
A Sample Research Article on Religion in Hamlet to practice annotating:
what_hath_wittenberg_to_do_with_stratford-upon-avon___the_protest.pdf | |
File Size: | 97 kb |
File Type: |
TIPS FOR HOW TO WRITE and EDIT THE PAPER (see samples for notecards):
http://www.uwyo.edu/english/undergraduate-students/english1010/1010-osh-attributive%20tags.html
How to Use Attributive Tags (See link above) and How to Quote and Cite Sources:
attributive_tags_2010.pdf | |
File Size: | 177 kb |
File Type: |
guide_to_parenthetical_citations.pdf | |
File Size: | 273 kb |
File Type: |
for_tricky_documentation.pdf | |
File Size: | 273 kb |
File Type: |
mla_punctuation_guide_spacing.pdf | |
File Size: | 233 kb |
File Type: |
warning_signs_of_a_rushed_paper.pdf | |
File Size: | 57 kb |
File Type: |
http://writing2.richmond.edu/writing/wweb/rushed.html
*READ THE DOCUMENTS BELOW TO GET IMPORTANT INFORMATION BEFORE READING THE PLAYS (see Elizabethan worldview, study guides, research topics, and resources for the research paper): Explain the sources of the plays, the language/style/meter, characterization, psychology, 4 humours, chain of being, music of the spheres, zodiac, divine right of kings, humanism, superstition, religion,freewill, fate, fortune, 'sblood, 'swounds, soliloquies, asides, revenge is a "wild justice", incest, madness, disease, pollution, garden imagery, death, suicide, regicide, patricide, regicide, women, courtly love, jealousy, betrayal, tragedy, and more.
Research Paper/Group Project: Comparative Literature (see documents above for all background and group assignment directions).
Write a research paper (in MLA format) comparing Hamlet to Othello. Choose a topic that is present in both plays. See several ideas/topics below. You must use 10 scholarly sources minimum. The paper will be 24 pages max.(12 font, double-spaced, including the Works Cited). The paper must be flawless to receive an A.
See several topics for Hamlet and Othello (ex. The Power of Words and Language in Othello and Hamlet) below and choose one that connects both plays. Characters: Claudius and Iago, Hamlet and Othello, the women in each play, etc. Elements: Imagery, Symbolism, Diction/Language, Archetypes, Allusions, etc. in the play, Setting/Historical/Social Influences, The Nature of Tragedy/Unities, others? Sex, Violence, and Honor in Othello What is the connection between sex, violence, and honor in Othello?Responsibility in Othello Whose responsibility is the tragedy of Othello?
You might want to consider these questions: Are there any factors
mitigating lago's responsibility or justifying his actions? Do Othello
or Desdemona share any of the blame?
Examine the role of jealousy, love, and/or betrayal in the play. You may want to pick one character (Iago or Othello perhaps?) and focus on one issue. It has been argued that Othello is accessible to us today because of the issues of racism, love, betrayal, and jealousy. Pick one and explain why Othello is accessible to us. Be careful, and be sure to talk about the play.
SEE RESEARCH AND SEMINAR TOPICS FOR HAMLET DOCS BELOW. The group project combines both research and seminar topics into 1 group topic.
QUESTIONS FOR ALL OF THE PLAYS--know the following concepts for each play:
1. Basic plot outline
2. Major soliloquies and their importance to character development and plot
3. Material in the play that relates to the Renaissance background packets
4. Identification of major themes in the play--relating to Aristotle's idea of universals = plot = soul of tragedy
5. Identification of significant motifs and figures of speech in the play-where and why and by whom they are used
6. Development of character--static, dynamic etc.
SPECIAL QUESTIONS TO CONSIDER FOR HAMLET:
1. How do all actions in the play relate in one way or another to Hamlet's "situation"--What is Hamlet's situation?
2. Major issue in the play is sanity--find evidence relating to whether Hamlet is sane, insane or some mixture according to evidence in packets.
3. The ghost is considered the "linchpin' of the play. Why?
4. Hamlet is often seen as delaying. Does he? Show arguments both ways.
5. What humor is Hamlet? Why?
6. Is it true that Hamlet tends to dwell on the universal rather than the particular? Find examples.
7. In what sense is Hamlet especially vicious and cruel? Very kind?
8. How do others in the play judge Hamlet? Can we get an accurate .account
of what Hamlet may have been like before the play opened?
9. What are the defects in this play?
10. How does Hamlet think? What characterizes his mental outlook: Pay very careful attention to the soliloquies.
11. What does the play reflect about Renaissance theories about: Machiavelli, revenge, the pragmatic theory, sexual conduct, women in general.
SPECIAL QUESTIONS TO CONSIDER FOR OTHELLO:
1. Coleridge refers to the actions of Iago as "motiveless malignancy". Is he correct? What does motivate ago?
2. Is Iago more concerned with end results or the process of achieving them?
3. Note the importance of Iago's soliloquies very carefully.
4. How much do we (should) we admire Iago? Othello? Desdemona?
5. Study the Machiavellian influence very carefully.
6. What is the most serious limitation that Othello has?
7. What is Iago's greatest "asset" in the play?
8. What motif is used over 30 times in OTHELLO? Why
9. Everyone says this play is about jealousy? Is it?
10. Show what qualities Othello and Desdemona lead directly to their downfall, and then ask if Iago really wins in the end.
11. Note the importance of WIT and WITCHCRAFT in this play.
12. Why are biblical allusions so important in this play?
http://www.slideshare.net/lmatthews/mla-style-guide-2907393
MLA FORMAT 2013-see link above
The Complete Works of William Shakespeare
Maintained by Jeremy Hylton at MIT. Texts arranged in table format. Includes search engine that links directly to the text, glossary, Bartlett's Familiar Quotations, and FAQs. The site also includes a discussion area organized by play.
The Complete Works of William Shakespeare
The Internet Public Library Shakespeare Bookshelf
Actually a connection to the MIT site listed above, but with a section on criticism.
The Internet Public Library Shakespeare Bookshelf
The Works of the Bard
Oldest Shakespeare site, maintained by Matty Farrow in Australia. Has the best search engine, making complex concordance searches possible, plus a glossary.
The Works of the Bard
The Internet Shakespeare Editions
A highly detailed site from Victoria, Canada, by Michael Best. The site's aim is to make fully annotated texts with supporting critical material available in Internet form. Includes most plays.
The Internet Shakespeare Editions
Shakespeare by Individual Studies
This is a course site by Michael Best (see above) with extensive info and links. For several plays, Best has helpfully added line numbers that are keyed to the Signet Classics editions.
Shakespeare by Individual Studies
Web Sites
Mr. William Shakespeare and the Internet
Terry Gray's congenial, well-organized site sets the standard. This "annotated guide to the scholarly Shakespeare sources on the Internet" is probably the best general resource and gateway to Shakespeare materials, both scholarly and not. The site is extensive; see the site map. Links to individual plays, collected works, criticism, and theater as well as a great collection of best sites and oddball "other sites." Don't miss the educational section's links to courses, lesson plans, and teaching materials.
Mr. William Shakespeare and the Internet
Ian Johnston's "Studies in Shakespeare" Lectures
This group of 17 original essays is as fine a collection as I've seen on the Internet. These classroom and public lectures presented at Malaspina University in British Columbia are ideal teaching preparation. Aside from 11 essays on Shakespeare plays, the page includes pieces on the sonnets, the history cycle, an introduction to Shakespeare, and some observations on critical approaches.
Ian Johnston's "Studies in Shakespeare" Lectures
Folger Shakespeare Institute
A product of the Folger Teaching Shakespeare Institutes. Two or three new lesson plans monthly, plus a large Lesson Plan Archive clearly classified by type: Interactive Media Lessons, Primary Source Materials Lessons, and lessons on individual plays. Also check information on Folger's workshops for teachers. Includes a discussion group.
Folger Shakespeare Institute
Shakespeare Resource Center
This site from the A&E channel conveniently assembles a lot of pertinent background on the man, the works (links to online editions, criticism, plot synopses, the authorship debate). Particularly interesting are the searchable glossary of Shakespearean English and the terrific links to background on the British monarchy, the educational system, and architecture.
Shakespeare Resource Center
Surfing with the Bard
"Your Shakespeare classroom on the Internet." A highly respected site friendly to students and teachers. Amy Ulen's Bard Zones include links to the plays, a complete student guide to A Midsummer Night's Dream, articles, and over 40 lively lesson plans, many of them interactive. There's a Shakespeare/Star Trek analogue. See the "Shakespeare 101" section for a useful student's guide to learning about Shakespeare. Includes a discussion group with a fair number of desperate pleas from students.
Surfing with the Bard
The Shakespeare Classroom
A splendid site with beautiful period music. Just about the best of its kind. An outgrowth of Professor Massi's college courses at Washington State. The sample assignments and study questions for about 25 plays are stimulating and suitable for high school students. This site is so solid but such fun! And good links to interesting oddities.
The Shakespeare Classroom
Shakespeare Magazine
"A magazine for teachers and enthusiasts," from Georgetown University. Subscribe, order back issues, or check their archive of timed performance-centered classroom exercises. Sample exercises available online.
Shakespeare Magazine
Community Learning Network Shakespeare Theme Page
(Also Macbeth, Renaissance, and Romeo and Juliet Theme Pages). From Open School, Canada. Concise list of resource links. Most helpful for the focused Theme Pages.
Community Learning Network Shakespeare Theme Page
The Interactive Shakespeare Project
The aim of this ambitious project out of Worcester, Massachusetts, is to create an active learning environment for secondary school and college students studying Shakespeare. Includes detailed teaching resources and performance-centered methodology for only one play to date: a prototype study of Measure for Measure that combines text, video, and performance activities. A virtual tour of the Globe is featured, but a high-speed server is necessary. Keep an eye on this site as it expands to include other plays.
The Interactive Shakespeare Project
Social Studies School Service
Select Shakespeare from the many features. The site focuses on products to buy, but also includes teacher-created sample lesson plans, activity books, reproducible Internet activities, and a Cultural Literacy Test (an activity designed to gets students to think about their own cultural assumptions). Also contains teaching-related book reviews. Specify grades 7-12 for a list of books and films of interest to students. Links to teaching-related Web sites not found everywhere else, but of uneven quality.
Social Studies School Service
English Resources
A UK-based service that offers free teaching and revision resources for high-school English language and literature. Choose age group, then Shakespeare. Includes message board.
English Resources
Signet Editions Teacher's Guides
Guides based on the Signet Classics editions for nine plays, plus a "Teaching Guide to use with Signet Classics Shakespeare Series."
Signet Editions Teacher's Guides
Shakespeare Alive!
A large collection of tips, resources, activities, and study and writing materials from Jeff Flygate of the Air Academy High School, USAF Academy, Colorado.
Shakespeare Alive!
The Shrewsbury Renaissance Faire
An example of one of the many sites intended for renaissance faire participants. Besides advertising this Oregon festival, the site provides a lot of good cultural background in a lively, colorful, and easy-to-navigate format, such as a lovely chart of currency values in Elizabethan England. Also invites questions about the period and gives answers to previously asked questions. Links to other renaissance faire sites.
The Shrewsbury Renaissance Faire
Britannica.com
Easy-to-navigate resource that offers, in addition to the usual links, reviews of recent performances and books, plus recent Shakespeare-related magazine articles and links to specialized areas and topics within the Britannica entry on Shakespeare.
Britannica.com
Multimedia
Shakespeare on Video: A Brief Overview
There are simply too many filmed versions to discuss in detail here. The more recent ones will probably be more popular with students, but it is often useful to compare scenes of a Hollywood Shakespeare film with the more classic "filmed play" style of the BBC series. (The BBC plays are widely available in public school libraries and in most video stores.)
There seem to be new film adaptations of Shakespeare every day. Among the more recent are Near in Blood (Macbeth on a high school football field), Scotland PA (a fast-food Macbeth), and Let the Devil Wear Black, late of the Sundance Film Festival. Your students will call attention to other adaptations, such as Romeo + Juliet (set in Verona Beach, Florida, to an MTV rhythm), Tromeo and Juliet (violent punk version), and Romeo Must Die (martial arts). 10 Things I Hate about You is The Taming of the Shrew, but then so is the Cole Porter musical Kiss Me Kate (1953). (Compare Franco Zefferelli's 1967 Taming of the Shrew with Burton and Taylor, or his lush Romeo and Juliet of 1968.) My Own Private Idaho (1992, directed by Gus van Sant) is an adaptation of Henry IV, at least in parts -- Prince Hal in Seattle grunge.
Al Pacino's film, Looking for Richard, about mounting a production of Richard III, is a superb introduction to dealing with Shakespeare. Do not pass up the materials offered on the Looking for Richard page by the fascinating Richard III Society and Yorkist History Server. You can also go directly to the Looking for Richard material. A clever and exciting version of Richard III is the 1995 film with Ian McKellen.
Richard III Society and Yorkist History Server
Looking for Richard Material
Kenneth Branagh's Shakespeare films are generally outstanding -- cinematic but still fairly faithful versions of the plays. His Hamlet (1996) is unusual in being a full-text version; the play is almost never performed in its entirety. Other Shakespeare films directed by Branagh:
Twelfth Night (1996, directed by Trevor Nunn) is picturesque and helps sort out the play's romantic confusions. Titus (2000, directed by Julie Taymore) captures the black humor of that violent play. No version of The Tempest does the play justice, although the science fiction version, Forbidden Planet (1956) is an interesting oddity.
Filmographies
Yahoo! Movies Filmography
University of North Carolina Shakespeare Filmography
Electronic Discussion Groups
Savage Shakespeare
Discussions are easily sortable by play. The site is friendly and easy to negotiate, and the discussion seems pretty high quality. Interesting questions and answers.
Savage Shakespeare
SHAKSPER
Affiliated with the Shakespeare Society of America (SAA), this is the oldest and liveliest electronic conference on Shakespeare. Over 1,100 members include researchers, instructors, students, and those who share their interests. Offers announcements, scholarly papers, bibliographies, and "the formal exchange of ideas." No particular academic qualifications are required, but subscription requires e-mail communication with the editor and submission of a short biography.
SHAKSPER
Western Canon University
"Devoted to lighthearted discussion." Ports for discussion and live chat on individual plays, poetry, and Shakespeare history.
Western Canon University
Examine the role of jealousy, love, and/or betrayal in the play. You may want to pick one character (Iago or Othello perhaps?) and focus on one issue. It has been argued that Othello is accessible to us today because of the issues of racism, love, betrayal, and jealousy. Pick one and explain why Othello is accessible to us. Be careful, and be sure to talk about the play.
SEE RESEARCH AND SEMINAR TOPICS FOR HAMLET DOCS BELOW. The group project combines both research and seminar topics into 1 group topic.
QUESTIONS FOR ALL OF THE PLAYS--know the following concepts for each play:
1. Basic plot outline
2. Major soliloquies and their importance to character development and plot
3. Material in the play that relates to the Renaissance background packets
4. Identification of major themes in the play--relating to Aristotle's idea of universals = plot = soul of tragedy
5. Identification of significant motifs and figures of speech in the play-where and why and by whom they are used
6. Development of character--static, dynamic etc.
SPECIAL QUESTIONS TO CONSIDER FOR HAMLET:
1. How do all actions in the play relate in one way or another to Hamlet's "situation"--What is Hamlet's situation?
2. Major issue in the play is sanity--find evidence relating to whether Hamlet is sane, insane or some mixture according to evidence in packets.
3. The ghost is considered the "linchpin' of the play. Why?
4. Hamlet is often seen as delaying. Does he? Show arguments both ways.
5. What humor is Hamlet? Why?
6. Is it true that Hamlet tends to dwell on the universal rather than the particular? Find examples.
7. In what sense is Hamlet especially vicious and cruel? Very kind?
8. How do others in the play judge Hamlet? Can we get an accurate .account
of what Hamlet may have been like before the play opened?
9. What are the defects in this play?
10. How does Hamlet think? What characterizes his mental outlook: Pay very careful attention to the soliloquies.
11. What does the play reflect about Renaissance theories about: Machiavelli, revenge, the pragmatic theory, sexual conduct, women in general.
SPECIAL QUESTIONS TO CONSIDER FOR OTHELLO:
1. Coleridge refers to the actions of Iago as "motiveless malignancy". Is he correct? What does motivate ago?
2. Is Iago more concerned with end results or the process of achieving them?
3. Note the importance of Iago's soliloquies very carefully.
4. How much do we (should) we admire Iago? Othello? Desdemona?
5. Study the Machiavellian influence very carefully.
6. What is the most serious limitation that Othello has?
7. What is Iago's greatest "asset" in the play?
8. What motif is used over 30 times in OTHELLO? Why
9. Everyone says this play is about jealousy? Is it?
10. Show what qualities Othello and Desdemona lead directly to their downfall, and then ask if Iago really wins in the end.
11. Note the importance of WIT and WITCHCRAFT in this play.
12. Why are biblical allusions so important in this play?
http://www.slideshare.net/lmatthews/mla-style-guide-2907393
MLA FORMAT 2013-see link above
The Complete Works of William Shakespeare
Maintained by Jeremy Hylton at MIT. Texts arranged in table format. Includes search engine that links directly to the text, glossary, Bartlett's Familiar Quotations, and FAQs. The site also includes a discussion area organized by play.
The Complete Works of William Shakespeare
The Internet Public Library Shakespeare Bookshelf
Actually a connection to the MIT site listed above, but with a section on criticism.
The Internet Public Library Shakespeare Bookshelf
The Works of the Bard
Oldest Shakespeare site, maintained by Matty Farrow in Australia. Has the best search engine, making complex concordance searches possible, plus a glossary.
The Works of the Bard
The Internet Shakespeare Editions
A highly detailed site from Victoria, Canada, by Michael Best. The site's aim is to make fully annotated texts with supporting critical material available in Internet form. Includes most plays.
The Internet Shakespeare Editions
Shakespeare by Individual Studies
This is a course site by Michael Best (see above) with extensive info and links. For several plays, Best has helpfully added line numbers that are keyed to the Signet Classics editions.
Shakespeare by Individual Studies
Web Sites
Mr. William Shakespeare and the Internet
Terry Gray's congenial, well-organized site sets the standard. This "annotated guide to the scholarly Shakespeare sources on the Internet" is probably the best general resource and gateway to Shakespeare materials, both scholarly and not. The site is extensive; see the site map. Links to individual plays, collected works, criticism, and theater as well as a great collection of best sites and oddball "other sites." Don't miss the educational section's links to courses, lesson plans, and teaching materials.
Mr. William Shakespeare and the Internet
Ian Johnston's "Studies in Shakespeare" Lectures
This group of 17 original essays is as fine a collection as I've seen on the Internet. These classroom and public lectures presented at Malaspina University in British Columbia are ideal teaching preparation. Aside from 11 essays on Shakespeare plays, the page includes pieces on the sonnets, the history cycle, an introduction to Shakespeare, and some observations on critical approaches.
Ian Johnston's "Studies in Shakespeare" Lectures
Folger Shakespeare Institute
A product of the Folger Teaching Shakespeare Institutes. Two or three new lesson plans monthly, plus a large Lesson Plan Archive clearly classified by type: Interactive Media Lessons, Primary Source Materials Lessons, and lessons on individual plays. Also check information on Folger's workshops for teachers. Includes a discussion group.
Folger Shakespeare Institute
Shakespeare Resource Center
This site from the A&E channel conveniently assembles a lot of pertinent background on the man, the works (links to online editions, criticism, plot synopses, the authorship debate). Particularly interesting are the searchable glossary of Shakespearean English and the terrific links to background on the British monarchy, the educational system, and architecture.
Shakespeare Resource Center
Surfing with the Bard
"Your Shakespeare classroom on the Internet." A highly respected site friendly to students and teachers. Amy Ulen's Bard Zones include links to the plays, a complete student guide to A Midsummer Night's Dream, articles, and over 40 lively lesson plans, many of them interactive. There's a Shakespeare/Star Trek analogue. See the "Shakespeare 101" section for a useful student's guide to learning about Shakespeare. Includes a discussion group with a fair number of desperate pleas from students.
Surfing with the Bard
The Shakespeare Classroom
A splendid site with beautiful period music. Just about the best of its kind. An outgrowth of Professor Massi's college courses at Washington State. The sample assignments and study questions for about 25 plays are stimulating and suitable for high school students. This site is so solid but such fun! And good links to interesting oddities.
The Shakespeare Classroom
Shakespeare Magazine
"A magazine for teachers and enthusiasts," from Georgetown University. Subscribe, order back issues, or check their archive of timed performance-centered classroom exercises. Sample exercises available online.
Shakespeare Magazine
Community Learning Network Shakespeare Theme Page
(Also Macbeth, Renaissance, and Romeo and Juliet Theme Pages). From Open School, Canada. Concise list of resource links. Most helpful for the focused Theme Pages.
Community Learning Network Shakespeare Theme Page
The Interactive Shakespeare Project
The aim of this ambitious project out of Worcester, Massachusetts, is to create an active learning environment for secondary school and college students studying Shakespeare. Includes detailed teaching resources and performance-centered methodology for only one play to date: a prototype study of Measure for Measure that combines text, video, and performance activities. A virtual tour of the Globe is featured, but a high-speed server is necessary. Keep an eye on this site as it expands to include other plays.
The Interactive Shakespeare Project
Social Studies School Service
Select Shakespeare from the many features. The site focuses on products to buy, but also includes teacher-created sample lesson plans, activity books, reproducible Internet activities, and a Cultural Literacy Test (an activity designed to gets students to think about their own cultural assumptions). Also contains teaching-related book reviews. Specify grades 7-12 for a list of books and films of interest to students. Links to teaching-related Web sites not found everywhere else, but of uneven quality.
Social Studies School Service
English Resources
A UK-based service that offers free teaching and revision resources for high-school English language and literature. Choose age group, then Shakespeare. Includes message board.
English Resources
Signet Editions Teacher's Guides
Guides based on the Signet Classics editions for nine plays, plus a "Teaching Guide to use with Signet Classics Shakespeare Series."
Signet Editions Teacher's Guides
Shakespeare Alive!
A large collection of tips, resources, activities, and study and writing materials from Jeff Flygate of the Air Academy High School, USAF Academy, Colorado.
Shakespeare Alive!
The Shrewsbury Renaissance Faire
An example of one of the many sites intended for renaissance faire participants. Besides advertising this Oregon festival, the site provides a lot of good cultural background in a lively, colorful, and easy-to-navigate format, such as a lovely chart of currency values in Elizabethan England. Also invites questions about the period and gives answers to previously asked questions. Links to other renaissance faire sites.
The Shrewsbury Renaissance Faire
Britannica.com
Easy-to-navigate resource that offers, in addition to the usual links, reviews of recent performances and books, plus recent Shakespeare-related magazine articles and links to specialized areas and topics within the Britannica entry on Shakespeare.
Britannica.com
Multimedia
Shakespeare on Video: A Brief Overview
There are simply too many filmed versions to discuss in detail here. The more recent ones will probably be more popular with students, but it is often useful to compare scenes of a Hollywood Shakespeare film with the more classic "filmed play" style of the BBC series. (The BBC plays are widely available in public school libraries and in most video stores.)
There seem to be new film adaptations of Shakespeare every day. Among the more recent are Near in Blood (Macbeth on a high school football field), Scotland PA (a fast-food Macbeth), and Let the Devil Wear Black, late of the Sundance Film Festival. Your students will call attention to other adaptations, such as Romeo + Juliet (set in Verona Beach, Florida, to an MTV rhythm), Tromeo and Juliet (violent punk version), and Romeo Must Die (martial arts). 10 Things I Hate about You is The Taming of the Shrew, but then so is the Cole Porter musical Kiss Me Kate (1953). (Compare Franco Zefferelli's 1967 Taming of the Shrew with Burton and Taylor, or his lush Romeo and Juliet of 1968.) My Own Private Idaho (1992, directed by Gus van Sant) is an adaptation of Henry IV, at least in parts -- Prince Hal in Seattle grunge.
Al Pacino's film, Looking for Richard, about mounting a production of Richard III, is a superb introduction to dealing with Shakespeare. Do not pass up the materials offered on the Looking for Richard page by the fascinating Richard III Society and Yorkist History Server. You can also go directly to the Looking for Richard material. A clever and exciting version of Richard III is the 1995 film with Ian McKellen.
Richard III Society and Yorkist History Server
Looking for Richard Material
Kenneth Branagh's Shakespeare films are generally outstanding -- cinematic but still fairly faithful versions of the plays. His Hamlet (1996) is unusual in being a full-text version; the play is almost never performed in its entirety. Other Shakespeare films directed by Branagh:
- Henry V (1989) (But the Globe Theatre scene at the opening of Laurence Olivier's 1945 version is a must-see. The post-Vietnam Branagh and the 1945 Olivier are not as different in approach as you might expect.)
- Much Ado About Nothing (1993)
- Love's Labors Lost (2000) (a 1930s-style musical)
Twelfth Night (1996, directed by Trevor Nunn) is picturesque and helps sort out the play's romantic confusions. Titus (2000, directed by Julie Taymore) captures the black humor of that violent play. No version of The Tempest does the play justice, although the science fiction version, Forbidden Planet (1956) is an interesting oddity.
Filmographies
Yahoo! Movies Filmography
University of North Carolina Shakespeare Filmography
Electronic Discussion Groups
Savage Shakespeare
Discussions are easily sortable by play. The site is friendly and easy to negotiate, and the discussion seems pretty high quality. Interesting questions and answers.
Savage Shakespeare
SHAKSPER
Affiliated with the Shakespeare Society of America (SAA), this is the oldest and liveliest electronic conference on Shakespeare. Over 1,100 members include researchers, instructors, students, and those who share their interests. Offers announcements, scholarly papers, bibliographies, and "the formal exchange of ideas." No particular academic qualifications are required, but subscription requires e-mail communication with the editor and submission of a short biography.
SHAKSPER
Western Canon University
"Devoted to lighthearted discussion." Ports for discussion and live chat on individual plays, poetry, and Shakespeare history.
Western Canon University
HAMLET Shakespeare Uncovered PBS
Click here to see the full episode
Answer questions for Hamlet below. Answer the book questions also.
hamletquestions_for_discussion.docx | |
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hamlet_study_guide.doc | |
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hamlettest100.pdf | |
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hamletstyle.docx | |
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See topics below. The topic must connect to both Hamlet and Othello.
hamlet_research_project.doc | |
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hamlet_seminar_topics.doc | |
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hamlet_research_topics.doc | |
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hamlet-and-his-problems.doc | |
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http://public.wsu.edu/~delahoyd/shakespeare/links.html
LINKS TO RESEARCH
http://www.shakespeare-navigators.com/othello/Themeidx.html
Search anything from Shakespeare's plays at the link above
hamletnotes.pdf | |
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hamletact1.docx | |
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othello2016.docx | |
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hamlet2016book.pdf | |
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SEE MORE RESOURCES AND ASSIGNMENTS FOR OTHELLO TOWARDS THE BOTTOM OF THIS PAGE
http://apcentral.collegeboard.com/apc/members/courses/teachers_corner/25485.html
Above is the link to the page with the Shakespeare links
http://apcentral.collegeboard.com/apc/members/courses/teachers_corner/25485.html
2013othelloques.docx | |
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othello-2.pdf | |
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literary_analysis__drama.doc | |
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othello.ppt | |
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othello.docx | |
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othello2012questions.docx | |
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http://public.wsu.edu/~delahoyd/shakespeare/italy.html
SHAKESPEARE AND ITALY
othellocomplete.docx | |
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othellogroup2011.docx | |
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http://www.drbilllong.com/ShakeO/Shame.html
Othello link above
http://www.shmoop.com/othello/themes.html
Above and below are links to themes in Othello and questions to for discussion in your groups. See other links to discuss other themes.
othello2.pptbbb.ppt | |
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guide_for_free_response_essays.pdf | |
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Resources
- Here are the journals that are particularly good in JSTOR:
Shakespeare Quarterly
English Literary History (ELH)
Renaissance Quarterly
Sixteenth-Century Journal
Journal of the History of Ideas
Studies in the Renaissance
Notice that JSTOR is primarily an archive, so that may not have the most recent issues of a journal. You can find the most recent issues of ELH and Shakespeare Quarterly, for example, in Project Muse (which doesn't have the older issues!).
Here are the good journals in Project Muse:
Shakespeare Quarterly
English Literary History (ELH)
Comparative Literature Studies
Journal for Early Modern Cultural Studies
Journal of Medieval and Early Modern Studies
Journal of the History of Ideas
Modern Language Notes (MLN)
Modern Language Quarterly (MLQ)
New Literary History
Past and Present
Studies in English Literature (SEL)
South Atlantic Quarterly
Studies in Philology
- Finally, the number one database for books and articles in literature is the MLA International Bibliography. USE IT! You can access it on the Library's Electronic Resources page.
QUESTIONS TO THINK ABOUT WHILE READING HAMLET ALONG WITH STUDY GUIDES BELOW:
- When is Hamlet pretending to be crazy and when is he really crazy?
- Why is Hamlet melancholy and suicidal from the beginning of the play?
- What are Hamlet real feelings for his mother?
- What are Hamlet’s real feelings for Ophelia?
- What are Claudius’ feelings about the murder of his brother?
- What exactly does Hamlet want from Claudius?
- Why is Hamlet so reluctant to act?
- What exactly is the Ghost and who sees him?
- What exactly did Gertrude know of the murder?
- What exactly was Gertrude’s relationship with Claudius before her husband’s murder?
- How does Gertrude feel about Hamlet and Ophelia’s relationship? Why?
- How does Polonius feel about Hamlet and Ophelia’s relationship? Why?
- What is the meaning and dramatic purpose of “To be or not to be”?
- How and why does Hamlet change during the course of the play?
http://internetshakespeare.uvic.ca/index.html
http://www.universalteacher.org.uk/default.htm
http://www.shakespeare-online.com/topics/othellotopics.html
http://www.cummingsstudyguides.net/xOthello.html
http://internetshakespeare.uvic.ca/index.html
http://www.hamlethaven.com/philosophical.html
LINKS ABOVE WILL HELP YOU UNDERSTAND THE PLAYS AND THE PHILOSOPHICAL IDEAS
hamlet.pdf | |
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how_to_write_a_literary_analysis-1.pdf | |
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mla_format_sample_paper.pdf | |
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QUOTES:
To create a block quote:
Commas before Quotations
In illustrating these four steps, we'll use as our example, Franklin Roosevelt's famous quotation, "The only thing we have to fear is fear itself."
1. Provide a context for each quotation. Do not rely on quotations to tell your story for you. It is your responsibility to provide your reader with a context for the quotation. The context should set the basic scene for when, possibly where, and under what circumstances the quotation was spoken or written. So, in providing a context for our above example, you might write:
When Franklin Roosevelt gave his inaugural speech on March 4, 1933, he addressed a nation weakened and demoralized by economic depression.
2. Attribute each quotation to its source. Tell your reader who is speaking. Here is a good test: try reading your text aloud. Could your reader determine without looking at your paper where your quotations begin? If not, you need to attribute the quote more noticeably.
Avoid getting into the "he/she said" attribution rut! There are many other ways to attribute quotes besides this construction. Here are a few alternative verbs, usually followed by "that":
add remark exclaim announce reply state comment respond estimate write point out predict argue suggest propose declare criticize proclaim note complain opine observe think note Different reporting verbs are preferred by different disciplines, so pay special attention to these in your disciplinary reading. If you're unfamiliar with the meanings of any of these words or others you find in your reading, consult a dictionary before using them.
3. Explain the significance of the quotation. Once you've inserted your quotation, along with its context and attribution, don't stop! Your reader still needs your assessment of why the quotation holds significance for your paper. Using our Roosevelt example, if you were writing a paper on the first one-hundred days of FDR's administration, you might follow the quotation by linking it to that topic:
With that message of hope and confidence, the new president set the stage for his next one-hundred days in office and helped restore the faith of the American people in their government.
4. Provide a citation for the quotation. All quotations, just like all paraphrases, require a formal citation. For more details about particular citation formats, see the UNC Libraries. In general, you should remember one rule of thumb: Place the parenthetical reference or footnote/endnote number after—not within—the closed quotation mark.
Roosevelt declared, "The only thing we have to fear is fear itself" (Roosevelt, Public Papers 11).
Roosevelt declared, "The only thing we have to fear is fear itself."1
How much should I quote? As few words as possible. Remember, your paper should primarily contain your own words, so quote only the most pithy and memorable parts of sources. Here are three guidelines for selecting quoted material judiciously.
1. Excerpt fragments. Sometimes, you should quote short fragments, rather than whole sentences. Suppose you interviewed Jane Doe about her reaction to John F. Kennedy's assassination. She commented:
"I couldn't believe it. It was just unreal and so sad. It was just unbelievable. I had never experienced such denial. I don't know why I felt so strongly. Perhaps it was because JFK was more to me than a president. He represented the hopes of young people everywhere."
You could quote all of Jane's comments, but her first three sentences are fairly redundant. You might instead want to quote Jane when she arrives at the ultimate reason for her strong emotions:
Jane Doe grappled with grief and disbelief. She had viewed JFK, not just as a national figurehead, but as someone who "represented the hopes of young people everywhere."
2. Excerpt those fragments carefully! Quoting the words of others carries a big responsibility. Misquoting misrepresents the ideas of others. Here's a classic example of a misquote:
John Adams has often been quoted as having said: "This would be the best of all possible worlds if there were no religion in it."
John Adams did, in fact, write the above words. But if you see those words in context, the meaning changes entirely. Here's the rest of the quotation:
Twenty times, in the course of my late reading, have I been on the point of breaking out, 'this would be the best of all possible worlds, if there were no religion in it!!!!' But in this exclamation, I should have been as fanatical as Bryant or Cleverly. Without religion, this world would be something not fit to be mentioned in public company—I mean hell.
As you can see from this example, context matters!
This example is from Paul F. Boller, Jr. and John George, They Never Said It: A Book of Fake Quotes, Misquotes, and Misleading Attributions (Oxford University Press, 1989).
3. Use block quotations sparingly. There may be times when you need to quote long passages. However, you should use block quotations only when you fear that omitting any words will destroy the integrity of the passage. If that passage exceeds four lines (some sources say five), then set it off as a block quotation.
How do I combine quotation marks with other punctuation marks? It can be confusing when you start combining quotation marks with other punctuation marks. You should consult a style manual for complicated situations, but the following two rules apply to most cases:
1) Keep periods and commas within quotation marks. So, for example:
According to Professor Jones, Lincoln "feared the spread of slavery," but many of his aides advised him to "watch and wait."
In the above example, both the comma and period were enclosed in the quotation marks. The main exception to this rule involves the use of internal citations, which always precede the last period of the sentence. For example:
According to Professor Jones, Lincoln "feared the spread of slavery," but many of his aides advised him to "watch and wait" (Jones 143).
Note, however, that the period remains inside the quotation marks when your citation style involved superscript footnotes or endnotes. For example:
According to Professor Jones, Lincoln "feared the spread of slavery," but many of his aides advised him to "watch and wait."2
2) Place all other punctuation marks (colons, semicolons, exclamation marks, question marks) outside the quotation marks, except when they were part of the original quotation. Take a look at the following examples:
The student wrote that the U. S. Civil War "finally ended around 1900"!
The coach yelled, "Run!"
In the first example, the author placed the exclamation point outside the quotation mark because she added it herself to emphasize the absurdity of the student's comment. The student's original comment had not included an exclamation mark. In the second example, the exclamation mark remains within the quotation mark because it is indicating the excited tone in which the coach yelled the command. Thus, the exclamation mark is considered to be part of the original quotation.
How do I indicate quotations within quotations? If you are quoting a passage that contains a quotation, then you use single quotation marks for the internal quotation. Quite rarely, you quote a passage that has a quotation within a quotation. In that rare instance, you would use double quotation marks for the second internal quotation.
Here's an example of a quotation within a quotation:
In "The Emperor's New Clothes," Hans Christian Andersen wrote, "'But the Emperor has nothing on at all!' cried a little child."
Remember to consult your style guide to determine how to properly cite a quote within a quote.
When do I use those three dots ( . . . )? Whenever you want to leave out material from within a quotation, you need to use an ellipsis, which is a series of three periods, each of which should be preceded and followed by a space. So, an ellipsis in this sentence would look like . . . this. There are a few rules to follow when using ellipses:
1. Be sure that you don't fundamentally change the meaning of the quotation by omitting material. Take a look at the following example:
"The Writing Center is located on the UNC campus and serves the entire UNC community."
"The Writing Center . . . serves the entire UNC community."
The reader's understanding of the Writing Center's mission to serve the UNC community is not affected by omitting the information about its location.
2. Do not use ellipses at the beginning or ending of quotations, unless it's important for the reader to know that the quotation was truncated. For example, using the above example, you would NOT need an ellipsis in either of these situations:
"The Writing Center is located on the UNC campus . . ."
The Writing Center " . . . serves the entire UNC community."
3. Use punctuation marks in combination with ellipses when removing material from the end of sentences or clauses. For example, if you take material from the end of a sentence, keep the period in as usual.
"The boys ran to school, forgetting their lunches and books. Even though they were out of breath, they made it on time."
"The boys ran to school. . . . Even though they were out of breath, they made it on time."
Likewise, if you excerpt material at the end of clause that ends in a comma, retain the comma.
"The red car came to a screeching halt that was heard by nearby pedestrians, but no one was hurt."
"The red car came to a screeching halt . . . , but no one was hurt."
Is it ever okay to insert my own words or change words in a quotation? Sometimes it is necessary for clarity and flow to alter a word or words within a quotation. You should make such changes rarely. In order to alert your reader to the changes you've made, you should always bracket the altered words. Here are a few examples of situations when you might need brackets.
1. Changing verb tense or pronouns in order to be consistent with the rest of the sentence. Suppose you were quoting a woman who, when asked about her experiences immigrating to the United States, commented "nobody understood me." You might write:
Esther Hansen felt that when she came to the United States "nobody understood [her]."
In the above example, you've changed "me" to "her" in order to keep the entire passage in third person. However, you could avoid the need for this change by simply rephrasing:
"Nobody understood me," recalled Danish immigrant Esther Hansen.
2. Including supplemental information that your reader needs in order to understand the quotation. For example, if you were quoting someone's nickname, you might want to let your reader know the full name of that person in brackets.
"The principal of the school told Billy [William Smith] that his contract would be terminated."
Similarly, if a quotation referenced an event with which the reader might be unfamiliar, you could identify that event in brackets.
"We completely revised our political strategies after the strike [of 1934]."
3. Indicating the use of nonstandard grammar or spelling. In rare situations, you may quote from a text that has nonstandard grammar, spelling, or word choice. In such cases, you may want to insert [sic], which means "thus" or "so" in Latin. Using [sic] alerts your reader to the fact that this nonstandard language is not the result of a typo on your part. Always italicize "sic" and enclose it in brackets. There is no need to put a period at the end. Here's an example of when you might use [sic]:
Twelve-year-old Betsy Smith wrote in her diary, "Father is afraid that he will be guilty of beach [sic] of contract."
Here [sic] indicates that the original author wrote "beach of contract," not breach of contract, which is the accepted terminology.
4. Do not overuse brackets! For example, it is not necessary to bracket capitalization changes that you make at the beginning of sentences. For example, suppose you were going to use part of this quotation:
"We never looked back, but the memory of our army days remained with us the rest of our lives."
If you wanted to begin a sentence with an excerpt from the middle of this quotation, there would be no need to bracket your capitalization changes.
"The memory of our army days remained with us the rest of our lives," commented Joe Brown, a World War II veteran.
Not
"[T]he memory of our army days remained with us the rest of our lives," commented Joe Brown, a World War II veteran.
- Indent the whole block of text ten spaces from the regular margin. In Word, you can do this by clicking Format > Paragraph. From the "Indents and Spacing" tab, go to Indentation and change the Left indent from 0" to 1".
- The block quote is usually preceded by a colon.
- There are no quotation marks around the quoted text.
- Give the parenthetical reference at the end of the block quote, then start a new line and continue typing your paper.
- If quotation marks appear within the text of a quotation that already has the usual double-quote marks [ “ ” ] around it (a quote-within-a-quote), set off that inner quotation with single-quote marks [ ‘ ’ ].
- A quote-within-a-quote within an indented quotation is marked with double-quote marks.
Commas before Quotations
- Comma placement before a quotation also causes people trouble. Notice that in 'The bells on the Monk's bridle ring "in a whistlynge wynd als cleere…"' there is no comma after "ring" and before the beginning of the quote? This is because the quotation works grammatically in the sentence. In this case, the first letter of the quotation should be lower case (unless the first word is a proper noun). With shorter quotations you should attempt to do this wherever possible on stylistic grounds. Here are some examples of quotations integrated into the grammar of the sentence.
The next step is his alliance with covetousness -- he identifies himself with a vice, forsaking his true nature to become "fawty and falce" (2382).
Gawain has very good reasons besides modesty to decline the Lady's offer to "take the toruayle to myself to trwluf expoun" (1540).
The Lady of the Castle appeals to Gawain's "manhod" when she reminds him that he is "stif innoghe to constrayne wyth strenkthe" (1497).
Putter argues that "the poet's commitment to ideals of courtoisie, the high standards of refinement and delicacy imperative at court, inevitably entails emphasis on coarseness and locus to which it is intrinsic" (47-48).
Both versions introduce Tom Bombadil without further explanation as "a merry fellow" (646). Both also give Tom four adventures, or encounters with malignant powers.
Eomer says that "wanderers in the Riddermark would be wise to be less haughty in these days of doubt" (645-55).
Shippey argues that "Tolkien knew (none better) that dwarf-names he had used in The Hobbit came from Old Norse" (55).
If you are quoting dialogue, or a statement made by an author, and you are drawing attention to it as a statement, a comma normally precedes the quote. This almost always comes after a verb like "says", "asks", "responds", "states", "screams", etc. In these instances, the quotation begins with a capital letter. Consider the following examples:
At the end of the first part of the Knight's Tale, Chaucer asks, "Who hath the worse, Arcite or Palamoun?" (Knight's Tale, 1348).
The narrator's own summing up is, indeed, a slightly tempered view of the absolute perfection put forward in 632-35. Hearing the Green Knight's challenge, Arthur responds, "Sir cortays knyght, / If thou crave batayl bare, / Here faylez thou not to fyght" (276-78).
He says, "This pure fyue / Were harder happed on that hathel then on any other" (645-55).
According to Putter, "The great Ricardian poets bequeathed to modern criticism a suspicion about the literary seriousness of Arthurian romance" (1).
Both versions introduce Tom Bombadil without further explanation: "Old Tom Bombadil was a merry fellow; / bright blue his jacket was, and his boots were yellow" (646). Both also give Tom four adventures, or encounters with malignant powers.
Eomer says, "Wanderers in the Riddermark would be wise to be less haughty in these days of doubt" (645-55).
According to Shippey, "Tolkien knew (none better) that dwarf-names he had used in The Hobbit came from Old Norse" (55).
In illustrating these four steps, we'll use as our example, Franklin Roosevelt's famous quotation, "The only thing we have to fear is fear itself."
1. Provide a context for each quotation. Do not rely on quotations to tell your story for you. It is your responsibility to provide your reader with a context for the quotation. The context should set the basic scene for when, possibly where, and under what circumstances the quotation was spoken or written. So, in providing a context for our above example, you might write:
When Franklin Roosevelt gave his inaugural speech on March 4, 1933, he addressed a nation weakened and demoralized by economic depression.
2. Attribute each quotation to its source. Tell your reader who is speaking. Here is a good test: try reading your text aloud. Could your reader determine without looking at your paper where your quotations begin? If not, you need to attribute the quote more noticeably.
Avoid getting into the "he/she said" attribution rut! There are many other ways to attribute quotes besides this construction. Here are a few alternative verbs, usually followed by "that":
add remark exclaim announce reply state comment respond estimate write point out predict argue suggest propose declare criticize proclaim note complain opine observe think note Different reporting verbs are preferred by different disciplines, so pay special attention to these in your disciplinary reading. If you're unfamiliar with the meanings of any of these words or others you find in your reading, consult a dictionary before using them.
3. Explain the significance of the quotation. Once you've inserted your quotation, along with its context and attribution, don't stop! Your reader still needs your assessment of why the quotation holds significance for your paper. Using our Roosevelt example, if you were writing a paper on the first one-hundred days of FDR's administration, you might follow the quotation by linking it to that topic:
With that message of hope and confidence, the new president set the stage for his next one-hundred days in office and helped restore the faith of the American people in their government.
4. Provide a citation for the quotation. All quotations, just like all paraphrases, require a formal citation. For more details about particular citation formats, see the UNC Libraries. In general, you should remember one rule of thumb: Place the parenthetical reference or footnote/endnote number after—not within—the closed quotation mark.
Roosevelt declared, "The only thing we have to fear is fear itself" (Roosevelt, Public Papers 11).
Roosevelt declared, "The only thing we have to fear is fear itself."1
How much should I quote? As few words as possible. Remember, your paper should primarily contain your own words, so quote only the most pithy and memorable parts of sources. Here are three guidelines for selecting quoted material judiciously.
1. Excerpt fragments. Sometimes, you should quote short fragments, rather than whole sentences. Suppose you interviewed Jane Doe about her reaction to John F. Kennedy's assassination. She commented:
"I couldn't believe it. It was just unreal and so sad. It was just unbelievable. I had never experienced such denial. I don't know why I felt so strongly. Perhaps it was because JFK was more to me than a president. He represented the hopes of young people everywhere."
You could quote all of Jane's comments, but her first three sentences are fairly redundant. You might instead want to quote Jane when she arrives at the ultimate reason for her strong emotions:
Jane Doe grappled with grief and disbelief. She had viewed JFK, not just as a national figurehead, but as someone who "represented the hopes of young people everywhere."
2. Excerpt those fragments carefully! Quoting the words of others carries a big responsibility. Misquoting misrepresents the ideas of others. Here's a classic example of a misquote:
John Adams has often been quoted as having said: "This would be the best of all possible worlds if there were no religion in it."
John Adams did, in fact, write the above words. But if you see those words in context, the meaning changes entirely. Here's the rest of the quotation:
Twenty times, in the course of my late reading, have I been on the point of breaking out, 'this would be the best of all possible worlds, if there were no religion in it!!!!' But in this exclamation, I should have been as fanatical as Bryant or Cleverly. Without religion, this world would be something not fit to be mentioned in public company—I mean hell.
As you can see from this example, context matters!
This example is from Paul F. Boller, Jr. and John George, They Never Said It: A Book of Fake Quotes, Misquotes, and Misleading Attributions (Oxford University Press, 1989).
3. Use block quotations sparingly. There may be times when you need to quote long passages. However, you should use block quotations only when you fear that omitting any words will destroy the integrity of the passage. If that passage exceeds four lines (some sources say five), then set it off as a block quotation.
How do I combine quotation marks with other punctuation marks? It can be confusing when you start combining quotation marks with other punctuation marks. You should consult a style manual for complicated situations, but the following two rules apply to most cases:
1) Keep periods and commas within quotation marks. So, for example:
According to Professor Jones, Lincoln "feared the spread of slavery," but many of his aides advised him to "watch and wait."
In the above example, both the comma and period were enclosed in the quotation marks. The main exception to this rule involves the use of internal citations, which always precede the last period of the sentence. For example:
According to Professor Jones, Lincoln "feared the spread of slavery," but many of his aides advised him to "watch and wait" (Jones 143).
Note, however, that the period remains inside the quotation marks when your citation style involved superscript footnotes or endnotes. For example:
According to Professor Jones, Lincoln "feared the spread of slavery," but many of his aides advised him to "watch and wait."2
2) Place all other punctuation marks (colons, semicolons, exclamation marks, question marks) outside the quotation marks, except when they were part of the original quotation. Take a look at the following examples:
The student wrote that the U. S. Civil War "finally ended around 1900"!
The coach yelled, "Run!"
In the first example, the author placed the exclamation point outside the quotation mark because she added it herself to emphasize the absurdity of the student's comment. The student's original comment had not included an exclamation mark. In the second example, the exclamation mark remains within the quotation mark because it is indicating the excited tone in which the coach yelled the command. Thus, the exclamation mark is considered to be part of the original quotation.
How do I indicate quotations within quotations? If you are quoting a passage that contains a quotation, then you use single quotation marks for the internal quotation. Quite rarely, you quote a passage that has a quotation within a quotation. In that rare instance, you would use double quotation marks for the second internal quotation.
Here's an example of a quotation within a quotation:
In "The Emperor's New Clothes," Hans Christian Andersen wrote, "'But the Emperor has nothing on at all!' cried a little child."
Remember to consult your style guide to determine how to properly cite a quote within a quote.
When do I use those three dots ( . . . )? Whenever you want to leave out material from within a quotation, you need to use an ellipsis, which is a series of three periods, each of which should be preceded and followed by a space. So, an ellipsis in this sentence would look like . . . this. There are a few rules to follow when using ellipses:
1. Be sure that you don't fundamentally change the meaning of the quotation by omitting material. Take a look at the following example:
"The Writing Center is located on the UNC campus and serves the entire UNC community."
"The Writing Center . . . serves the entire UNC community."
The reader's understanding of the Writing Center's mission to serve the UNC community is not affected by omitting the information about its location.
2. Do not use ellipses at the beginning or ending of quotations, unless it's important for the reader to know that the quotation was truncated. For example, using the above example, you would NOT need an ellipsis in either of these situations:
"The Writing Center is located on the UNC campus . . ."
The Writing Center " . . . serves the entire UNC community."
3. Use punctuation marks in combination with ellipses when removing material from the end of sentences or clauses. For example, if you take material from the end of a sentence, keep the period in as usual.
"The boys ran to school, forgetting their lunches and books. Even though they were out of breath, they made it on time."
"The boys ran to school. . . . Even though they were out of breath, they made it on time."
Likewise, if you excerpt material at the end of clause that ends in a comma, retain the comma.
"The red car came to a screeching halt that was heard by nearby pedestrians, but no one was hurt."
"The red car came to a screeching halt . . . , but no one was hurt."
Is it ever okay to insert my own words or change words in a quotation? Sometimes it is necessary for clarity and flow to alter a word or words within a quotation. You should make such changes rarely. In order to alert your reader to the changes you've made, you should always bracket the altered words. Here are a few examples of situations when you might need brackets.
1. Changing verb tense or pronouns in order to be consistent with the rest of the sentence. Suppose you were quoting a woman who, when asked about her experiences immigrating to the United States, commented "nobody understood me." You might write:
Esther Hansen felt that when she came to the United States "nobody understood [her]."
In the above example, you've changed "me" to "her" in order to keep the entire passage in third person. However, you could avoid the need for this change by simply rephrasing:
"Nobody understood me," recalled Danish immigrant Esther Hansen.
2. Including supplemental information that your reader needs in order to understand the quotation. For example, if you were quoting someone's nickname, you might want to let your reader know the full name of that person in brackets.
"The principal of the school told Billy [William Smith] that his contract would be terminated."
Similarly, if a quotation referenced an event with which the reader might be unfamiliar, you could identify that event in brackets.
"We completely revised our political strategies after the strike [of 1934]."
3. Indicating the use of nonstandard grammar or spelling. In rare situations, you may quote from a text that has nonstandard grammar, spelling, or word choice. In such cases, you may want to insert [sic], which means "thus" or "so" in Latin. Using [sic] alerts your reader to the fact that this nonstandard language is not the result of a typo on your part. Always italicize "sic" and enclose it in brackets. There is no need to put a period at the end. Here's an example of when you might use [sic]:
Twelve-year-old Betsy Smith wrote in her diary, "Father is afraid that he will be guilty of beach [sic] of contract."
Here [sic] indicates that the original author wrote "beach of contract," not breach of contract, which is the accepted terminology.
4. Do not overuse brackets! For example, it is not necessary to bracket capitalization changes that you make at the beginning of sentences. For example, suppose you were going to use part of this quotation:
"We never looked back, but the memory of our army days remained with us the rest of our lives."
If you wanted to begin a sentence with an excerpt from the middle of this quotation, there would be no need to bracket your capitalization changes.
"The memory of our army days remained with us the rest of our lives," commented Joe Brown, a World War II veteran.
Not
"[T]he memory of our army days remained with us the rest of our lives," commented Joe Brown, a World War II veteran.
HOW TO USE THE ELLIPSES CORRECTLY:
The MLA Handbook recommends using square
brackets on either side of the ellipsis points to distinguish between
an ellipsis that you've added and the ellipses that might have been in
the original text. Such a bracketed ellipsis in a quotation would look
like this:
"Bohr […] used the analogy of parallel stairways […]" (Smith 55).INSTRUCTIONS ON ELLIPSES & QUOTATIONS NEVER BEGIN A SENTENCE WITH ELLIPSES DOTS. NEVER BEGIN A SENTENCE WITH A LOWER-CASE LETTER.
VERB + “That” = NO COMMA + LOWER CASE
VERB ONLY = COMMA + CAPITAL
e.g., The president warned that “war is inevitable.”
e.g., The president warned, “War is inevitable.”
The not-so-simple rule for the same situation: If the sentence and quotation are syntactically dependent = no comma.
If the sentence and quotation are not syntactically dependent = comma and capital.
ELLIPSES DOTS ARE USED TO OMIT UNNEEDED PUNCTUATION.
Never do: She announced that “the war … was over.”
Do: She announced that “the war . . . was over.”
(2) DO NOT SPLIT ELLIPSIS DOTS. ALL MUST BE ON THE SAME LINE.
"Bohr […] used the analogy of parallel stairways […]" (Smith 55).INSTRUCTIONS ON ELLIPSES & QUOTATIONS NEVER BEGIN A SENTENCE WITH ELLIPSES DOTS. NEVER BEGIN A SENTENCE WITH A LOWER-CASE LETTER.
- Never do: “. . . slavery in America had lingering effects.”
- Never do: “. . . Slavery in America had lingering effects.”
- Do: “[S]lavery in America had lingering effects.” (formal method)
- Do: “Slavery in America had lingering effects.” (informal method)
- Never do: The judges knew that “The courts had no choice but to void the statute.”
- Do: The judges knew that “the courts had no choice but to void the statute.”
- Do: The judges acknowledged, “The courts had no choice but to void the statute.”
VERB + “That” = NO COMMA + LOWER CASE
VERB ONLY = COMMA + CAPITAL
e.g., The president warned that “war is inevitable.”
e.g., The president warned, “War is inevitable.”
The not-so-simple rule for the same situation: If the sentence and quotation are syntactically dependent = no comma.
If the sentence and quotation are not syntactically dependent = comma and capital.
ELLIPSES DOTS ARE USED TO OMIT UNNEEDED PUNCTUATION.
- Never do: “There is never enough time, . . . , to enjoy life.”
- Do: “There is never enough time . . . to enjoy life.”
- Never do: They struggled “. . . diligently and fairly successfully. . . .”
- Do: They struggled “diligently and fairly successfully.”
- Do: Historians believe that “northerners faced an intriguing paradox . . . .”
- Do: "The king believe[d] in absolute power."
- Do: "The protesters [were] determined."
- Do: "The experience of [American] slavery had deep effects.”
- Do: She warned that, "not knowing the solution[,] they were likely to take a misstep."
- Do: "[He] wanted absolute power."
- Do: "The general [Anderson] took control of the battle."
- Do: "The war [of 1812] was a period of trauma and triumph."
- Do: “Senator Edmund [sic] Kennedy was the heart of the opposition.”
- Do: He asserted that “the rule is outragious [sic].”
- Do: She argues that “the Mexican war of 1847 [sic] was immoral.”
Never do: She announced that “the war … was over.”
Do: She announced that “the war . . . was over.”
(2) DO NOT SPLIT ELLIPSIS DOTS. ALL MUST BE ON THE SAME LINE.
DIRECT QUOTES (FOR MORE INFO. SEE ALL LINKS BELOW):
When you directly quote the works of others in your paper, you will
format quotations differently depending on their length. Below are some
basic guidelines for incorporating quotations into your paper. Please
note that all pages in MLA should be double-spaced.
Short Quotations
To indicate short quotations (fewer than four typed lines of prose or three lines of verse) in your text, enclose the quotation within double quotation marks. Provide the author and specific page citation (in the case of verse, provide line numbers) in the text, and include a complete reference on the Works Cited page. Punctuation marks such as periods, commas, and semicolons should appear after the parenthetical citation. Question marks and exclamation points should appear within the quotation marks if they are a part of the quoted passage but after the parenthetical citation if they are a part of your text. For example:
According to some, dreams express "profound aspects of personality" (Foulkes 184), though others disagree. According to Foulkes's study, dreams may express "profound aspects of personality" (184). Is it possible that dreams may express "profound aspects of personality" (Foulkes 184)? Mark breaks in short quotations of verse with a slash, /, at the end of each line of verse: (a space should precede and follow the slash)
Cullen concludes, "Of all the things that happened there / That's all I remember" (11-12).
Long Quotations
For quotations that extend to more than four lines of verse or prose: place quotations in a free-standing block of text and omit quotation marks. Start the quotation on a new line, with the entire quote indented one inch from the left margin; maintain double-spacing. Only indent the first line of the quotation by a half inch if you are citing multiple paragraphs. Your parenthetical citation should come after the closing punctuation mark. When quoting verse, maintain original line breaks. (You should maintain double-spacing throughout your essay.) For example:
Nelly Dean treats Heathcliff poorly and dehumanizes him throughout her narration:
They entirely refused to have it in bed with them, or even in their room, and I had no more sense, so, I put it on the landing of the stairs, hoping it would be gone on the morrow. By chance, or else attracted by hearing his voice, it crept to Mr. Earnshaw's door, and there he found it on quitting his chamber. Inquiries were made as to how it got there; I was obliged to confess, and in recompense for my cowardice and inhumanity was sent out of the house. (Bronte 78)
When citing long sections of poetry, keep formatting as close to the original as possible:
In his poem "My Papa's Waltz," Theodore Roethke explores his childhood with his father:
The whiskey on your breath
Could make a small boy dizzy;
But I hung on like death:
Such waltzing was not easy.
We Romped until the pans
Slid from the kitchen shelf;
My mother's countenance
Could not unfrown itself. (quoted in Shrodes, Finestone, Shugrue 202)
When citing two or more paragraphs, use block quotation format, even if the passage from the paragraphs is less than four lines. Indent the first line of each quoted paragraph an extra quarter inch:
In "American Origins of the Writing-across-the-Curriculum Movement," David Russell argues:
Writing has been an issue in American secondary and higher education since papers and examinations came into wide use in the 1870s, eventually driving out formal recitation and oral examination. . . .
From its birth in the late nineteenth century, progressive education has wrestled with the conflict within industrail society between pressure to increase specialization of knowledge and of professional work (upholding disciplinary standards) and pressure to integrate more fully an ever-widerning number of citizes into intellectually meaningful activity within mass society (promoting social equity). . . . (3)
Short Quotations
To indicate short quotations (fewer than four typed lines of prose or three lines of verse) in your text, enclose the quotation within double quotation marks. Provide the author and specific page citation (in the case of verse, provide line numbers) in the text, and include a complete reference on the Works Cited page. Punctuation marks such as periods, commas, and semicolons should appear after the parenthetical citation. Question marks and exclamation points should appear within the quotation marks if they are a part of the quoted passage but after the parenthetical citation if they are a part of your text. For example:
According to some, dreams express "profound aspects of personality" (Foulkes 184), though others disagree. According to Foulkes's study, dreams may express "profound aspects of personality" (184). Is it possible that dreams may express "profound aspects of personality" (Foulkes 184)? Mark breaks in short quotations of verse with a slash, /, at the end of each line of verse: (a space should precede and follow the slash)
Cullen concludes, "Of all the things that happened there / That's all I remember" (11-12).
Long Quotations
For quotations that extend to more than four lines of verse or prose: place quotations in a free-standing block of text and omit quotation marks. Start the quotation on a new line, with the entire quote indented one inch from the left margin; maintain double-spacing. Only indent the first line of the quotation by a half inch if you are citing multiple paragraphs. Your parenthetical citation should come after the closing punctuation mark. When quoting verse, maintain original line breaks. (You should maintain double-spacing throughout your essay.) For example:
Nelly Dean treats Heathcliff poorly and dehumanizes him throughout her narration:
They entirely refused to have it in bed with them, or even in their room, and I had no more sense, so, I put it on the landing of the stairs, hoping it would be gone on the morrow. By chance, or else attracted by hearing his voice, it crept to Mr. Earnshaw's door, and there he found it on quitting his chamber. Inquiries were made as to how it got there; I was obliged to confess, and in recompense for my cowardice and inhumanity was sent out of the house. (Bronte 78)
When citing long sections of poetry, keep formatting as close to the original as possible:
In his poem "My Papa's Waltz," Theodore Roethke explores his childhood with his father:
The whiskey on your breath
Could make a small boy dizzy;
But I hung on like death:
Such waltzing was not easy.
We Romped until the pans
Slid from the kitchen shelf;
My mother's countenance
Could not unfrown itself. (quoted in Shrodes, Finestone, Shugrue 202)
When citing two or more paragraphs, use block quotation format, even if the passage from the paragraphs is less than four lines. Indent the first line of each quoted paragraph an extra quarter inch:
In "American Origins of the Writing-across-the-Curriculum Movement," David Russell argues:
Writing has been an issue in American secondary and higher education since papers and examinations came into wide use in the 1870s, eventually driving out formal recitation and oral examination. . . .
From its birth in the late nineteenth century, progressive education has wrestled with the conflict within industrail society between pressure to increase specialization of knowledge and of professional work (upholding disciplinary standards) and pressure to integrate more fully an ever-widerning number of citizes into intellectually meaningful activity within mass society (promoting social equity). . . . (3)
TRANSITIONS:
Transitional Words and Phrases
Updated lists by Joanna Taraba, Writing Fellow, WC '05
This page only provides a list of transitional words; be certain you understand their meanings before you use them. Often, there exists a slight, but significant, difference between two apparently similar words. Also remember that while transitions describe relationships between ideas, they do not automatically create relationships between ideas for your reader. Use transitions with enough context in a sentence or paragraph to make the relationships clear.
Example of unclear transition:
The characters in Book A face a moral dilemma. In the same way, the characters in Book B face a similar problem.
Improved transition:
The characters in Book A face a moral dilemma, a contested inheritance. Although the inheritance in Book B consists of an old house and not a pile of money, the nature of the problem is quite similar.
Examples of Transitions:
Illustration
Thus, for example, for instance, namely, to illustrate, in other words, in particular, specifically, such as.
Contrast
On the contrary, contrarily, notwithstanding, but, however, nevertheless, in spite of, in contrast, yet, on one hand, on the other hand, rather, or, nor, conversely, at the same time, while this may be true.
Addition
And, in addition to, furthermore, moreover, besides, than, too, also, both-and, another, equally important, first, second, etc., again, further, last, finally, not only-but also, as well as, in the second place, next, likewise, similarly, in fact, as a result, consequently, in the same way, for example, for instance, however, thus, therefore, otherwise.
Time
After, afterward, before, then, once, next, last, at last, at length, first, second, etc., at first, formerly, rarely, usually, another, finally, soon, meanwhile, at the same time, for a minute, hour, day, etc., during the morning, day, week, etc., most important, later, ordinarily, to begin with, afterwards, generally, in order to, subsequently, previously, in the meantime, immediately, eventually, concurrently, simultaneously.
Space
At the left, at the right, in the center, on the side, along the edge, on top, below, beneath, under, around, above, over, straight ahead, at the top, at the bottom, surrounding, opposite, at the rear, at the front, in front of, beside, behind, next to, nearby, in the distance, beyond, in the forefront, in the foreground, within sight, out of sight, across, under, nearer, adjacent, in the background.
Concession
Although, at any rate, at least, still, thought, even though, granted that, while it may be true, in spite of, of course.
Similarity or Comparison
Similarly, likewise, in like fashion, in like manner, analogous to.
Emphasis
Above all, indeed, truly, of course, certainly, surely, in fact, really, in truth, again, besides, also, furthermore, in addition.
Details
Specifically, especially, in particular, to explain, to list, to enumerate, in detail, namely, including.
Examples
For example, for instance, to illustrate, thus, in other words, as an illustration, in particular.
Consequence or Result
So that, with the result that, thus, consequently, hence, accordingly, for this reason, therefore, so, because, since, due to, as a result, in other words, then.
Summary
Therefore, finally, consequently, thus, in short, in conclusion, in brief, as a result, accordingly.
Suggestion
For this purpose, to this end, with this in mind, with this purpose in mind, therefore.
Updated lists by Joanna Taraba, Writing Fellow, WC '05
This page only provides a list of transitional words; be certain you understand their meanings before you use them. Often, there exists a slight, but significant, difference between two apparently similar words. Also remember that while transitions describe relationships between ideas, they do not automatically create relationships between ideas for your reader. Use transitions with enough context in a sentence or paragraph to make the relationships clear.
Example of unclear transition:
The characters in Book A face a moral dilemma. In the same way, the characters in Book B face a similar problem.
Improved transition:
The characters in Book A face a moral dilemma, a contested inheritance. Although the inheritance in Book B consists of an old house and not a pile of money, the nature of the problem is quite similar.
Examples of Transitions:
Illustration
Thus, for example, for instance, namely, to illustrate, in other words, in particular, specifically, such as.
Contrast
On the contrary, contrarily, notwithstanding, but, however, nevertheless, in spite of, in contrast, yet, on one hand, on the other hand, rather, or, nor, conversely, at the same time, while this may be true.
Addition
And, in addition to, furthermore, moreover, besides, than, too, also, both-and, another, equally important, first, second, etc., again, further, last, finally, not only-but also, as well as, in the second place, next, likewise, similarly, in fact, as a result, consequently, in the same way, for example, for instance, however, thus, therefore, otherwise.
Time
After, afterward, before, then, once, next, last, at last, at length, first, second, etc., at first, formerly, rarely, usually, another, finally, soon, meanwhile, at the same time, for a minute, hour, day, etc., during the morning, day, week, etc., most important, later, ordinarily, to begin with, afterwards, generally, in order to, subsequently, previously, in the meantime, immediately, eventually, concurrently, simultaneously.
Space
At the left, at the right, in the center, on the side, along the edge, on top, below, beneath, under, around, above, over, straight ahead, at the top, at the bottom, surrounding, opposite, at the rear, at the front, in front of, beside, behind, next to, nearby, in the distance, beyond, in the forefront, in the foreground, within sight, out of sight, across, under, nearer, adjacent, in the background.
Concession
Although, at any rate, at least, still, thought, even though, granted that, while it may be true, in spite of, of course.
Similarity or Comparison
Similarly, likewise, in like fashion, in like manner, analogous to.
Emphasis
Above all, indeed, truly, of course, certainly, surely, in fact, really, in truth, again, besides, also, furthermore, in addition.
Details
Specifically, especially, in particular, to explain, to list, to enumerate, in detail, namely, including.
Examples
For example, for instance, to illustrate, thus, in other words, as an illustration, in particular.
Consequence or Result
So that, with the result that, thus, consequently, hence, accordingly, for this reason, therefore, so, because, since, due to, as a result, in other words, then.
Summary
Therefore, finally, consequently, thus, in short, in conclusion, in brief, as a result, accordingly.
Suggestion
For this purpose, to this end, with this in mind, with this purpose in mind, therefore.
http://mlaformat.org/mla-citations/
DOWNLOAD THESE DOCUMENTS AND VISIT THE LINKS TO GET AN "A" ON THE RESEARCH PAPER:
the-literary-comparison-contrast-essay.pdf | |
File Size: | 425 kb |
File Type: |
peer_editing_research_paperhamlet.doc | |
File Size: | 22 kb |
File Type: | doc |
senior-research-project-peer-editing-checklist.doc | |
File Size: | 35 kb |
File Type: | doc |
sample_paper.pdf | |
File Size: | 96 kb |
File Type: |
sample_paper2.pdf | |
File Size: | 572 kb |
File Type: |
sample_paper1.pdf | |
676 kb | |
http://www.aresearchguide.com/1steps.html
steps for how to write the paper
http://writing.wisc.edu/Handbook/QuoLiterature.html
link to WisconsinU for literature analysis paper
http://olinuris.library.cornell.edu/ref/research/skill1.htm
above is a link to Research steps from Cornell
http://writing2.richmond.edu/writing/wweb.html
This site will take you through all steps of the writing process.
http://www.fas.harvard.edu/~wricntr/documents/CompAnalysis.html
link above to Harvard advice on paper
http://www.nvcc.edu/home/ataormina/eng256/support/litcompare.htm
how to compare and contrast
http://web.presby.edu/writingcenter/guides/eng1.html
Quoting Shakespeare
http://www.colby.edu/personal/l/leosborn/quotes.html
Quoting Shakespeare
http://www.wsu.edu/~delahoyd/shakespeare/mla.html
QUOTING SHAKESPEARE
http://owl.english.purdue.edu/owl/resource/747/01/
MLA FORMAT AND WRITING SITE
http://www.easybib.com/
HELP WITH WORKS CITED PAGE
Philosophy Unit:
CLICK THIS LINK TO FIND OUT EVERYTHING ABOUT PHILOSOPHY:
http://plato.stanford.edu/contents.html
Philosophy ultimately asks three basic kinds of metaquestions about everything else: questions about reality, questions about truth, and questions about value. These three types of questions relate to the three fundamental branches of philosophy: metaphysics, epistemology, and axiology. Metaphysics is the branch of philosophy that asks questions about the nature of existence and reality. Is the world outside myself real? What is its nature? Where did it come from? Epistemology is the branch of philosophy that asks questions about the nature of truth and sound reasoning. What is good thinking? How do I know that I know what I think I know? Axiology is the branch of philosophy that asks questions of value.
What is the meaning of life? How should we live?
What makes something beautiful?
Does God exist, and, if so, what is God’s nature?
Is matter something different from spirit or mind?
Is there even such a thing as spirit? Are we ideas in the mind
What constitutes good thinking?
What aspects of truth can we simply assume are true and which ones do we need to argue for?
What is a good argument?
How do I know what is true? Can I trust my senses? Can I trust my mind? How do I know that I really know what I think I know?
What is a human being? Am I simply a biological machine? A being created in the image of God?
How should I live in the world? Are there rules that everyone must follow? Do other individuals count when making decisions? What is a fulfilled life?
How do humans best live together in the world? Should materials be owned privately or shared in common?
What makes something beautiful? What is truly art and what is not? What constitutes good art? Is beauty truly in the eye of the beholder? These are the questions of aesthetics, a branch of axiology.
Where is history headed? Is history simply a cycle of similar events repeating themselves? Is history headed toward a particular set of climactic events? Is the future alterable, or are we simply playing out an inevitable scenario? These are matters of the philosophy of history.
Here's a sampling of some of the questions always under consideration in philosophy:
Can we really ever know anything?
What is the good in life?
Are we actually free, as we seem to be, or are we just robots programmed by nature or God?
Are we just bodies, or do we have souls?
Do we survive death?
Is there a God?
Does life have meaning?
Glossary of Basic Philosophy Terms
To be a really great (or even fair-to-middling) philosopher, you need to understand some of the lingo of philosophy. Some basic terms in philosophy include:
Who am I? Is Happiness Really Possible in Our World? What is the good life? Is there a God?
AESTHETICS-
Aesthetics is the study of art and beauty as concepts as well as how we ought to evaluate potential instances of beauty and artistic creation.
For example, here are some questions to ask in aesthetics:
- What is beauty?
- Are some things objectively beautiful?
- What makes for a great work of art?
- Can something be humorous even if it never makes anyone laugh?
- What makes something ugly or objectionable to view?
- Why should we care about art?
EPISTEMOLOGY-
Can We Ever Really Know Anything?
Epistemology deals with questions about what we know, under what conditions we have knowledge, and what counts as a reason to believe something.
For example, here are some questions to ask in epistemology:
- What can we be absolutely certain about?
- Is there anything that we can never know?
- When should we believe something just because someone else told us it was true?
- What counts as evidence for a claim? How much evidence do you need in particular cases?
- How much can I learn just by thinking on my own?
- How do I know that the world as I see it is real, and not just an illusion?
Axiology
Axiology is the branch of philosophy that considers the study of principles and values. These values are divided into two main kinds: ethics and aesthetics. Ethics is the questioning of morals and personal values. Aesthetics is the examination of what is beautiful, enjoyable, or tasteful. In axiology education is more than just about knowledge but also quality of life.
ETHICS-Is There Ultimately an Objectivity to Ethics?
Ethics deals with the question of how people ought to act with regard to themselves, other people, and the world.For example, here are some questions to ask in ethics:
- What should I do in a particular situation?
- How should I decide what to do in a particular situation?
- When, if ever, is it okay to tell a lie?
- Do animals have rights?
- Should we care about strangers?
- Are we ever in a situation where there is no morally correct course of action?
- Should corporations have the same rights as people?
- Given worries about overpopulation, is it morally acceptable to have more than one child?
METAPHYSICS-
Metaphysics is the study of what exists and the structure within which the objects that make up the world operate.
For example, here are some questions to ask in metaphysics:
- What is time?
- What does it mean for one event to cause another event?
- Could everything exist only in my mind?
- Do I have a soul? Or am I just a material body?
- How am I the same person today that I was yesterday, or five years ago?
- What makes something alive?
You get in line to get a hamburger. Someone cuts you in line. You say, "that's not right. You know you should wait like the rest of us." You get the burger and smell it and taste it and declare it good.
Read more: http://www.dummies.com/how-to/content/philosophy-for-dummies-cheat-sheet.html#ixzz1CFtyeoL7
Life is like a jar of golf balls …. August 8, 2010
Here’s one of those great stories, not about whether the cup is half-full or half-empty, but instead, what do you fill it with….?
A philosophy professor stood before his class with some items in front of him. He wordlessly picked up a very large and empty mayonnaise jar and proceeded to fill it with golf balls. He then asked the students if the jar was full. They agreed that it was.
The professor then picked up a box of pebbles and poured them into the jar, shaking it slightly. The pebbles filled up the spaces in between the golf balls. He then asked the students again if the jar was full. The agreed that it was.
The professor then picked up a box of sand and poured that into the jar. Of course, the sand filled up everything else. He asked again if the jar was full. The students responded with a resounding “yes”.
The professor then produced two cups of coffee from under the table and poured the entire contents of both into the jar, effectively filling up the spaces in between the sand. The students laughed.
“Now,” Said the professor as the laughter subsided, “I want you to recognize that the jar represents your life. The golf balls are the important things….your family, your children, your health, your friends and favorite passions….and if everything else was lost and only they remained, your life would still be full.”
“The pebbles are the other things that matter like your job, your house, and your car.”
“The sand is everything else…the small stuff. If you put the sand into the jar first there is no room for the pebbles or the golf balls. The same goes for life. If you spend you’re your time and energy on the small stuff, you will never have room for the things that are important to you.”
“Pay attention to the things that are critical to your happiness. Spend time with your children. Spend time with your parents. Visit with grandparents. Take time to get medical check-ups. Take your spouse out to dinner. Play another 18. There will always be time to clean the house and fix the disposal. Take care of the golf balls first..the things that really matter. Set your priorities. The rest is just sand.”
One of the students raised her hand and inquired to what the coffee represented. The professor smiled and said, “I am glad you asked.”
“The coffee just shows you that no matter how full you life may seem, there’s always room for a couple cups of coffee with a friend.”
When life seems rough and that 24 hours in a day just aren’t enough, remember the jar and 2 cups of coffee.
Philosophy Project Assignment:
You are a group of concerned intellectuals who have looked around at today’s world and see a need for a new philosophy of life. Your group decides to try to change society for the better and make the world a better place for all mankind. Before you begin, research some famous philosophers and philosophies/religions out there today. You know what existentialism and nihilsim are now and who Plato, Kiekregaard, Malebranche, Emerson, Thoreau, and Descartes are, but find out more about philosophy before creating your own. Some examples: Relativism, Agnosticism, Atheism, Deism, Determinism, Humanism, Naturalism, Hedonism, Hume, Locke, Spinoza, Aquinas, Sartre, Nietzsche, Rousseau, etc.
http://plato.stanford.edu/contents.html
PART 1: Give the name of your philosophy and explain its meaning and origin. Explain the history of the philosophy. Did it come from a foreign country, etc.? Perhaps you could hold up a picture of the inspired leader – this can be a real person or fictional. The conclusion of this paper is to be used to “sell” the audience to accept your group’s philosophy. Why should we join up with you? A motto for your philosophy and an allegory or conceit is a nice way to explain it.
PART 2 (THIS IS THE MOST IMPORTANT PART AND THE MOST DIFFICULT): Explain the actual philosophy to us. Your explanation should contain 8 specific characteristics of the belief. How does it view God, man/woman/human nature, and nature? Why are we here? Life? Death? Truth? Fate? Freewill? Morality? Man’s nature? Right + Wrong/Ethics? How do we know what we know? (SEE QUESTIONS ABOVE). What makes us uniquely human (think traits)? Use quotes, lyrics, clips, examples from literature/tv/films/commercials, etc. to prove the philosophy is alive a well today. Who are followers living it out? Prove it. Here is where you will discuss the traits that make us human and motivate us. Each member will personify one of the traits. Think about all of the stories/plays/poems we've read in class to this point.
PART 3: Discuss three causes, projects or beliefs that your philosophy looks down upon or does not support and why. Your explanation should contain facts, ideas, and a clever quotation or motto that will stick in the audience’s minds. These are actual organizations or policies that exist today. You would protest these events/organizations or vote NO.
PART 4: Discuss three causes, projects, or beliefs that your philosophy support and why. Your explanation should contain facts, ideas, and a clever quotation that will inspire us all! YOU WOULD VOTE YES/JOIN/SUPPORT.
"OF STUDIES" LINK HERE: http://www.authorama.com/essays-of-francis-bacon-50.html
SEE HANDOUT FOR PERSONIFYING THE TRAITS
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Read the short stories/essays assigned in class. Answer all questions and explain the philosophical ideas in each.
Specific stories below. The stories vary each year. The goodman. docx=Flannery O'Connor assignment.
See board for details. TEST TO COME!!!!
See board for details. TEST TO COME!!!!
goodman.docx | |
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Plato's The Allegory of the Cave link
Above is a link to Plato's The Cave. Read it at home and be prepared to work in groups to answer the questions below.
http://philfilm.wordpress.com/related-links/
A website about philosophy and film with any resources and links.
http://people.bridgewater.edu/~jjosefso/The%20Myth%20of%20the%20Cave.htm
Read Plato's "Allegory of the Cave" (see link above) and answer the questions:
1.List all the elements of the 2 worlds.
2.Make an illustration of the allegory/cave.
3.What do the shadows represent? Marionettes? Pain? Dazzle? Fire? Sun?
4. What happens to the prisoner who returns to the cave? Why?
5. Define "intelligible region." Define "the form of the good." Define "good."
6. What is truth? Is knowledge possible? What elements prevent people from seeing the truth or regarding shadow as truth?
7.Why is the ascent to the cave "steep" and "rugged"?
8.What is the soul? Is it different from the self? What is the conversion?
9. Explain the meaning of the allegory. Do you agree? yes or no? Explain your responses with examples/illustrations/metaphors/allegories of your own.
BONUS***Do view the world like Plato (rationalism) or Aristotle (empiricism). Please see lecture tab on link above and listen to link below. See the videos and the extra questions for THE MATRIX and THE TRUMAN SHOW.
http://philosophybites.libsyn.com/simon_blackburn_on_plato_s_cave
Watch Plato's The Cave-http://www.youtube.com/watch?v=d2afuTvUzBQ&feature=related
http://www.youtube.com/watch?v=8LyUl67NGYw
The Cave and The Matrix?-http://www.youtube.com/watch?v=zRNMZEDOBrM
http://philfilms.utm.edu/1/matrix.htm
http://philfilms.utm.edu/1/truman.htm
1.List all the elements of the 2 worlds.
2.Make an illustration of the allegory/cave.
3.What do the shadows represent? Marionettes? Pain? Dazzle? Fire? Sun?
4. What happens to the prisoner who returns to the cave? Why?
5. Define "intelligible region." Define "the form of the good." Define "good."
6. What is truth? Is knowledge possible? What elements prevent people from seeing the truth or regarding shadow as truth?
7.Why is the ascent to the cave "steep" and "rugged"?
8.What is the soul? Is it different from the self? What is the conversion?
9. Explain the meaning of the allegory. Do you agree? yes or no? Explain your responses with examples/illustrations/metaphors/allegories of your own.
BONUS***Do view the world like Plato (rationalism) or Aristotle (empiricism). Please see lecture tab on link above and listen to link below. See the videos and the extra questions for THE MATRIX and THE TRUMAN SHOW.
http://philosophybites.libsyn.com/simon_blackburn_on_plato_s_cave
Watch Plato's The Cave-http://www.youtube.com/watch?v=d2afuTvUzBQ&feature=related
http://www.youtube.com/watch?v=8LyUl67NGYw
The Cave and The Matrix?-http://www.youtube.com/watch?v=zRNMZEDOBrM
http://philfilms.utm.edu/1/matrix.htm
http://philfilms.utm.edu/1/truman.htm
philosophyproject.doc | |
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philosophyproject.doc | |
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prufrock2011.docx | |
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theatre_of_absurd_r_and_g.ppt | |
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randgprufrock2014.docx | |
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http://www.lib.ru/PXESY/STOPPARD/r_g_engl.txt
ABOVE IS A LINK TO THE FULL TEXT OF R and G are Dead and a PPT to explain the Theatre of the Absurd
Below are study guides and articles to help you with your assignment:
http://www.csulb.edu/~lkermode/engl363/R&Gnotes.htm
http://home.sprintmail.com/~lifeform/beckstop.html
http://www.shmoop.com/rosencrantz-and-guildenstern-are-dead/
FEEL FREE TO USE INFO/QUOTES FROM THE ABOVE LINKS. MAKE SURE YOU CITE THE INFO. CORRECTLY.
A GUIDE TO THE PLAY: http://lardcave.net/hsc/english.2ur.stoppard.rosencrantzandguildenstern.html
"Wheels have been set in motion, and they have their own pace, to
which we are... condemned. Each move is dictated by the previous one - that
is the meaning of order. If we start being arbitrary it'll just be a
shambles: at least, let us hope so. Because if we happened, just happened to
discover, or even suspect, that our spontaneity was part of their order,
we'd know that we were lost. (He sits.) A Chinaman of the T'ang Dynasty -
and, by which definition, a philosopher - dreamed he was a butterfly, and
from that moment he was never quite sure that he was not a butterfly
dreaming it was a Chinese philosopher. Envy him, in his two-fold security."
rosencrantz_and_guildenstern2012.docx | |
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r_and_g_thesis_paper.pdf | |
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comedyladder.pdf | |
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rosenguild.pdf | |
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modest.pdf | |
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KAFKA'S METAMORPHOSIS
http://www.vahidnab.com/kafka.htm
metamorphosis2012.doc | |
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SEE GREGOR WAKE UP AS A BUG-http://www.youtube.com/watch?v=8DfrBcjisVo
OEDIPUS REX ASSIGNMENT: BOOK QUESTIONS 1-9 (#8=compare with Willy Loman, Hamlet or Othello), PHILOSOPHY QUESTIONS 1-6 (on same sheet), STUDY GUIDE QUESTIONS AND FINAL SHORT ESSAY (SEE DOC BELOW).
oedipus_study_guide2011.doc | |
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Below is info for Oedipus Rex Test Prep (not an assignment. Use as a resource, if you want.):
See Study Guides on 1st qtr page & http://www.temple.edu/classics/oedipus/index.html
A MODEST PROPOSAL‐http://www.fullbooks.com/A‐Modest‐Proposal.html
Extra Credit for 3rd quarter or no later than AP EXAM. 30 points max!!!
- Compare Hamlet to any film version (not one shown in class) including Hamlet 2000 (not Hamlet 2). Watch O or any Othello Film (not one shown in class) and compare it to the play. SEE PDFs below.
- Read M. Butterfly and complete questions in text and Literary Analysis: Drama. DISCUSS PHILOSOPHICAL IDEAS (SEE QUESTIONS ABOVE).
- See any 2 philosophical films (in your philosophy group) and answer questions to help explain the philosophies being presented. See links below and me for details.
- CHS Spring Play TBA
- Read Sophie's World and write and book report (SEE DOCS BELOW).
- Read O'Connor's "The Life You Save May be Your Own" and "Everything That Rises Must Converge" in the text. Answer the book questions along with tracing O'Connor's philosophy, themes, redemption, etc. throughout each work.
- Read Waiting for Godot, The Stranger, The Plague, or The Lesson (play not short story) and complete an Literary Analysis: DRAMA and PHILOSOPHICAL QUESTIONS.
- Read Tartuffe and analyze it for satire and comedy. Answer the questions in the book and explain style and characters.
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sophies_world_guide.pdf | |
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http://philfilms.utm.edu/
http://faculty.frostburg.edu/phil/forum/forum15.htm
http://books.google.com/books?id=wxH8tenyDdoC&dq=philosophical+film+questions&printsec=frontcover&source=in&hl=en&ei=CwqwSYiOL4HasAOKqeCOAQ&sa=X&oi=book_result&resnum=11&ct=result#PPA23,M1
PORTFOLIO 1st SEMESTER:
- 500 word min. reflection of the 1st semester (summer included). What have you learned? How have you grown as a reader, writer, listener, and speaker? What difficulties have you encountered? How did you overcome them? Which assignment is your favorite? Why? Least favorite? Why? How has your view of literature and writing changed? What will you focus on next semester to improve your grade and prepare for the AP Exam?
- 8 pieces of writing with a 1/2 page (150 words) introduction for each. What does the piece say about you as a writer? reader? listener? speaker? Was this your favorite piece? Most difficult piece? Biggest risk? Most creative? etc. Did you overcome any obstacles when writing it? How? Explain the process? What does it show us about you as a writer?
- #1-Self Poem
- #2-Original poem or short story-Bible allusions
- #3-The entire personal statement process
- #4-#8-Any piece of writing from this year (any class or at home).Choose wisely. Make sure the pieces show a variety of your writing/reading skills. You may include one piece in a foreign language.