AGENDA. Grammar quiz dashes/hyphens Perspective Presentations

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1 MONDAY, MARCH 12

2 AGENDA Grammar quiz dashes/hyphens Perspective Presentations DO: Understand and apply dashes/hyphens accurately. Understand different critical perspectives. Present information orally in a clear, concise manner.

3 GRAMMAR QUIZ Write in dashes/hyphens where necessary Make sure your marks are clear So if you are using pencil, make sure the marks are clear (feel free to circle them if you are concerned)

4 LIT CRIT PRESENTATIONS Notebook Rubric

5 PRESENTATION PROTOCOL Each group will present together Each person must speak (or you won t get a delivery grade) Your goal: for your classmates to understand the basics of your perspective Audience: take notes during each presentation

6 NOTES TO TAKE ON EACH PERSPECTIVE What characterizes/defines this perspective? How do you go about reading via this perspective? What is important to know about this perspective? What types of questions would you ask of this perspective?

7 SAMPLE NOTES Biographical perspective = author s life Read by focusing on similarities between life and story Need to actually know author s life in order to do so Questions: How does the author s background inform the story? What is the purpose of the autobio details?

8 TOMORROW Finish perspective presentations Start analyzing short texts via the perspectives

9 TUESDAY, MARCH 13

10 GRAMMAR PRACTICE: ACTIVE VS. PASSIVE Identify which sentences are passive: The winning goal was scored by Ian. Delaney and Shania both bowled over 200 this weekend. Cody and Ethan are playing two of the brothers in the spring musical. The cute dog was owned by Mia. Jeremy is disappointed by Ms. Neal ruining Disney movies.

11 GRAMMAR PRACTICE: ACTIVE VS. PASSIVE Identify which sentences are passive: The winning goal was scored by Ian. Delaney and Shania both bowled over 200 this weekend. Cody and Ethan are playing two of the brothers in the spring musical. The cute dog was owned by Mia. Jeremy is disappointed by Ms. Neal ruining Disney movies.

12 AGENDA Finish Perspective Presentations Lit Crit in Disney songs Gaston I ll Make a Man Out of You Bring Honor to Us All DO: Understand different critical perspectives. Present information orally in a clear, concise manner. Analyze a text through multiple literary perspectives. HW: Study lit crit definitions

13 PRESENTATION PROTOCOL Each group will present together Each person must speak (or you won t get a delivery grade) Your goal: for your classmates to understand the basics of your perspective Audience: take notes during each presentation

14 NOTES TO TAKE ON EACH PERSPECTIVE What characterizes/defines this perspective? How do you go about reading via this perspective? What is important to know about this perspective? What types of questions would you ask of this perspective?

15 TIME TO ANALYZE!

16 NOTE The slides with perspective focuses and questions need to be copied into your notes. These will not only help you be successful in the rest of the semester, but it will help you study for the pop quiz coming up.

17 YES, YES I AM (IT MAY EVEN BE LATER THIS WEEK) So when I say take notes, I mean it. These will also be on my Teacher Web Page, so you should visit it.

18 GASTON FROM BEAUTY AND THE BEAST As we watch each version of the song, focus on the following: What positive attributes does Gaston have? How does Le Fou view Gaston? How are the men in the tavern portrayed? How are the women in the tavern portrayed?

19 MEN AND WOMEN S DEPICTIONS The men in the tavern must corroborate Le Fou s assertion that there is no other guy like Gaston, so their own masculinity is infererior to his. The women in the tavern (primarily these three girls) have the sole narrative purpose of fawning over Gaston.

GENDER/QUEER THEORY Focus: how gender and sexuality is discussed May look at this in a non-binary way (going beyond solely masculine and feminine/either-or) Questions to ask: Does

20 GENDER/QUEER THEORY Focus: how gender and sexuality is discussed May look at this in a non-binary way (going beyond solely masculine and feminine/either-or) Questions to ask: Does this reinforce traditional gender roles? How is masculinity and femininity depicted in the story? Are there any depictions of gay, lesbian, or queer characters? How are they shown/treated?

21 BIOGRAPHICAL Lyricist Howard Ashman not only advocated for the Beast to redeem himself, he was also battling AIDS during production. For him, Beauty and the Beast became an allegory of life with HIV.

22 BIOGRAPHICAL PERSPECTIVE Focus: Biographical perspective = author s life Read by focusing on similarities between life and story Questions: How does the author s background inform the story? What is the purpose of the autobiographical details?

23 I LL MAKE A MAN OUT OF YOU FROM MULAN What is defined as a successful man? What happens to someone who does not meet these standards? What values are demonstrated here?

24 ATTITUDES OF THE TIME Contrast with Bring Honor to Us All What values are in existence here? What is the difference between male and female spheres?

ATTITUDES OF THE TIME Scarier than the undertaker marriage literally is the only path forward for Mulan to bring honor to her family I ll make a man out of

25 ATTITUDES OF THE TIME Scarier than the undertaker marriage literally is the only path forward for Mulan to bring honor to her family I ll make a man out of you manliness must be cultivated and weeded out of an individual in order to be suitable Mulan is unique for being able to break out of this dichotomy/binary

26 NEW HISTORICISM Focus: The historical, cultural, social attitudes of the time The position people held at that time historically AKA Attitudes and positions typical of the time period Questions to ask: What are the circumstances of the story? (What is the historical context?) How does the story comment on the history and social structure of its time? What can you learn about the time period the story takes place in?

27 NEW HISTORICISM ON MULAN What attitude is being promoted by Shang? What attitude is being promoted by the women? What attitude (from the 1990s) does the movie itself promote?

28 NEW HISTORICISM ON MULAN What attitude is being promoted by Shang? Manliness is defined by military competency What attitude is being promoted by the women? Femininity is softness, poise, beauty, and good marriage What attitude (from the 1990s) does the movie itself promote? Girls should not conform to gender stereotypes (they should be like Mulan)

29 FEMINISM Focus: How men and women are depicted and relate to each other Can often look at the power dynamic between the two, and traditional gender roles (either supported or subverted) including stereotypes based on gender Questions to ask: Is there equality or inequality between the genders? How does a character s gender determine the way he or she can behave/operate in the story? What privileges are given to characters based on gender?

30 WEDNESDAY, MARCH 14

31 NEW SCHEDULE PERIOD TIME 1 7:05-7:59 (54) 2 8:04-8:59 (54) 3 9:04-10:17 (73) w/ announcements, videos & potential Walk-Out 4A 10:25-10:50 4B 10:55-11:20 5A 11:25-11:50 5B 11:55-12:20 6A 12:25-12:50 6B 12:55-1:20 7 1:25-2:10 (45)

32 AGENDA Finish Lit Crit in Disney songs Recap Gaston and Mulan Prince Ali Gertrude McFuzz DO: Understand different critical perspectives. Present information orally in a clear, concise manner. Analyze a text through multiple literary perspectives. HW: Study lit crit definitions (pop quiz coming soon)

33 PERSPECTIVES RECAP Gaston and Beauty and the Beast Gender/Queer Theory Biographical Mulan New Historicism Feminism How did we apply these perspectives? What was the focus?

34 NEW HISTORICISM ON MULAN What attitude is being promoted by Shang? Manliness is defined by military competency What attitude is being promoted by the women? Femininity is softness, poise, beauty, and good marriage What attitude (from the 1990s) does the movie itself promote? Girls should not conform to gender stereotypes (they should be like Mulan)

FEMINISM Focus: How men and women are depicted and relate to each other Can often look at the power dynamic between the two, and traditional gender roles (either supported or subverted) including

35 FEMINISM Focus: How men and women are depicted and relate to each other Can often look at the power dynamic between the two, and traditional gender roles (either supported or subverted) including stereotypes based on gender Questions to ask: Is there equality or inequality between the genders? How does a character s gender determine the way he or she can behave/operate in the story? What privileges are given to characters based on gender?

36 PRINCE ALI FROM ALADDIN What is shown as Ali (Aladdin) makes his way to the palace? What different people do you see? How do they treat Ali

37 PRINCE MONEYBAGS Genuflect (kneel) and show some respect Listing of his riches and servants Why is a complete stranger just able to walk in and ask to marry his daughter???

38 MARXISM Focus: The power dynamic between social and economic classes Rich vs. poor or owners vs. workers or upper vs. lower class Questions to ask: How are the different social classes related? How does social class/financial position determine a character s position in life? How do characters deal with oppression?

Is this mistreatment expected or understood?

39 MARXISM IN ALADDIN How are people exploited (mistreated)? Is this primarily possible due to their economic class? Is this mistreatment expected or understood? Do those who suffer fight back? Who are strong characters? Does that often equate with money or power?

Focus: PSYCHOANALYTIC Unconscious desires Fixations/obsessions Questions to ask: What are the characters unconscious desires? How do they influence the story?

41 Focus: PSYCHOANALYTIC Unconscious desires Fixations/obsessions Questions to ask: What are the characters unconscious desires? How do they influence the story? What types of family dynamics are present? How is the id (base desires), ego (regular consciousness), and superego (sense of morality/right and wrong) depicted? How are psychological motives represented? How do they effect the story?

ID, EGO, AND SUPEREGO Id present from birth, entirely unconscious, follows instincts only, wants immediate gratification of all desires and needs, important early in life for survival Ego keeps

42 ID, EGO, AND SUPEREGO Id present from birth, entirely unconscious, follows instincts only, wants immediate gratification of all desires and needs, important early in life for survival Ego keeps the id in check, deals with reality, controls impulses, acts like a filter in order to behave appropriately Superego holds our moral standards, influenced by parents and society, perfects our behavior

43 POSSIBLE UNCONSCIOUS DESIRES IN DISNEY?

Focus: NARRATIVE How the story is told Consider point of view (POV), techniques (flashbacks, stream of consciousness, etc.) Questions to ask: What is the point of view of the story?

44 Focus: NARRATIVE How the story is told Consider point of view (POV), techniques (flashbacks, stream of consciousness, etc.) Questions to ask: What is the point of view of the story? How does the way the story is told emphasize certain features? How is the story told? (What details do we see happen? What are we just told about? What s left out?) Is the narrator reliable or unreliable?

Focus: ARCHETYPES Universal characters or plots Common archetypes: the quest, the magical tool/weapon, the hero, the evil queen, the maiden, the wise old man, the fool, the trickster,

45 Focus: ARCHETYPES Universal characters or plots Common archetypes: the quest, the magical tool/weapon, the hero, the evil queen, the maiden, the wise old man, the fool, the trickster, etc. Questions to ask: How does the story mirror archetype patterns? What symbols are present in the story? Do any characters go on a journey? If so, what kind? What do they encounter?

46 CONGRATS! YOU DID LITERARY CRITICISM! Review and study these notes (remember, pop quiz and B1 upcoming) Remember these basic examples, as these are the same questions you will be asking of other stories

47 GERTRUDE MCFUZZ BY DR. SEUSS

48 GERTRUDE MCFUZZ Round 1: Sit back and enjoy the story! Follow along in your copy

49 GERTRUDE MCFUZZ - PSYCHOANALYTIC As we go through Gertrude McFuzz a second time, focus on the psychoanalytic perspective. What is Gertrude fixated on (or obsessed with)? What are her unconscious desires? Why is Gertrude doing what she s doing? (eating berries to get more tail feathers)

50 GERTRUDE MCFUZZ FEMINISM As we go through a third time, focus on the feminist perspective. How are girl-birds depicted/shown? Why is it so important to have many tail feathers? How does her Uncle Dake treat Gertrude?

51 GERTRUDE MCFUZZ MARXISM As we go through a fourth time, focus on the Marxist perspective. What social class does Gertrude appear to be? How does Gertrude manage resources? Is it fair for the other birds to have to break their beaks to save her?

52 GERTRUDE MCFUZZ ANYTHING ELSE? In your partners, is there anything else we can analyze through one of the other 5 perspectives?

53 MOVING FORWARD Keep this in mind, both in terms of annotations and analysis. Remember, if one aspect is confusing, either come in for help, or review your notes to make sense of it.

54 THURSDAY, MARCH 15

55 AGENDA The Yellow Wallpaper Feminism Psychoanalysis New Historicism DO: Understand different critical perspectives. Present information orally in a clear, concise manner. Analyze a text through multiple literary perspectives. HW: Study lit crit definitions (pop quiz coming soon)

56 THE YELLOW WALLPAPER We will read The Yellow Wallpaper (which many of you have read before), and analyze it through various perspectives.

57 FRIDAY, MARCH 16

58 AGENDA Pop quiz Lit Crit terms Review The Yellow Wallpaper DO: Demonstrate understanding and recall of lit crit terms. Identify what literary perspective a critic is interpreting from. HW: Study for Benchmark 1 (next Thursday)

59 POP QUIZ Answer on both the Master Manager sheet (which will be graded) and the quiz itself (which will be returned to you next week to help you study).

60 THE YELLOW WALLPAPER We will review The Yellow Wallpaper ; first the plot, then the critical perspectives.

61 Why are the narrator and her husband, John, at this house for the summer? Whose decision was it?

62 What does the narrator have to do in secret? What effect does this have on her?

63 What does she see in the paper? Why is she the only one who can see this?

64 At the end of the story, it states: Now why should that man have fainted? But he did, and right across my path by the wall, so that I had to creep over him every time! Using either the Feminist or Psychoanalysis perspective, explain the impact of this quotation; what is it revealing, and why is it significant?

65 FEMINISM How is the narrator treated/described? Why is John an authority figure? Does he treat with wife with respect? Does he listen to her? How is the narrator stereotypical? Overall, how are women viewed in this story?

66 FEMINISM How is the narrator treated/described? She is treated like a child, or someone who doesn t understand what s going on. John doesn t listen to her concerns, and tells her he knows what s best. She is also monitored by the servants, and isn t allowed to do what she wants. She is described as being sickly (most likely postpartum depression). Why is John an authority figure? Does he treat with wife with respect? Does he listen to her? He is both a doctor (so he knows what he s talking about medically), as well as her husband. He treats her well (as far as he thinks), but he doesn t respect her valid wishes or concerns regarding the room because he firmly believes he knows best. His arrogance leads to her neglect/mistreatment.

67 FEMINISM How is the narrator stereotypical? She (mostly) listens to and obeys her husband. She is also described as silly, as many women were. Overall, how are women viewed in this story? They are viewed as needing the aid of men specifically, and prone to nervousness.

68 PSYCHOANALYTIC What is the narrator s mental state at the start of the story? How does she feel about the wallpaper at the beginning? Towards the middle? At the end of the story? How does her fixation/obsession influence her life and the story?

69 PSYCHOANALYTIC What is the narrator s mental state at the start of the story? She has a nervous condition and often feels tired. She however gets unreasonably angry with John sometimes even though I m sure I never used to be so sensitive. As a result, she takes pains to control myself- before him, at least, and that makes me very tired. How does she feel about the wallpaper at the beginning? She hates it; she thinks it is very ugly. Towards the middle? She is intrigued because she thinks the pattern is moving/ there is something in it. At the end of the story? She believes there is a woman trapped in the paper, and later she herself escaped from the paper. How does her fixation/obsession influence her life and the story? It is the crux (or heart) of the story. If she was not obsessed with the wallpaper, the story would be completely different, and she may not have gotten worse.

70 NEW HISTORICISM What is John s attitude towards her condition? What is Jane s attitude towards her condition? Which of these attitudes makes the most sense to us as modern readers? What position were different people in at this time? Narrator John The servants What attitude does the author seem to support? Why?

71 NEW HISTORICISM What is John s attitude towards her condition? He does not think it is very serious, and that the narrator is mostly causing it herself. He believes that what she needs more than anything else is rest, and alone time. What is Jane s attitude towards her condition? She thinks it is quite serious and John (and her brother) tell her (and everyone else) it s not, so she is not believed. She also believes that social engagement and fresh air and writing will make her feel better, but John says this will only excite or tire her, and make her worse. She believes that congenial work, with excitement and change, would do me good.

72 NEW HISTORICISM Which of these attitudes makes the most sense to us as modern readers? We would agree with the narrator, as stimulation, positive relationships, and proactive help are better treatment options than isolation.

73 NEW HISTORICISM What position were different people in at this time? Narrator: She had some status as a middle class woman, but she came second to her husband. She had privilege (Mary is taking care of her baby) but she still has it rough. John: he has the highest position. As a middle class man with a good job (physician), he calls the shots. The servants: they are employed, but they have to do exactly what their boss (John) says. What attitude does the author seem to support? Why? She agrees with Jane (the narrator) as John s treatment is shown to make her sicker. Based on the biographical information, we see Perkins Gilman faced similar issues.

74 BIOGRAPHICAL How did Charlotte Perkins Gilman s (the author s) life experience/background influence the short story? (make sure to read and reference Why I Wrote The Yellow Wallpaper ) She experienced the same nervous condition as the narrator, received the same advice ( the rest cure ), and had the same negative reaction ( borderline of utter mental ruin ). By exercising, working, and seeing friends (what the narrator argues to do), she is able to get well. This experienced caused her to write the story in order to save people from being driven crazy.

You will need the following materials today: o Your Survival Guide (turn to page 116) o Your R.J. o Your copy of Their Eyes Were Watching God

You will need the following materials today: o Your Survival Guide (turn to page 116) o Your R.J. o Your copy of Their Eyes Were Watching God Working with the Psychoanalytic Lens, the New Historicism Lens,