It is necessary, at least in some cases, to discuss your ideas with others when writing. Without human interaction during the writing process, especially if you're writing about something that begs each person to develop his or her own point of view (such as any political or religious topic), you will be exposed only to your ideas and your writing runs the risk of becoming very one-sided. How will you be able to convince anyone of your argument without knowing what the counter-argument is? Also, your mind will expand and become more open to new and innovative thoughts and ideas through this interaction. If you're writing about your particular experiences or expressing your reflections on a particular event, however, interaction with peers might have a negative impact on this. Your writing will most likely become somewhat influenced by the reaction of your friends, even if you don't intend that to happen.
On the other hand, working collaboratively also develops one's ability to cooperate with other people and come to an agreement as a group in addition to broadening one's mind. This is a necessary skill to learn while in school, especially because almost all jobs in all professions will require workers to collaborate on projects. Kenneth Bruffee mentions in his article "Collaboration of Mankind" that medical school students who were told to collaborate on a diagnosis of a patient "acquired good medical judgment faster than individuals working alone." Perhaps this is why doctors, especially those working mainly in hospitals, often work together in teams when diagnosing a patient.
One thing that was mentioned in Bruffee's article that I didn't quite understand is why this collaboration among students was so revolutionary when it was introduced. I've had to do group projects for school since I was in second grade. Working with others seems simply like another required part of school. Maybe this was the goal of those who developed this method: for cooperative learning to be second nature to students. All in all, I do think this process is extremely beneficial for students. So much can be learned from these experiences that will help students in school ... and in life in general. After all, "the human conversation takes place within us as well as among us."
Friday, March 26, 2010
Tuesday, March 23, 2010
All That to Describe A Tree.
Yeah, it does seem like a lot of thought...just to describe the movement of a tree.
But Robert Hass has a goal that is larger than simply adequately describing the motions of a tree in the wind. In "The Problem of Describing Trees," Hass argues that many times, in poetry (and in literature in general), language often falls short of perfectly depicting an occurring action. Sometimes, however, this is not necessarily a bad thing, according to Hass. Perhaps he believes that it is this "disenchanting" language that allows us to be impressed by poetry. It is figurations like these that keep the reader interested and provide them with a connection to the poem, even if there might be some exaggerations.
So yeah, it is a lot to think about, just from trying to describe a tree. But he conveys a powerful message, one that was powerfully illustrated by that very tree.
But Robert Hass has a goal that is larger than simply adequately describing the motions of a tree in the wind. In "The Problem of Describing Trees," Hass argues that many times, in poetry (and in literature in general), language often falls short of perfectly depicting an occurring action. Sometimes, however, this is not necessarily a bad thing, according to Hass. Perhaps he believes that it is this "disenchanting" language that allows us to be impressed by poetry. It is figurations like these that keep the reader interested and provide them with a connection to the poem, even if there might be some exaggerations.
So yeah, it is a lot to think about, just from trying to describe a tree. But he conveys a powerful message, one that was powerfully illustrated by that very tree.
Monday, March 22, 2010
They Strive To Please Us Every Day
And please me they did!
I saw Twelfth Night on Saturday, and I thought it was great. The acting was great, and all cast members played their part pretty well, at least in my eyes, especially Sir Andrew, Sir Toby, and Feste. They've always been my favorite little bunch in the show, and this production was no exception.
When I first heard that it was going to be set in the south around the time of the Civil War...southern accents and all...I was a little concerned as to how that would work with Shakespeare. I've seen some bad southern/western versions of other Shakespeare plays and was worried that this would be another one that fell into that category. Thankfully, it was not. The majority of the cast held their accents throughout the show, which helped with the continuity and flow. If they'd have slipped, it probably would've thrown me off a little bit. Well done though!
Looking at the production side of things, I really liked the lighting for some reason. I thoguht it fit the mood of each scene wonderfully. In regard to the set, I liked how they made use of the room that they had on the stage. Audience right was mainly reserved for Orsino's house, and audience left was where the action regarding Olivia and her attendants took place. The decor of each respective "house" fit the personalities of each character as well. (Olivia's was more ornate and almost majestic, which is how she's portrayed in the eyes of Orsino.)
I saw Twelfth Night on Saturday, and I thought it was great. The acting was great, and all cast members played their part pretty well, at least in my eyes, especially Sir Andrew, Sir Toby, and Feste. They've always been my favorite little bunch in the show, and this production was no exception.
When I first heard that it was going to be set in the south around the time of the Civil War...southern accents and all...I was a little concerned as to how that would work with Shakespeare. I've seen some bad southern/western versions of other Shakespeare plays and was worried that this would be another one that fell into that category. Thankfully, it was not. The majority of the cast held their accents throughout the show, which helped with the continuity and flow. If they'd have slipped, it probably would've thrown me off a little bit. Well done though!
Looking at the production side of things, I really liked the lighting for some reason. I thoguht it fit the mood of each scene wonderfully. In regard to the set, I liked how they made use of the room that they had on the stage. Audience right was mainly reserved for Orsino's house, and audience left was where the action regarding Olivia and her attendants took place. The decor of each respective "house" fit the personalities of each character as well. (Olivia's was more ornate and almost majestic, which is how she's portrayed in the eyes of Orsino.)
Thursday, February 25, 2010
Don't Judge A Book By It's Cover
1) What thematic strand have you located?
disguise...conceal...veil...hide...taffeta...beard...trick
2) Where is the data you retrieved found? What is happening in context when Shakespeare employs this particular theme or image?
The data is found in various sections all throughout the play. Whenever disguises or concealments are mentioned, it is explaining how the person is disguising themselves and why. For instance, in earlier parts of the play, the establishing of the plot occurs in Viola's disguising herself as Cesario. Not much later, Olivia hides beneath her veil. As the play continues, the things being hidden/disguised become more conceptual than tangible (more towards hiding emotions and true feelings than hiding physical appearances, although that is still occurring).
3) How does the data you retrieved support your first thoughts on Shakespeare's obsessive use of a particular image? What can you argue about Shakespeare's figuration?
Many words in the strand were found multiple times throughout the play, which makes sense since the entire show is basically laid on the groundwork of Viola's disguise as Cesario. There would be no foundation for the rest of the play without this central deception. The figurations seem to be used to highlight the fact that things aren't what they seem and that appearances can be deceptive. The audience and Shakespeare have more knowledge than the characters (with Feste being the exception) in regard to who's who. It's almost as though a larger joke is being played by Shakespeare on the rest of the characters (in disguising so many people/emotions/motives). Interestingly, Shakespeare never uses the word "identity", even though it could be related to disguises (hiding one's true identity). I'm not sure why this is yet, but I'm working on it =)
disguise...conceal...veil...hide...taffeta...beard...trick
2) Where is the data you retrieved found? What is happening in context when Shakespeare employs this particular theme or image?
The data is found in various sections all throughout the play. Whenever disguises or concealments are mentioned, it is explaining how the person is disguising themselves and why. For instance, in earlier parts of the play, the establishing of the plot occurs in Viola's disguising herself as Cesario. Not much later, Olivia hides beneath her veil. As the play continues, the things being hidden/disguised become more conceptual than tangible (more towards hiding emotions and true feelings than hiding physical appearances, although that is still occurring).
3) How does the data you retrieved support your first thoughts on Shakespeare's obsessive use of a particular image? What can you argue about Shakespeare's figuration?
Many words in the strand were found multiple times throughout the play, which makes sense since the entire show is basically laid on the groundwork of Viola's disguise as Cesario. There would be no foundation for the rest of the play without this central deception. The figurations seem to be used to highlight the fact that things aren't what they seem and that appearances can be deceptive. The audience and Shakespeare have more knowledge than the characters (with Feste being the exception) in regard to who's who. It's almost as though a larger joke is being played by Shakespeare on the rest of the characters (in disguising so many people/emotions/motives). Interestingly, Shakespeare never uses the word "identity", even though it could be related to disguises (hiding one's true identity). I'm not sure why this is yet, but I'm working on it =)
Tuesday, February 23, 2010
"What is love? 'tis not hereafter"
1) Viola: "I am the man." (II.ii.25)
This is strange because Viola is not a man at all. She is a woman disguised as a man. This quote is another instance of mistaken identity. Viola realizes that Olivia has mistaken her for a man and is beginning to recognize Olivia's crush on her. This is sort of the beginning of the real foundation of the forbidden love triangle that is a fundamental element to the play. Viola realizes that only time can solve this, so she will continue to carry on with her disguise, even though it is a "wickedness". Things in Illyria are getting more and more crazy as more people are fooled by Viola's disguise as a man.
2) Malvolio: "...and yet to crush it a little, it would bow to me..." (II.v.143-145)
Malvolio explains that the letters in the note seemingly left by Olivia (M.O.A.I.) are all in his name, and to rearrange them ("crush it a little") would spell out his name ("bow to me"), with the exception of a few letters. Malvolio, who is predisposed to loving Olivia, wants to find any way possible to make this love letter pertain to him.
3) Viola: "Then think you right. I am not what I am."
Olivia: "I would you were as I would have you be." (III.i.148-9)
Here, Viola is trying to convey that she is not what she appears to be. Olivia's response is that she wants Viola/Cesario to be exactly as she (Olivia) desires. Viola subtly exposes herself and her true identity to Olivia, but Olivia, because she is so caught up in her love for Cesario (and also because she has no reason to question this phrasing, since she has absolutely no idea about any disguises), completely misses the hint.
This is strange because Viola is not a man at all. She is a woman disguised as a man. This quote is another instance of mistaken identity. Viola realizes that Olivia has mistaken her for a man and is beginning to recognize Olivia's crush on her. This is sort of the beginning of the real foundation of the forbidden love triangle that is a fundamental element to the play. Viola realizes that only time can solve this, so she will continue to carry on with her disguise, even though it is a "wickedness". Things in Illyria are getting more and more crazy as more people are fooled by Viola's disguise as a man.
2) Malvolio: "...and yet to crush it a little, it would bow to me..." (II.v.143-145)
Malvolio explains that the letters in the note seemingly left by Olivia (M.O.A.I.) are all in his name, and to rearrange them ("crush it a little") would spell out his name ("bow to me"), with the exception of a few letters. Malvolio, who is predisposed to loving Olivia, wants to find any way possible to make this love letter pertain to him.
3) Viola: "Then think you right. I am not what I am."
Olivia: "I would you were as I would have you be." (III.i.148-9)
Here, Viola is trying to convey that she is not what she appears to be. Olivia's response is that she wants Viola/Cesario to be exactly as she (Olivia) desires. Viola subtly exposes herself and her true identity to Olivia, but Olivia, because she is so caught up in her love for Cesario (and also because she has no reason to question this phrasing, since she has absolutely no idea about any disguises), completely misses the hint.
Sunday, February 21, 2010
In-Class Freewrite
In II.iii.170, Maria calls her manipulation of Malvolio "sport royal..." What do you make of this?
Maria knows that she will be playing games with Malvolio's emotions. She is under the impression that she can trick him (which she does succeed in doing), even though he is technically of a higher class than she is. Maria, along with Toby and Andrew, anticipates that she will enjoy watching this trickery unfold. By using the phrase "sport royal", Maria is emphasizing the fact that fooling Malvolio, a member of a higher class ("royal"), will be nothing more than fun and games to her ("sport"), despite the rather drastic outcome of this fabrication.
Maria knows that she will be playing games with Malvolio's emotions. She is under the impression that she can trick him (which she does succeed in doing), even though he is technically of a higher class than she is. Maria, along with Toby and Andrew, anticipates that she will enjoy watching this trickery unfold. By using the phrase "sport royal", Maria is emphasizing the fact that fooling Malvolio, a member of a higher class ("royal"), will be nothing more than fun and games to her ("sport"), despite the rather drastic outcome of this fabrication.
Thursday, February 18, 2010
"Some are born great, some achieve greatness, and others have greatness thrust upon 'em."
Malvolio:
"'M.O.A.I.' This simulation is not as the former, and yet to crush this a little, it would bow to me, for every one of these letters are in my name. Soft, here follows prose." (II.v.143-6)
(How is M.O.A.I. a code for Malvolio? The letters are not in order. Why would he assume it's him?)
Here, Malvolio is reacting to a particular selection from the note from Olivia that he found. Because of the content of the note, believes that Olivia is in love with him. Malvolio is ecstatic. However, this particular part of the note causes him concern...temporarily, at least.
He recognizes that the letters in the note (M.O.A.I.), although part of his name, are out of order. Nevertheless, Malovlio convinces himself that this letter is addressed to him. Malvolio, now under the impression that Olivia loves him, discovers his own mutual love for Olivia. When he sees the letters M.O.A.I., he ignores that they are out of order ("the simulation is not as the former") and tells himself that with some simple rearranging ("crush this"), these letters clearly spell out part of his name (the letters "would bow to [him]", giving him what he wants - evidence of Olivia's love). It's more like wishful thinking - Malvolio REALLY wants this love to be true, so he will look for any way possible for these letters to be related to his name.
"'M.O.A.I.' This simulation is not as the former, and yet to crush this a little, it would bow to me, for every one of these letters are in my name. Soft, here follows prose." (II.v.143-6)
(How is M.O.A.I. a code for Malvolio? The letters are not in order. Why would he assume it's him?)
Here, Malvolio is reacting to a particular selection from the note from Olivia that he found. Because of the content of the note, believes that Olivia is in love with him. Malvolio is ecstatic. However, this particular part of the note causes him concern...temporarily, at least.
He recognizes that the letters in the note (M.O.A.I.), although part of his name, are out of order. Nevertheless, Malovlio convinces himself that this letter is addressed to him. Malvolio, now under the impression that Olivia loves him, discovers his own mutual love for Olivia. When he sees the letters M.O.A.I., he ignores that they are out of order ("the simulation is not as the former") and tells himself that with some simple rearranging ("crush this"), these letters clearly spell out part of his name (the letters "would bow to [him]", giving him what he wants - evidence of Olivia's love). It's more like wishful thinking - Malvolio REALLY wants this love to be true, so he will look for any way possible for these letters to be related to his name.
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