- All late work is due by Friday
- Please review your Edline grade report *today* to see if any of your work is missing. I have graded and processed everything that has been submitted, so if you have a * in any category, you have to assume that I have not received it. The * will be changed to a 0 if it is not received by Friday
- Rewrites of the Athens-Sparta essay are also due on Friday
- Less important - your participation grade this week was based heavily on your in class blog assignment on Athens in the 4th century BC
Friday, January 15, 2010
End of Semester Reminders
Please Note:
Where JC and Oedipus/Greece Intersect
I realize that, for many of you, yesterday's performance of Julius Caesar was difficult to follow. It was unfortunate that we didn't have class time to set things up properly, but the relevance will become more apparent as the year moves on, since we will eventually deal with Caesar during the Rome unit. That said, there are some connections to be made right now, especially with regards to Greek tragedy and the political conflicts between Athens and Sparta.
In terms of tragedy, both JC and Oedipus struggle with fate. In Act I, Cassius challenges the notion of fate in a conversation with Brutus:
BRUTUS
Another general shout!
I do believe that these applauses are
For some new honours that are heap'd on Caesar.
CASSIUS
Why, man, he doth bestride the narrow world
Like a Colossus, and we petty men
Walk under his huge legs and peep about
To find ourselves dishonourable graves.
Men at some time are masters of their fates:
The fault, dear Brutus, is not in our stars,
But in ourselves, that we are underlings.
The key part comes at the end of Cassius's excerpt. Fate, he says, is not the will of the gods, but a product of man's individual will. To put it another way, Cassius is essentially denying the existence of fate by saying that a man creates his own destiny.
As the play proceeds, Shakespeare plays games with fate, though, and seems to wrestle with to what extent this is man-made, and to what extent it is divine in origin. Is Caesar's death a matter of divine will? Before the final plot against his life is hatched, the prophecy is already declared - "Beware the Ides of March!" The conspirators are, to some extent, forced into action on that day out of fear that Caesar will be crowned before they can strike their collective blows. Did they create their own destiny, or were their actions scripted by the gods (and not just by Shakespeare)?
Following Caesar's assassination, as the civil war unfolds, the ghost of Caesar - which was an artistic choice by this production company and is not always present in performances of the play - seems to wreak havoc on the conspirators, overseeing their defeat and death. Was this doomed to occur because of fate? Or, is Shakespeare arguing something else - that immoral deeds only beget more immorality, that murder only leads to more murder and greater instability?
To draw the two works together, is the culminating downfall in JC a product of the gods, as is the case in Oedipus, or a product of the men involved in it?
Moving in a different direction - while Julius Caesar is identified as one of Shakespeare's tragedies, is it a Tragedy in the Aristotleian sense? If so, who is the tragic hero and what is his flaw? Is it Brutus or Caesar, or someone else altogether? What is the moment of anagnorisis? What is the lesson to be learned?
Finally, the central tension in JC is the division over how Rome should be ruled. Brutus and Cassius favored a Republic, with power dispersed among a larger group of Romans (to call it democratic would be misleading; it was, at best, an oligarchic democracy). Caesar, in aspiring to become an emperor - and being propelled towards it by the masses - was pursuing dictatorial power. While not a perfect parallel by any means, there are some comparisons to be made here between Brutus-Caesar and Athens-Sparta; indeed, the historical parallels proceed from these critical moments through to the modern day. The temptation is often strong to elevate the "good" leader to an all-powerful position from which he can rule effectively, especially when compared with the relatively disorganized governance of a diverse democracy - and all the more so during times of trouble. We will pursue this topic in much greater detail in the months ahead.
What thoughts did you have on JC?
In terms of tragedy, both JC and Oedipus struggle with fate. In Act I, Cassius challenges the notion of fate in a conversation with Brutus:
BRUTUS
Another general shout!
I do believe that these applauses are
For some new honours that are heap'd on Caesar.
CASSIUS
Why, man, he doth bestride the narrow world
Like a Colossus, and we petty men
Walk under his huge legs and peep about
To find ourselves dishonourable graves.
Men at some time are masters of their fates:
The fault, dear Brutus, is not in our stars,
But in ourselves, that we are underlings.
The key part comes at the end of Cassius's excerpt. Fate, he says, is not the will of the gods, but a product of man's individual will. To put it another way, Cassius is essentially denying the existence of fate by saying that a man creates his own destiny.
As the play proceeds, Shakespeare plays games with fate, though, and seems to wrestle with to what extent this is man-made, and to what extent it is divine in origin. Is Caesar's death a matter of divine will? Before the final plot against his life is hatched, the prophecy is already declared - "Beware the Ides of March!" The conspirators are, to some extent, forced into action on that day out of fear that Caesar will be crowned before they can strike their collective blows. Did they create their own destiny, or were their actions scripted by the gods (and not just by Shakespeare)?
Following Caesar's assassination, as the civil war unfolds, the ghost of Caesar - which was an artistic choice by this production company and is not always present in performances of the play - seems to wreak havoc on the conspirators, overseeing their defeat and death. Was this doomed to occur because of fate? Or, is Shakespeare arguing something else - that immoral deeds only beget more immorality, that murder only leads to more murder and greater instability?
To draw the two works together, is the culminating downfall in JC a product of the gods, as is the case in Oedipus, or a product of the men involved in it?
Moving in a different direction - while Julius Caesar is identified as one of Shakespeare's tragedies, is it a Tragedy in the Aristotleian sense? If so, who is the tragic hero and what is his flaw? Is it Brutus or Caesar, or someone else altogether? What is the moment of anagnorisis? What is the lesson to be learned?
Finally, the central tension in JC is the division over how Rome should be ruled. Brutus and Cassius favored a Republic, with power dispersed among a larger group of Romans (to call it democratic would be misleading; it was, at best, an oligarchic democracy). Caesar, in aspiring to become an emperor - and being propelled towards it by the masses - was pursuing dictatorial power. While not a perfect parallel by any means, there are some comparisons to be made here between Brutus-Caesar and Athens-Sparta; indeed, the historical parallels proceed from these critical moments through to the modern day. The temptation is often strong to elevate the "good" leader to an all-powerful position from which he can rule effectively, especially when compared with the relatively disorganized governance of a diverse democracy - and all the more so during times of trouble. We will pursue this topic in much greater detail in the months ahead.
What thoughts did you have on JC?
Sunday, January 10, 2010
First Semester Final Project
In our study of Ancient Greece, four figures have stood above the rest: Odysseus, Achilles, Socrates, and Oedipus. In this final project, your job is to imagine a conversation between three of them (your choice). The conversation will focus on the issues that have been critical to our examination of Greek history and literature: freedom, justice, and heroism. In crafting this discussion, you will thus review those essential topics through the viewpoint of that era's most renowned (real or imaginary) figures.
Your discussions should be loyal to the characters' views, though in some cases you may have to infer their beliefs on a specific subject. In each topic, think back on how it has come up over the semester so far and bring in relevant information from those parts of the curriculum. For example:
Freedom: What types of freedom are essential? (Be specific - speech, belief, etc.) What types of freedom are harmful? Who should be free and who shouldn't? How is freedom expressed through democracy? Would the people/characters you selected favor the Athenian or Spartan approach to rule - and, by extension, personal and political freedom?
Justice: Who is justice for? What is the purpose of punishment? Where do the ideas of Hammurabi, Solon, and Justinian intersect with your three chosen people/characters? What does it mean to be guilty or innocent? How would the characters feel about the Trial of Socrates?
Heroism: What makes someone heroic? What makes someone unheroic? Does it appear to be consistent throughout the Ancient Greek era or does it change? Remember - your job here is to present the Greek view of heroism, not ours.
To be clear - you do not need to construct a larger story or plot around this. Just create a discussion focused on these three issues. It is acceptable for you to just jump from one issue to the next, though there may be smoother ways to blend these together.
Specific requirements include:
I am not setting a page limit. But, I find it hard to imagine that this could be accomplished successfully in less than three pages.
Your discussions should be loyal to the characters' views, though in some cases you may have to infer their beliefs on a specific subject. In each topic, think back on how it has come up over the semester so far and bring in relevant information from those parts of the curriculum. For example:
Freedom: What types of freedom are essential? (Be specific - speech, belief, etc.) What types of freedom are harmful? Who should be free and who shouldn't? How is freedom expressed through democracy? Would the people/characters you selected favor the Athenian or Spartan approach to rule - and, by extension, personal and political freedom?
Justice: Who is justice for? What is the purpose of punishment? Where do the ideas of Hammurabi, Solon, and Justinian intersect with your three chosen people/characters? What does it mean to be guilty or innocent? How would the characters feel about the Trial of Socrates?
Heroism: What makes someone heroic? What makes someone unheroic? Does it appear to be consistent throughout the Ancient Greek era or does it change? Remember - your job here is to present the Greek view of heroism, not ours.
To be clear - you do not need to construct a larger story or plot around this. Just create a discussion focused on these three issues. It is acceptable for you to just jump from one issue to the next, though there may be smoother ways to blend these together.
Specific requirements include:
Write this as a play/dialogue
- Accurately identify all three characters' views on the three required issues. Use direct quotes from and other specific references to Homer, Sophocles, and the Trial of Socrates
- Through their discussion, establish a common understanding on what the three issues mean or involve. Where disagreements exist, you must have the characters work through them and find areas of agreement. Remember, this is a discussion - not single speeches by each character
- Make specific connections to examples of freedom, justice, and heroism in the course material. When possible, direct quotes to class readings are encouraged
- Integrate at least 20 vocabulary words from the first semester in your dialogue. Underline these words
- Follow all MLA rules
I am not setting a page limit. But, I find it hard to imagine that this could be accomplished successfully in less than three pages.
Monday's In-Class Assignment
We last looked at Athens in 399, when the Trial of Socrates took place. While the city-state would never again reach the heights it enjoyed in the previous century, it remained stable, independent, and culturally-rich for the next 61 years. In 338, however, the Macedonians took control of greater Greece, signaling an end to Athenian independence and democracy, along with the rise of Phillip II and his son Alexander (who quickly exhibited his greatness).
As we transition to a quick look at the brief but glorious ascent of Alexander the Great, I would like you to spend this class period identifying the key events between 399 and 338 BC. Working in small groups, please respond to the following questions with the most detail possible, in your own words. Keep a list of reliable sources and explain why you find each to be responsible.
As we transition to a quick look at the brief but glorious ascent of Alexander the Great, I would like you to spend this class period identifying the key events between 399 and 338 BC. Working in small groups, please respond to the following questions with the most detail possible, in your own words. Keep a list of reliable sources and explain why you find each to be responsible.
- What do you think were the three most important developments in Athens between 399 and 338 BC? These could be battles for power, political changes, economic problems, social developments, or anything else that strikes you as relevant.
- What do you think were the three most important developments in Greece between 399 and 338 BC? (Sure, Athens is part of Greece, but look beyond Athens here.)
- How did Macedonia develop from a semi-Greek backwater into the most powerful force in the west? What were the secrets of their success?
Tuesday, January 5, 2010
Oedipus the King
The full text of Sophocles's play, Oedipus the King, is available here.
Each night this week, I will post discussion questions for the day's reading in this post. Responses will be required in your group blogs before class starts the next day. I would prefer that you not read ahead (unless otherwise directed to do so in a nightly assignment) or look online for materials to help you answer these questions. Also, please do not read your peers' posts until you have completed yours.
For Friday, 1/8: Complete Both Part I and II
Part I: Pick one of the following three prompts to write about (200 words):
1) As the play concludes, Oedipus's transformation is complete. He has become, in his own words, "the mortal man the gods despise the most" (1593), a victim and perpetrator of his own fate. As we discussed in class, the fall of Oedipus raises a question of guilt - is Oedipus responsible for his actions, or do his efforts to escape his fate reflect innocence? The larger question, though, involves the issue of fate vs. free will. If you lack free will, can you ever be guilty or innocent of anything? Provide specific examples, from the play or your life, that support your opinion.
2) Greek art - and tragedy, in particular - typically serves to reflect and reinforce Greek morality. In other words, the plays communicate a message about what is good or bad, and what happens to those who violate social norms. What is Oedipus promoting and criticizing? Important: the easy and obvious answer is that the play is discouraging killing your father and committing incest. That's obvious. But, that's also advice that most people have little need for. What important lessons are present in Oedipus for the common person?
3) In class, I spoke about Aristotle's four elements of the tragedy, the last of which was catharsis. Describe the cathartic effect that the story of Oedipus had on you. Alternately, if you did not feel anything resembling the catharsis described by Aristotle, try to explain why it had no such effect upon you. Be specific in your explanation.
Part II: Foreshadowing Redux
After reading the prologue, I asked you to find examples of foreshadowing, which was a struggle for many of you. Now, go back to the prologue and find two examples of foreshadowing that you missed before. I promise - this will be much easier now. As before, quote those examples here and explain the connection briefly.
For Thursday, 1/7:
Between lines 880 and 900, Oedipus's life begins to unravel. The fate he thought he had escaped seems to have tracked him down after all. This moment of recognition - the Greek term for it, coined by Aristotle, is anagnorisis - is a central event in most Greek tragedies, the turning point in the unfortunate protagonist's life.
Reflect on an example of anagnorisis in your own life. Can you think of a time where you felt sure about something (whether about you, or someone else, or even something) only to have that image shattered. Tell this moment as a story - describe what you thought before, the moment of discovery, and the aftermath. What were your thoughts as you moved through the moment of recognition? 300 words minimum.
For Wednesday, 1/6:
NOTE: Hum 9r needs to do a little more reading tonight, up to the arrival of Teiresias on page 9.
1) I talked in class about foreshadowing. Please skim back through the prologue and identify three passages (three lines or less), quote them (and include the line numbers), and briefly discuss what future events they might anticipate. Remember, "there is Creon, he shall arrive here soon" is not foreshadowing. For examples of foreshadowing in (old) kids' movies, click here.
2) Oedipus's speech (starts line 249) offers an excellent overview of his sense of punishment. What does Oedipus propose with regards to the king's murderer and what does it tell us about his view of justice? He also mentions "fate" briefly in the speech. How, in your mind, do fate and justice co-exist? In other words, can you have fate and justice at the same time?
3) Identify at least three words you don't know and provide definitions. The definitions should be in your own words, re-phrased from the dictionary entries you reference.
4) Comment on at least one other person's post. Be constructive. You'll want to focus on question 1 or 2.
All told, your responses should probably total around 300 words combined (not 300 words for each question - 300 words total), excluding quotes from Oedipus and the definitions.
Each night this week, I will post discussion questions for the day's reading in this post. Responses will be required in your group blogs before class starts the next day. I would prefer that you not read ahead (unless otherwise directed to do so in a nightly assignment) or look online for materials to help you answer these questions. Also, please do not read your peers' posts until you have completed yours.
For Friday, 1/8: Complete Both Part I and II
Part I: Pick one of the following three prompts to write about (200 words):
1) As the play concludes, Oedipus's transformation is complete. He has become, in his own words, "the mortal man the gods despise the most" (1593), a victim and perpetrator of his own fate. As we discussed in class, the fall of Oedipus raises a question of guilt - is Oedipus responsible for his actions, or do his efforts to escape his fate reflect innocence? The larger question, though, involves the issue of fate vs. free will. If you lack free will, can you ever be guilty or innocent of anything? Provide specific examples, from the play or your life, that support your opinion.
2) Greek art - and tragedy, in particular - typically serves to reflect and reinforce Greek morality. In other words, the plays communicate a message about what is good or bad, and what happens to those who violate social norms. What is Oedipus promoting and criticizing? Important: the easy and obvious answer is that the play is discouraging killing your father and committing incest. That's obvious. But, that's also advice that most people have little need for. What important lessons are present in Oedipus for the common person?
3) In class, I spoke about Aristotle's four elements of the tragedy, the last of which was catharsis. Describe the cathartic effect that the story of Oedipus had on you. Alternately, if you did not feel anything resembling the catharsis described by Aristotle, try to explain why it had no such effect upon you. Be specific in your explanation.
Part II: Foreshadowing Redux
After reading the prologue, I asked you to find examples of foreshadowing, which was a struggle for many of you. Now, go back to the prologue and find two examples of foreshadowing that you missed before. I promise - this will be much easier now. As before, quote those examples here and explain the connection briefly.
For Thursday, 1/7:
Between lines 880 and 900, Oedipus's life begins to unravel. The fate he thought he had escaped seems to have tracked him down after all. This moment of recognition - the Greek term for it, coined by Aristotle, is anagnorisis - is a central event in most Greek tragedies, the turning point in the unfortunate protagonist's life.
Reflect on an example of anagnorisis in your own life. Can you think of a time where you felt sure about something (whether about you, or someone else, or even something) only to have that image shattered. Tell this moment as a story - describe what you thought before, the moment of discovery, and the aftermath. What were your thoughts as you moved through the moment of recognition? 300 words minimum.
For Wednesday, 1/6:
NOTE: Hum 9r needs to do a little more reading tonight, up to the arrival of Teiresias on page 9.
1) I talked in class about foreshadowing. Please skim back through the prologue and identify three passages (three lines or less), quote them (and include the line numbers), and briefly discuss what future events they might anticipate. Remember, "there is Creon, he shall arrive here soon" is not foreshadowing. For examples of foreshadowing in (old) kids' movies, click here.
2) Oedipus's speech (starts line 249) offers an excellent overview of his sense of punishment. What does Oedipus propose with regards to the king's murderer and what does it tell us about his view of justice? He also mentions "fate" briefly in the speech. How, in your mind, do fate and justice co-exist? In other words, can you have fate and justice at the same time?
3) Identify at least three words you don't know and provide definitions. The definitions should be in your own words, re-phrased from the dictionary entries you reference.
4) Comment on at least one other person's post. Be constructive. You'll want to focus on question 1 or 2.
All told, your responses should probably total around 300 words combined (not 300 words for each question - 300 words total), excluding quotes from Oedipus and the definitions.
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