Mediawhirl

A blog attempting to efectively manage as many different media sources as possible in the hope of engendering greater media understandings... or something

http://mediadepths.blogspot.com/

oral text orwell

Paper One HL

Paper 1—HL

Script a:  This work conveys understanding of the primary contexts and audiences of the texts, notes several aspects and does try and consider some degree of purpose or effect.  At times, there is strong promise but at other times, the analysis just stops a little short and does not demonstrate greater sophistication.  Overall, there are aspects of the work that are good but others that are still more adequate than good.  This is work of a candidate that has solid understanding but just falls short in comprehensive consideration.

A:  4, B:  3, C:  3, D:  3

A:  Good understanding of the texts and contexts.  It is not exhaustive or always precisely considered but the general awareness of the texts, the different purposes and the effects of some elements are all evident.

B:  The analysis of stylistic features wavers between good and adequate.  Some of the purpose and effect is considered but can be a little limited or superficial at times.  A strong 3 but just a little short of 4.

C:  The organization is certainly adequate though the development of the central argument can be stronger.  The work does lack a more unifying interpretation though it is easy enough to follow the development of ideas.

D:  The language is perfectly readable and appropriate.  It lacks a degree of fluency, precision and sophistication that would really earn a 4 for this criterion but the easy style does allow for the clear communication of ideas.

Script b:  Very simplistic work overall.  This commentary involves only the most superficial of summaries and overviews rather than deeper analysis.  This does recognize what the main intentions are of the texts with minimal deeper consideration but the work never manages to dig beneath the surface.  This manages to earn marks just above summary only but only just.

A:  2, B:  2, C:  2, D:  3

A:  This is mostly overview and summary.  There is just enough awareness of the intentions of each article to earn a 2 in this criterion but there is almost no real analysis or deeper consideration.

B:  Though there is mention of a few of the more obvious stylistic features, there is little deeper consideration or work to consider more possibilities.  Purpose and effect are very simplistic is considered at all.

C:  There is an order to the presentation but not a larger, singular focus that betrays a clearer logic or interpretation.  Though there is basic balance in the treatment of the texts, it all remains quite simplistic.

D:  The language lacks sophistication or precision but is understandable.  There is little precise terminology or varied language but there is adequate fluency overall.

Part one books

Language in Cultural Context

Media vs Women (& Kids)

Buy, Buy Baby: How Consumer Culture Manipulates Parents and Harms Young Minds (Gebundene Ausgabe)

von Susan Gregory Thomas

# ISBN-10: 0618463518

# ISBN-13: 978-0618463510

EUR 17,99 Amazon.de

Consuming Kids: Protecting Our Children from the Onslaught of Marketing & Advertising (Taschenbuch)

von Susan Linn

# ISBN-10: 1400079993

# ISBN-13: 978-1400079995

EUR 9,99 Amazon.de   

Branded: The Buying And Selling Of Teenagers (Paperback)

by Alissa Quart

# ISBN-10: 0738208620

# ISBN-13: 978-0738208626

EUR 10,99 Amazon.de

Packaging Girlhood: Rescuing Our Daughters from Marketers' Schemes (Paperback)

by Sharon Lamb (Author), Lyn Mikel Brown (Author)

# ISBN-10: 0312370059

# ISBN-13: 978-0312370053

EUR 10,99 Amazon.de 

Can't Buy My Love: How Advertising Changes the Way We Think and Feel

 Jean Kilbourne und Mary Pipher

 ISBN-10: 0684866005

 ISBN-13: 978-0684866000

Media vs Society

Guardians of Power: The Myth of the Liberal Media (Paperback)

by David Edwards (Author), David Cromwell (Author), John Pilger (Author, Foreword)

# ISBN-10: 0745324827

# ISBN-13: 978-0745324821

Manufacturing Consent: The Political Economy of the Mass Media  
Edward S. Herman, Noam Chomsky

# ISBN-10: 0099533111

# ISBN-13: 978-0099533115

Media Control: The Spectacular Achievements of Propaganda (Paperback)

by Noam Chomsky

# ISBN-10: 1583225366

# ISBN-13: 978-1583225363

http://freeonlinedocumentary.com/chomsky-speaks-to-francine-stock/

Corporate Media and the Threat to Democracy (Open Media) (Paperback)

by Robert W. McChesney

# ISBN-10: 1888363479

# ISBN-13: 978-1888363470

Mediated: How the Media Shape Your World  
Thomas de Zengotita

Bloomsbury

# ISBN-10: 1582343578

# ISBN-13: 978-1582343570

Propaganda, Inc.: Selling America's Culture to the World (Open Media S.)  
    Nancy Snow 

Seven Stories Press

ISBN: 1583225390

lose your mind

http://www.bardweb.net/content/readings/hamlet/lines.html

Resource Material Shakespeare

Teaching Shakespeare: A handbook for Teachers

(Cambridge School Shakespeare)
Rex Gibson

analysing Shakespeare

Variations in iambic pentameter are used for dramatic effect. There are rhythm breaks or irregular lines where a stressed word is placed in a normally unstressed position or an extra syllable is added. Words that break the meter are important words and must be emphasized. They give clues as to how the line should be read.


Common variants to the iambic foot include 

• the trochee, a stressed syllable followed by an unstressed syllable
• a spondee, two stressed syllables that comprise one foot. 

Students need to be aware of patterns that may be caused by variants, especially the use of the feminine ending. 

• A feminine ending is a weak extra syllable (an eleventh syllable) added to an iambic pentameter line, as in Hamlet’s soliloquy, which begins, “To be, or not to be—that is the question.” (The stressed syllables are in bold. Some actors, however, stress “that” instead of “is,” making that one foot a trochaic foot.) The “-tion” is an unstressed syllable or feminine ending. The use of the feminine ending forms a pattern in this speech, denoting the uncertainty of Hamlet. Once he has made up his mind to live, the speech reverts to regular iambic lines. He is now in control.

• A shared line is a regular metric line that is shared by two or possibly three actors. The line must be spoken without pauses or breaths between the actors’ lines. These shared lines create a rhythm. This rhythm may show tension in the scene, as with the lines shared between Macbeth and Lady Macbeth after the murder of Duncan (II.2).

Another variant of the normal iambic pentameter line is the use of the short line. 

• A short line is an iambic line that has fewer than five metric feet. The actor must “fill” missing feet in the line with an action or a reaction. In Hamlet, the Ghost’s line, “I am thy father’s spirit,” is two stresses or three syllables short. This dramatic pause is for reaction time for Hamlet (I.5.9-20). Additional examples from this same scene include lines 46- 48:

Ghost: The serpent that did sting thy father’s life

Now wears his crown.

Hamlet: O, my prophetic soul! My uncle!

The short line by the Ghost allows Hamlet time to register what the Ghost is saying and react to this realization.

An additional variation of the iambic pentameter line is the long line. 

• A long line is a six-foot line (hexameter). If there is a caesura or pause (discussed in a later paragraph) after the third stress, it is called an Alexandrine. The use of the Alexandrine is to make the line symmetrical, to give it balance. It may be that the character is emotionally overloaded and can’t express his or her emotions adequately in a five-foot line. In Hamlet, Claudius’ guilt and loss of control is seen in his speech to Hamlet in Act I, scene 2, lines 90-121. The speech is made up primarily of eleven and twelve syllable lines. Claudius is talking about the death of his brother, Hamlet’s father, and Hamlet’s obsessive grief. Hamlet’s dislike of his uncle has been made plain, so Claudius tries to bluster his way through this scene that is being played out in front of the entire court. He is trying to gain control over Hamlet as well as his own emotions or guilt, and, in doing so, he goes overboard. This lack of control and frustration is seen through the use of lines with feminine endings and the use of the Alexandrine or long line.

Other terms relate directly to the pauses and breaths taken in a speech. 

• An end-stop line is a line in which both the metric and grammatical endings occur at the end of the line. There is usually a period or semicolon. There should be a full pause and possibly a breath. 
• If the sense of a line carries over to the next line, it is an enjambed line. With an enjambed line, there should be only a slight pause after the last word in the line is emphasized. McEvoy adds that a colon is used as an emphatic pause and capital letters were used for both proper names and for words that were particularly important in the context of the speech and should be stressed (41). Another place for a pause occurs at a caesura, a break or sense pause in the middle of a line of poetry, often at the end of the sense meaning of an enjambed line. Although an actor should pause at a caesura, short breaths should be taken only when planned and necessary. A caesura allows words preceding it to “sink in,” places focus on the word or phrase following it, slows the language down, or separates phrases and allows the listener to hear and digest them one at a time (Van Tassel, 28).

Although blank verse is supposed to be unrhymed, Shakespeare does use rhyme in his plays, more often in his early plays like The Taming of the Shrew than in the later plays like Hamlet. Rhyme can sometimes be used for comic effect or to create a light-hearted or teasing tone. It can be also be used to show a bantering or challenging tone. In addition, rhyme can be used seriously. Regardless of the purpose of the rhyme, the actor must play to the rhyme and emphasize it. It is there for a purpose. Rhymed couplets are also used to indicate the end of scenes or to mark a passage as distinctive from the rest of the verse that surrounded it (McEvoy, 49-50).

Prose is also used in Shakespeare’s plays. Prose was often used for letters and proclamations, low status characters, an expression of madness, or comedy (Gibson, Acting Shakespeare, 71). However, Shakespearean prose was very lyrical and rhythmic. Shakespeare made use of imagery, repetition, antithesis, and parallelism in his prose. It was not merely everyday speech.

As Shakespeare matured as a playwright, he used more prose for serious speeches. Switching from verse to prose may indicate that a character is losing control or becoming confused, but not necessarily. An example of prose that is used seriously is in Hamlet’s exchange with Rosencrantz and Guildenstern in the “What a piece of work is man” speech (II.2.317-334). Hamlet is speaking the language of Rosencrantz and Guildenstern, but his meaning in this serious speech is over their heads.

the menu

Work & Author

Context

Characters

Themes

Motifs

Mood

·       Dark

·       light

Tone

· Coarse

· Harsh

· Refined

· Familiar

Structure

·       Dialogue

·       Monologue

·       Description

·       Poetic forms

·       Short/long

Language/Diction

·       simple

·       sophisticated

·       expansive

·       technical

·       colloquial

·       scatological

Syntax


Register

·       formal

·       academic

·       informal

·       Slang/jargon

Literary elements

·       Imagery

·       Sensory

·       Figurative

·       symbol

·       metaphor

·       simile

·       Rhetoric

·       logos

·       ie. listing,

·       pathos

·       ie. loaded language

·       ethos

·       ie. duty, guilt

·       


Allusion (classical, Biblical)
Intertextuality
Allegory

·       Alliteration

Voorlopige planning IB 2011-2012

Marnix College Ede

V5IB

Before Christmas

· SL: part 3 book 1 (free choice)genre prose: One flew over the cuckoo’s nest

· SL: part 1: studying academic texts for Language in a cultural context (1)

· SL: part 2: Language and Mass communication

-advertisements

· SL: Written Task 1 (based on part 1 or 2)

After Christmas

· SL: part 3 book 2 (PLT)

· SL: part 1: studying academic texts for Language in a cultural context (2)

· SL: part 2: Language and Mass communication

-newspapers

· SL: Written Task 2 (based on part 1 or 2)

· SL: Further Oral 1 (based on part 1 or 2)

V6IB

Before Christmas

· SL: part 4 book 1 (PLA) genre: drama: Hamlet

· SL: part 4 book 2 (PLA)genre: prose:

· SL: part 1: studying academic texts for Language in a cultural context (3)

· SL: part 2: Language and Mass communication

-advertising

· SL: Further Oral 2 (based on part 1 or 2)

· Regulier: -Kijk en luistertoets 1

-Grammatica en Vocabulaire toets

-2 boekverslagen

After Christmas

· Individual Orals (just after Christmas)

· SL: part 1: studying academic texts for Language in a cultural context (4)

· SL: part 2: Language and Mass communication

-newspapers

· SL: Written Task 3 (based on part 4)

· Regulier: -Brief

-Kijk en luistertoets 2

-Spreektoets

-Literatuurtoets

· SL: IB exams Paper 1 (comparative textual analysis)

· SL: IB exams Paper 2 (essay)

Guy Kawasaki 10-20-30

The 10-20-30 powerpoint rules by Guy Kawasaki:

blog.guykawasaki.com/2005/12/the_102030_rule.html#axzz1DY7RRljv

youtube.com/watch?v=liQLdR0Ziw

Planning

YEAR 1:

1st semester: Part 1! Context + Part 2 Mass Media

2nd semester: Part 3 text 1 (link to Part 1=great but not necessary)
                      Task 2 (answer question 1-4)
                      Part 1: Context 1 continued
                      Part 2: Mass media (light?)


CHRISTMAS BREAK....


3rd semester: Part 2: MASS MEDIA (how media manipulates audience)
                      Part 1: Context 2


4th semester: Part 4 text 1
                      Written Assignment
                      Written Task 2 (questions 5-6)


Summer reading 1->2 : Book on one of the contexts from part 1 + one novel. Have parents buy their kids' books!

YEAR 2:

1st semester:
          Part 4 texts 2+3 (depending on when Individual Orals are)
          Part 1: Start Mass Media (welcome back)

Start writing written tasks (in Autumn break have them come up with at least 4 ideas)

2nd semester:
           Part 2: Mass media + News
           Part 1: context 3
          Written Task (based part 4)

3rd semester:
           Part 3 2nd + 3rd text
           Part 1: context 4?
           Final revisions?
          Written Task(based on Part 3)
         

4th semester:
          Paper 1 & Paper 2

Put Further Orals in open slots throughout both years (at least 4, send off 1)


Comments
---------------------------------
Average time spent on a book?? 10 weeks is too long... do it in 3 weeks, and hand out the book the first day in year one or two!!

DO MAJOR ASSESSMENTS OUTSIDE OF SCHOOL'S TESTWEEK (if possible)

Teach your Part 4 texts just before the Individual Oral Exam (depending on where you put them)

Do approx. 5 Further Orals

Only have the students write rationales for the Written Tasks they actually hand in

Language and Mass Communication

A useful resource is www.vjmovement.com This is a group of independent video journalists, who produce videos on global issues (eg child labour), and back-up material, such as UN reports. They also produce cartoons on similar topics. At the moment, they have a project where cartoonists visit schools and enter into an online dialogue with students, with a view to producing a series of cartoons on subjects that concern our students. They are hoping to involve more schools in the Netherlands. HUGH M