What is art?

New Due Date - Graphic Novel is due Friday. March 2nd

Be ready to present on Friday, March 2nd.  You will have one more class period to work, so plan accordingly.

Beowulf Graphic Novels (See timeline and due dates below)

Beowulf Reading Selection:

I.  READING:  For Beowulf, you are only reading the pages on the right; pages on the left are in Old English.  Beowulf fights three adversaries.  In between there is a series of celebrations.  You are only responsible for the three battles.  For your analysis, please attend to the reading guide below:

Read pages 3-top of 57 (27 pages) – Fighting Grendel

Read pages 89-113 (12 pages) – Fighting Grendel’s Mother 

Read pages 149-213 (32 pages) – Fighting the Dragon 

Finish Reading ASAP.



II. RESEARCH:  Research and review TWO first pieces of fiction or nonfiction - one from Iran and one from a country of your choice.  Choose one that is unfamiliar to you.  Take notes and create a WORKS CITED with the sources you have found in your studies.  Assignment:  Compose a 1-2 page analysis of your findings AND include a works cited to be posted on Turnitin.com.  This will count as a double blog/quiz grade. THIS MUST BE POSTED ON TURNITIN.COM BY WEDNESDAY, FEBRUARY 14TH.




III.  JOURNAL: Compare and contrast your work in a comprehensive journal response.  In three sections, tell the story of Beowulf, the story your researched from Iran, and the story of your country of choice.  The journal response should be 6-10 pages in length. It will be part of your term 3 grade.  THIS IS DUE FRIDAY, FEBRUARY 16TH.




IV.  GRAPHIC NOVEL:  Develop a 6-10 page graphic novel in three parts, telling the story of Beowulf and your two other selections.  The graphic novel will count as a major writing grade, and the seminar will count as a quiz/blog grade.  THIS IS DUE WEDNESDAY, FEBRUARY 28TH FOR CLASS SEMINAR AND SHARE.

Printable graphic novel pages here:

http://www.printablepaper.net/category/comics

Rubric:  Beowulf Graphic Novel Literary Analysis

The C Graphic Novel  (D-F showcase less than the following)

·      Concept fulfills the assignment

·      A basic outline of three stories, with a general topic, and list of moments to explore

·      At least six basic pages (two for each) of a graphic novel, covering the topics at hand

·      Logical progression from page to page

·      Artwork is appropriate for the task

·      Narration is clear and includes examples from the text

·      Dialogue is clear and includes examples from the text

·      A logical conclusion

The B Graphic Novel

·      Creative concept is thoughtful and immediate

·      A detailed outline, with a specific thesis, and list of moments to explore

·      Six plus pages with a thoughtful selection of cells, covering the topic at hand, with a purpose

·      Purposeful progression from page to page, stemming from a thoughtful concept (thesis)

·      Artwork is thoughtful and drawn, inked, and colored with care of the finished product

·      Narration is analytical, explaining the purpose, as well as propelling the story.

·      Dialogue is thoughtful and makes for pleasurable reading

·      Logical conclusion and a point

The A Graphic Novel

·      Concept is complex and lends itself to meaningful analysis that shows universality 

·      Comprehensive outline, with a nuanced thesis, and list of specific moments & quotations to explore

·      Eight plus pages graphic novel with carefully selected cells that combines all three tales and shows the univeral elements that connect to the meaning and message of the stories

·      Nuanced progression from page to page, using the techniques of literature and graphic novels to create suspense and action

·      Artwork is neat, inked, has artistic flourishes of color, shows action, purpose, and the author’s signature

·      Narration is intelligent and is a nod to graphic novels and the works being analyzed

·      Dialogue is genuine, thoughtful, meaningful, and immediate; the voices of all characters are distinct and match the text (perhaps even in a satirical way)

·      Exciting conclusion, leaving the audience wanting another issue

Due Friday, February 9th - "Beowulf"- pages 89-113

1)  Read "Beowulf" pages 89-113 (12 pages) – Fighting Grendel’s mother
2)  Be prepared to give a brief performance.
3)  Complete and Share your Old English names/words/phrases.

Introduction to Old English & "Beowulf"

The chart above shows samples of the changes in the English language. 

#1 is Old English or AngloSaxon (circa 450-1066 CE). 

#2 is Middle English (circa 1066-1450 AD). 

#3 is Modern English from about the time of Shakespeare. 

#4 is another sample of Modern English, but it is more recent than #3. 

Old English Poetry: Beowulf

              Beowulf is the idealized warrior of a heroic age and the exemplar of what the Anglo-Saxons chiefly admired as masculine qualities. He is fearless but not foolhardy, uncomplicated but intelligent, serious but not dull. He is thoroughly adjusted in mind and body to a soldierly code and a “kill and get killed” expectancy. His stolid, essentially pessimistic view of life is reinforced by the author of the work with nature scenes of somber magnificence. Ironically, the first great work of English literature is set entirely in Scandinavia without any mention of England or the English.

Definition: Epic or Heroic Poem

A long narrative poem on a great and serious subject, related in an elevated style, and centered on a heroic or quasi-divine figure on whose actions depends the fate of a tribe, a nation, or the human race.

Characteristics of Old English Verse:

1. Four stress line. Each line of Anglo-Saxon verse contained four accented syllables.

2. A pause or caesura divided each line into two staves . Each stave contained two stressed syllables.

3. Alliteration to bind the line together and reinforce rhythmic effect.

4. Repetition through synonymous words or phrases. This parallelism resembles that of Old Testament Hebraic poetry and allows for much of the same kind of stately, solemn progress and emphasis.

5. End-stopping of the lines.

6. The use of the kenning, a compound word of metaphoric quality.

Examples:            swan-road                           =            the sky

                                           battle-sweat         =            blood

                                           peace-weaver       =            wife / mother

                                           ring-giver            =            generous king

7. Specialized poetic vocabulary which employed words unfamiliar to current conversation.

8. An elevated and aristocratic tone pervaded, since poetry was primarily intended for recital with harp accompaniment to gathered nobles and warriors in mead halls.

9. A rapid narrative style, which often omitted explanatory details and abruptly turned from one event to another.

10. Oral, not written composition . The scop (poet) composed and the gleeman (minstrel) chanted OE verses long before they were committed to manuscript.

PAGAN / CHRISTIAN ELEMENTS IN BEOWULF

The pagan elements in Beowulf  are numerous.

              --The dead are cremated

              --Omens are observed to direct human conduct

              --Sacrifices are vowed at the temple of idols

              --The praise of worldly glory

              --The theme of blood vengeance

              --Frequent references to the power of Wyrd (fate)

However, the Beowulf poet shows knowledge of and employs terminology from the Christian Scriptures and liturgy.

              --Cain (putative ancestor of Grendel)

              --Giants before the flood

              --The deluge

              --Satan

              --Virtues of moderation, unselfishness, and service to others are highly praised

              --The final tribute to Beowulf by his faithful thane

Due Wednesday, January 17th - Quizzes on Macbeth: Acts III - V

Please explore the following moments as you review Acts III - V for Wednesday's Quiz.

I fear

Thou play’dst most foully for it.

My duties

Are with a most indissoluble tie

Forever knit.

To be thus is nothing,

But to be safely thus. Our fears in Banquo

Stick deep, and in his royalty of nature

Reigns that which would be feared.

Upon my head they placed a fruitless crown,

And put a barren sceptre in my gripe.

Things without all remedy / Should be without regard – what’s done is done.

I am a man. Ay, and a bold one, that dare look on that

Which might appal the devil.

O proper stuff!

This is the very painting of your fear:

This is the air-drawn dagger which, you said,

Led you to Duncan…

When all’s done

You look but on a stool.

Loves for his own ends, not for you…

And by the strength of their illusion

Shall draw him on to his confusion…

He shall spurn fate, scorn death, and bear

His hopes ‘bove wisdom, grace and fear…

Security

Is mortal’s chiefest enemy.

The gracious Duncan…the right valiant Banquo…to kill their gracious father…How it did grieve Macbeth…

 That a swift blessing / May soon return to this our suffering country, / Under a hand accursed.

Directions:  Identify the Speaker

By the pricking of my thumbs,

Something wicked this way comes.

Macbeth! Macbeth! Macbeth! Beware

Macduff. Beware the thane of Fife.

Dismiss me. Enough.

The castle of Macduff I will surprise,

Seize upon Fife, give to th' edge o' th' sword

His wife, his babes, and all unfortunate souls

That trace him in his line. No boasting like a fool.

This deed I'll do before this purpose cool.

But no more sights!—

Time, thou anticipatest my dread exploits.

The flighty purpose never is o'ertook

Unless the deed go with it. From this moment

The very firstlings of my heart shall be

The firstlings of my hand.

Wisdom! To leave his wife, to leave his babes,

His mansion and his titles in a place

From whence himself does fly? He loves us not;

Let us rather hold fast the mortal

sword and like good men

bestride our downfall birthdom;

each new morn, new widows howl,

new orphans cry, new sorrows strike

heaven on the face, that it resounds

as if it felt with Scotland and

yell'd out like syllable of dolour.

 But Macbeth is. A good and virtuous

nature may recoil in an imperial charge.

But I shall crave your pardon;

hat which you are, my thoughts

cannot transpose;

Angels are bright still,

though the brightest fell.

Though all things foul would

wear the brows of grace,

yet grace must still look so.

Your castle is surprised, your wife and babes

Savagely slaughtered. To relate the manner,

Were, on the quarry of these murdered deer

To add the death of you.

He has no children.

All my pretty ones? Did you say all? O hell-kite!

All? What, all my pretty chickens and their dam

At one fell swoop?

Give sorrow words: the grief that does not speak

Whispers the o'er-fraught heart, and bids it break.

Yet who would have thought the old man to have had so much blood in him? 

             

Here's the smell of the blood still: all the perfumes of Arabia will not sweeten this little hand. 

             

I would not have such a heart in my bosom for the dignity of the whole body. 

             

What's done cannot be undone. 

             

I have lived long enough: my way of life

Is fall'n into the sear, the yellow leaf;

And that which should accompany old age,

As honour, love, obedience, troops of friends,

I must not look to have; but, in their stead,

Curses, not loud but deep, mouth-honour, breath,

Which the poor heart would fain deny, and dare not. 

             

I have almost forgot the taste of fears.

The time has been my senses would have cooled

To hear a night-shriek, and my fell of hair

Would at a dismal treatise rouse and stir

As life were in't. I have supped full with horrors;

Direness, familiar to my slaughterous thoughts,

Cannot once start me. 

             

Life's but a walking shadow, a poor player,

That struts and frets his hour upon the stage,

And then is heard no more; it is a tale

Told by an idiot, full of sound and fury,

Signifying nothing. 

             

If that which he avouches does appear,

There is nor flying hence, nor tarrying here.

I 'gin to be aweary of the sun,

And wish the estate o' the world were now undone.

Ring the alarum-bell! Blow, wind! come, wrack!

At least we'll die with harness on our back. 

             

Hail, king! For so thou art.

Behold where stands

The usurper's cursèd head.

The time is free. I see thee

compassed with thy kingdom's pearl,

That speak my salutation in their minds,

Whose voices I desire aloud with mine.

Hail, King of Scotland!

             

             

We shall not spend a large expense of time

Before we reckon with your several loves

And make us even with you…

We will perform in measure, time, and place.

So, thanks to all at once and to each one,

Whom we invite to see us crowned at Scone.