Well, I guess your prayers are answered -- no school and a postponed essay due-date! Here's what you need to be prepared for in January:
1) Please finish the analysis of John on your own. All four analysis sheets, COMPLETED on every line, legible and thoughtful, are due on your first day back. This means you will have to activate your brainsto make some good connections between John's style and his audience/purpose. See note on John below.
2) Take the extended essay deadline as an opportunity to perfect your editing: NO spelling errors, NO apostrophe errors, and NO run-ons. Also, make sure your analysis is ARTISTIC, drawing interpretations out of the text WITH LIT TERMS. Theological and personal musings are allowed, but the ARTISTIC ones are required.
NOTE REGARDING ANALYSIS OF JOHN: I had time to mention this to 6th period, but not 5th. The word "Word" in the first paragraph of this gospel is translated from the Greek Logos. Yes, you should know what that means. I also want you to connect this word to the beliefs of the Stoics, whom we've studied in class and whom you've probably studied for Coffey. Stoicism is rather pantheistic, and the Logos is the rational, orderly "divine" principle of the Stoic universe. What John is doing in the opening of his book is to address the Stoics, the most popular Hellenistic philosophers of the day, and tell them that the Logos is a PERSON. Carry this idea through your re-reading of the text and see how John addresses the Greek thinkers of his day. Also, the use of the word "Word" here does double duty in addressing the Jews, for they would associate the Creator with a Word. Thus, John's audience is Jews and Greeks.
Thursday, December 18, 2008
Monday, December 08, 2008
Intro to the Gospels
"Gospel" means "good news." Christianity is the only religion with gospels in its scripture. In class, we discussed the following five issues that may be raised when studying the gospels:
1) What is a gospel? How do I read it? Is it more like a biography or a myth?
2) Why are there only 4 gospels in the Bible? Why can't I read the Gospel of Thomas alongside Matthew, Mark, Luke and John?
3) Where did the gospel information come from? Did the synoptic writers just copy one another? Were they eyewitnesses? Were they second-hand reporters?
4) Is our current copy of the gospels accurate to the original manuscripts? How does manuscript evidence for the gospels stack up to other ancient texts? (lower criticism)
5) Is the gospel material authentic and inspired? What do the "higher critics" speculate? How might a Christian respond?
1) What is a gospel? How do I read it? Is it more like a biography or a myth?
2) Why are there only 4 gospels in the Bible? Why can't I read the Gospel of Thomas alongside Matthew, Mark, Luke and John?
3) Where did the gospel information come from? Did the synoptic writers just copy one another? Were they eyewitnesses? Were they second-hand reporters?
4) Is our current copy of the gospels accurate to the original manuscripts? How does manuscript evidence for the gospels stack up to other ancient texts? (lower criticism)
5) Is the gospel material authentic and inspired? What do the "higher critics" speculate? How might a Christian respond?
Friday, December 05, 2008
Three (and only three) Ways to Quote
1. The SAYS Type
Mrs. Kirk said, "You had better study your vocabulary words!"
Note the speaker, the speaker's verb, the speaker's breath (the comma), and the speaker's capitalized sentence.
2. The COLON Type
Mrs. Kirk gave our class some excellent advice: "Proofread and run spell check!"
You stand and make a complete statement and then throw your hands out in a big "ta-da." Your two hands are like the two dots of the colon. Then you present your quote.
3. The FLOWING Type
My teacher insisted that we do "slow reading with oral paraphrasing" in order to improve our comprehension.
Note how one quoted phrase has been inserted into my sentence, and if I remove the quotation marks, my sentence still looks normal.
Special Note: The SAYS type can be converted into a FLOWING type by inserting the word "that" --
Mrs. Kirk said that "you had better study your vocabulary words."
See? No comma or capitalization. More flowing.
Mrs. Kirk said, "You had better study your vocabulary words!"
Note the speaker, the speaker's verb, the speaker's breath (the comma), and the speaker's capitalized sentence.
2. The COLON Type
Mrs. Kirk gave our class some excellent advice: "Proofread and run spell check!"
You stand and make a complete statement and then throw your hands out in a big "ta-da." Your two hands are like the two dots of the colon. Then you present your quote.
3. The FLOWING Type
My teacher insisted that we do "slow reading with oral paraphrasing" in order to improve our comprehension.
Note how one quoted phrase has been inserted into my sentence, and if I remove the quotation marks, my sentence still looks normal.
Special Note: The SAYS type can be converted into a FLOWING type by inserting the word "that" --
Mrs. Kirk said that "you had better study your vocabulary words."
See? No comma or capitalization. More flowing.
Thursday, December 04, 2008
Critical Essays
"Critical" refers to judgment, and in the case of essays, we are talking about judging art. An art critic judges the quality of art. He answers the questions "Is it good?" and "What makes it good?" We will be more concerned with the latter question, because the works I've selected for us to analyze ARE UNQUESTIONABLY GOOD!
Critical essays in modern culture include movie and music reviews. Notice that these critics are experts in their field of art and they pay attention to specific artistic considerations: Music critics talk about instrumentation, rhythm, vocals, motifs, and dynamics. Movie critics talk about acting, camera work, special effects, themes, and scripting. Art critics talk about color, balance, detail, texture, rhythm, and symbolism. As literature critics, we will talk about theme, figurative language, tone, imagery, rhythm, etc. Art critics also talk about the artistic impact a piece has on its audience, which is a more subjective but equally valid type of commentary.
The best way to approach this task is to alternate between concrete details from the work and your own original, artistic commentary on those details. And, of course, you must package each paragraph with topical and concluding sentences. You will use a similar pattern in each body paragraph:
TS - CD/CM/CM - CD/CM/CM - (opt)CD/CM/CM - CS.
Also, each body paragraph will be devoted to a single artistic consideration, for instance one paragraph analyzing theme, one on imagery, and one on figurative language. Hopefully, this formula will help you write the best critique possible. As a novice critic, it is helpful to have a "recipe" like this on hand to help you organize your thoughts. I will not grade you on perfection of the formula, only on the resulting quality of writing. But trust me - the formula will be helpful.
TIPS FOR WRITING GOOD COMMENTARY:
1. Don't just re-state the CD
2. Use artistic terms like imagery, mood, theme, symbol, metaphor, simile...
3. Be artistic and interpretive. Go deep. Read some good critical pieces for inspiration, such as Sister Wendy's art critiques, other artistic analyses of Biblical texts, or just good literary essays.
4. Don't tell me the passage is good or marvelous or wonderful. Just tell me what makes it good.
Here are your topic options:
Matthew 5:1-16 (The Beatitudes)
Luke 1:39-56 (Mary's Song)
John 1:1-18 (In the beginning was the Word...)
I Corinthians 13:1-13 (Love is patient...)
Things I am allowing you to do on this essay:
1. Select your own paragraph topics. Any relevant literary concern.
2. Do one extra short "single-chunk" paragraph if necessary. Or, you can skip one paragraph for a total of 4 instead of 5. I am not as concerned with quantity of writing as I am with quality of writing. But there is a difference between concise writing and slack/skimpy writing!
3. Combine personal writing with critical writing. This means that you may refer to yourself in the first person and you may also use the commentary sentences to relate the verses to something personal.
EXTENDED DUE DATE: Wednesday 12/17
Critical essays in modern culture include movie and music reviews. Notice that these critics are experts in their field of art and they pay attention to specific artistic considerations: Music critics talk about instrumentation, rhythm, vocals, motifs, and dynamics. Movie critics talk about acting, camera work, special effects, themes, and scripting. Art critics talk about color, balance, detail, texture, rhythm, and symbolism. As literature critics, we will talk about theme, figurative language, tone, imagery, rhythm, etc. Art critics also talk about the artistic impact a piece has on its audience, which is a more subjective but equally valid type of commentary.
The best way to approach this task is to alternate between concrete details from the work and your own original, artistic commentary on those details. And, of course, you must package each paragraph with topical and concluding sentences. You will use a similar pattern in each body paragraph:
TS - CD/CM/CM - CD/CM/CM - (opt)CD/CM/CM - CS.
Also, each body paragraph will be devoted to a single artistic consideration, for instance one paragraph analyzing theme, one on imagery, and one on figurative language. Hopefully, this formula will help you write the best critique possible. As a novice critic, it is helpful to have a "recipe" like this on hand to help you organize your thoughts. I will not grade you on perfection of the formula, only on the resulting quality of writing. But trust me - the formula will be helpful.
TIPS FOR WRITING GOOD COMMENTARY:
1. Don't just re-state the CD
2. Use artistic terms like imagery, mood, theme, symbol, metaphor, simile...
3. Be artistic and interpretive. Go deep. Read some good critical pieces for inspiration, such as Sister Wendy's art critiques, other artistic analyses of Biblical texts, or just good literary essays.
4. Don't tell me the passage is good or marvelous or wonderful. Just tell me what makes it good.
Here are your topic options:
Matthew 5:1-16 (The Beatitudes)
Luke 1:39-56 (Mary's Song)
John 1:1-18 (In the beginning was the Word...)
I Corinthians 13:1-13 (Love is patient...)
Things I am allowing you to do on this essay:
1. Select your own paragraph topics. Any relevant literary concern.
2. Do one extra short "single-chunk" paragraph if necessary. Or, you can skip one paragraph for a total of 4 instead of 5. I am not as concerned with quantity of writing as I am with quality of writing. But there is a difference between concise writing and slack/skimpy writing!
3. Combine personal writing with critical writing. This means that you may refer to yourself in the first person and you may also use the commentary sentences to relate the verses to something personal.
EXTENDED DUE DATE: Wednesday 12/17
Thursday, November 13, 2008
Iliad/Troy Comparison
Please write a blog about the similarities and differences between the movie Troy and the epic of the Iliad. Use specific concrete details. Also, be sure to raise your discussion into a higher "Bloom" level of thinking by analyzing reasons for the differences or expressing your opinions about how the movie made changes to the story. You may also comment on how the movie genre requires a different approach to storytelling, as evidenced by the documentaries we watched on Friday. Due over the weekend, by Monday 11/17.
Monday, November 03, 2008
Mrs. Kirk's Philosophy of Teaching Writing
I can summarize my philosophy of teaching writing in three words: FEEDBACK, REVISION, and ACCOUNTABILITY. Sometimes, I will have students write an entire first draft and then begin the process of feedback and revision. Other times I will divide the task into phases and provide opportunities for feedback and revision at the end of each phase.
For a personal essay, I like to have students take a blind shot at the topic before offering too much guidance. This way, their ideas might be a little more fresh and natural. For a research essay, I prefer to go in phases. Because the research process is so complicated, getting feedback along the way can prevent big mistakes. For a critical essay (analyzing literature), either way might work. I might even take a class vote!
FEEDBACK will consist of class discussion and lecture, specific comments on the graded draft, sample papers shared in class, sample papers posted on line, excerpts from books about writing, etc. Students are always welcome to see me for face-to-face feedback also.
REVISIONS are a big deal in my class. As communicated clearly to students, a B paper needs at least a 20% revision, maybe more. Even A's aren't perfect. C's should be changing at least half of what appeared on the first draft. Revision efforts should be based on specific feedback on the earlier draft as well as the general/inspirational feedback offered to the whole class. Changing a couple of sentences, fixing spelling errors, or adding an additional paragraph are not considered sufficient. "Revise" means to "see again." You need to try to "see" how your paper could go from good to superb and do whatever it takes to make that change. Good revision is not like a band-aid. Rather, it requires a little demolition before the remodeling. Parents and students should be aware that a poorly accomplished revision will result in a lower grade on the revision draft.
ACCOUNTABILITY in editing is a final element you should understand. Imagine that you are going out for a big event and you've selected the perfect outfit, had your hair and makeup done, borrowed jewelry, and even lost 10 pounds... but at the last minute you get mustard all over yourself. That's the effect of poor editing. It mars the quality of otherwise good composition. In the same way, I will deduct points off the composition grade for errors in basic editing skills: spelling, capitalization, apostrophes, title treatment, run-ons, and any other major skill we've reviewed in class. In this way, I hope to stress the vital importance of the editing process and see students take on a little more accountability in this area.
For a personal essay, I like to have students take a blind shot at the topic before offering too much guidance. This way, their ideas might be a little more fresh and natural. For a research essay, I prefer to go in phases. Because the research process is so complicated, getting feedback along the way can prevent big mistakes. For a critical essay (analyzing literature), either way might work. I might even take a class vote!
FEEDBACK will consist of class discussion and lecture, specific comments on the graded draft, sample papers shared in class, sample papers posted on line, excerpts from books about writing, etc. Students are always welcome to see me for face-to-face feedback also.
REVISIONS are a big deal in my class. As communicated clearly to students, a B paper needs at least a 20% revision, maybe more. Even A's aren't perfect. C's should be changing at least half of what appeared on the first draft. Revision efforts should be based on specific feedback on the earlier draft as well as the general/inspirational feedback offered to the whole class. Changing a couple of sentences, fixing spelling errors, or adding an additional paragraph are not considered sufficient. "Revise" means to "see again." You need to try to "see" how your paper could go from good to superb and do whatever it takes to make that change. Good revision is not like a band-aid. Rather, it requires a little demolition before the remodeling. Parents and students should be aware that a poorly accomplished revision will result in a lower grade on the revision draft.
ACCOUNTABILITY in editing is a final element you should understand. Imagine that you are going out for a big event and you've selected the perfect outfit, had your hair and makeup done, borrowed jewelry, and even lost 10 pounds... but at the last minute you get mustard all over yourself. That's the effect of poor editing. It mars the quality of otherwise good composition. In the same way, I will deduct points off the composition grade for errors in basic editing skills: spelling, capitalization, apostrophes, title treatment, run-ons, and any other major skill we've reviewed in class. In this way, I hope to stress the vital importance of the editing process and see students take on a little more accountability in this area.
Tuesday, October 28, 2008
Vocabulary Root Lists
Lessons 1-2
cred = believe; deus = God; divine = foretell, omniscient; theos = God; sacre = holy; sanct = holy; hiero = high and holy; pia/pie = pure.
Lessons 3-4
dox/dog = opinion; gno/gni = know; crit/cris = judge; mnem/mnes = memory; phren/fren = mind; ratio = reason; not/nos = know; sap/sag = wise; put = calculate, consider; sci(e) = knowledge, understanding.
Lessons 5-6
litera = letter; scrib/script = write; nom/nym = name; graph/gram = draw; lex/lect = word or speech; logos = word or logic
Lessons 7-8
fab = conversation, storytelling; dict = state, tell; gloss/glot = tongue; clam/claim = shout; for/forum = debate; ling = language; loc/loq = talk; verb = word
First Semester Extra Roots
a = not; hetero = different; homo = same; cracy = government; prot = first; pro = forward; epi = on; pre = before; plebe = commoner, citizen...
Lessons 9-10
geo/gee = the earth, as in the globe; terra = earth, as in the ground; humus = soil; mont = mountain; past = shepherd; rur/rust = country, as in countryside; anima = life force; ether = upper air; fan/phan = to show or appear; spirit/spiro = breath; hyper = over; vent = wind.
Lessons 11-12
ferv = boiling hot; flagr = burning; flam = flame; incend = to set on fire; caut/caust = chemical burn; pyr = fire; scint = spark; flu = flow; hydra = water; mar = sea; naus/naut = ship; pont/pons = bridge; unda = wave
Lessons 13-14
ord = order; stol = to send; regula = to rule; rect = straight, right; stell = star; ast = star; cosmo = universe; mut = change; temer = rash, reckless; turb = disorder; spers = to scatter; temper = balanced; ultima/ultra = last or beyond.
Lessons 15-16
cred = believe; deus = God; divine = foretell, omniscient; theos = God; sacre = holy; sanct = holy; hiero = high and holy; pia/pie = pure.
Lessons 3-4
dox/dog = opinion; gno/gni = know; crit/cris = judge; mnem/mnes = memory; phren/fren = mind; ratio = reason; not/nos = know; sap/sag = wise; put = calculate, consider; sci(e) = knowledge, understanding.
Lessons 5-6
litera = letter; scrib/script = write; nom/nym = name; graph/gram = draw; lex/lect = word or speech; logos = word or logic
Lessons 7-8
fab = conversation, storytelling; dict = state, tell; gloss/glot = tongue; clam/claim = shout; for/forum = debate; ling = language; loc/loq = talk; verb = word
First Semester Extra Roots
a = not; hetero = different; homo = same; cracy = government; prot = first; pro = forward; epi = on; pre = before; plebe = commoner, citizen...
Lessons 9-10
geo/gee = the earth, as in the globe; terra = earth, as in the ground; humus = soil; mont = mountain; past = shepherd; rur/rust = country, as in countryside; anima = life force; ether = upper air; fan/phan = to show or appear; spirit/spiro = breath; hyper = over; vent = wind.
Lessons 11-12
ferv = boiling hot; flagr = burning; flam = flame; incend = to set on fire; caut/caust = chemical burn; pyr = fire; scint = spark; flu = flow; hydra = water; mar = sea; naus/naut = ship; pont/pons = bridge; unda = wave
Lessons 13-14
ord = order; stol = to send; regula = to rule; rect = straight, right; stell = star; ast = star; cosmo = universe; mut = change; temer = rash, reckless; turb = disorder; spers = to scatter; temper = balanced; ultima/ultra = last or beyond.
Lessons 15-16
Tuesday, October 21, 2008
October Book Club Meetings
Your first book club meetings are almost due! We will have a full class book forum during your L.A. period on Halloween, the last day of the quarter. Therefore, the last chance for your clubs to meet would be Thursday night the 30th. Appoint a secretary at your meeting (you can switch off secretarial duties for each meeting if you wish) who will take notes as the group discusses the following questions. Book Club Discussion Guide - Christian Fiction
1) What would you say is the purpose and audience of this book? Do you think the book succeeded?
2) What about the book seems universal or archetypal? In other words, what aspects of the book might be relevant to ANY audience, not just a Christian one?
3) How does this book depict Christian concepts? Consider the depiction of God, of sin, of hope, and of religion itself.
4) Consider your list of literary terms. Can you come up with a few literary observations relevant to the book? For instance, where was the climax of the story? Was there any use of symbol or motif? Etc.
5) What was the group's opinion of the book? Did you like it or not? Why? Defend your opinions.
At the full-class book forum on October 31st, you are encouraged to contribute snacks and hot drink mixes: hot chocolate, hot cider, tea bags, etc. I will provide hot water and cups. Also, your parents are invited and encouraged to participate in your individual book clubs - and they are free to join us in class as well. Every club that has at least one parent participant at their individual book club meeting will receive one bonus point on book club credit!
Iliad Book One Assessment
This assignment is not a blog assignment. It is due on paper on Monday, October 27 as evidence that you have completed Book One of the Iliad. You have three choices:
1) Three pages-worth of high quality "Who-What-When-Where-Why-How" notes on Book One as a whole.
2) A quiz on Book One to be administered during lunch on Monday at 12:40. Don't be late.
3) Create a 2-page dramatic script or a 2-page comic strip of the argument between Agamemnon and Achilles. Include as many details behind their argument as you can, as well as a lot of good insults!
1) Three pages-worth of high quality "Who-What-When-Where-Why-How" notes on Book One as a whole.
2) A quiz on Book One to be administered during lunch on Monday at 12:40. Don't be late.
3) Create a 2-page dramatic script or a 2-page comic strip of the argument between Agamemnon and Achilles. Include as many details behind their argument as you can, as well as a lot of good insults!
Sunday, October 12, 2008
Strategy and Success Blog
Well, here we are past the interim point of our first semester. How are things going? I've noticed many things about this year's sophomores: you're good natured, you're expressive, and you work well with stories. The bad news (there's always a little bad news) is that you're not testing well, and there seems to be some problems with reading/studying habits. I'd like to work with you to improve the bad news...Your assignment is to answer the following questions:
1) What do you like best about class so far? What's going well?
2) What has been your greatest disappointment so far?
3) Describe how you've studied for tests or prepared for quizzes. Give me time lengths, environment, strategy, etc.
4) Do you know if you're a visual, aural (hearing) or kinesthetic (movement) learner? Answer with a yes or no and an explanation.
BONUS: For extra credit on this blog entry, have a parent leave a comment on your post. Have your Mom or Dad describe their observations of your strengths and weaknesses in study habits and/or comments on what you are learning in class! This additional perspective will help me provide more specific class instruction in upcoming weeks.
1) What do you like best about class so far? What's going well?
2) What has been your greatest disappointment so far?
3) Describe how you've studied for tests or prepared for quizzes. Give me time lengths, environment, strategy, etc.
4) Do you know if you're a visual, aural (hearing) or kinesthetic (movement) learner? Answer with a yes or no and an explanation.
BONUS: For extra credit on this blog entry, have a parent leave a comment on your post. Have your Mom or Dad describe their observations of your strengths and weaknesses in study habits and/or comments on what you are learning in class! This additional perspective will help me provide more specific class instruction in upcoming weeks.
Monday, September 29, 2008
Extra Credit Blog - Poems in Genesis
We have been studying how to get more out of our favorite stories and songs by analyzing them in a literary fashion, using literary terms and noticing the piece's genre. Specifically, today, we looked at Genesis 1-3 and unlocked its structure and themes. We also noticed that it is a combination of genres: it begins with a creation poem and then (2:4) it breaks into a prose "account" of creation. We've discussed how the creation poem differs from the creation account, and how poetry asks for a different kind of reading than prose asks for. Your extra credit assignment is to identify a few more spots where the Genesis 1-3 narrator breaks into poetry - and tell me WHY you think this happens, how an elevated sense of emotion, imagery, or figurative language is called into play.
Isn't it interesting to see how a literary reading of God's word reveals so much?! I want you to learn this year that the Bible measures up, on the scale of great literature, to a level of artistry and complexity matched by no other work. The Bible is richer than Shakespeare - so, if you need a lot of expertise to read Shakespeare, you need at least as much to really appreciate the Bible. Enjoy the journey!
Isn't it interesting to see how a literary reading of God's word reveals so much?! I want you to learn this year that the Bible measures up, on the scale of great literature, to a level of artistry and complexity matched by no other work. The Bible is richer than Shakespeare - so, if you need a lot of expertise to read Shakespeare, you need at least as much to really appreciate the Bible. Enjoy the journey!
Tuesday, September 23, 2008
Top Ten Class Policies!
1) Late work is accepted at 5 points off or 10% off per day, whichever is greater.
2) Cheating earns a zero.
3) Point deductions will be taken for basic editing errors, including spelling, punctuation, run-ons and fragments. One "free" basic skills mistake is granted per 3 pages of text.
4) Essay revisions count separately. Each draft submitted should be the best draft possible at that time. Each draft's grade is final. Please follow the essay format as prescribed on the classroom poster, with former drafts stapled behind the newest version.
5) Extensions are available in stressful circumstances if requested in advance of the deadline. Only emergengies will justify extensions after the due date has arrived or passed.
6) Bathroom visits during class are not allowed during quizzes/tests or lectures/presentations.
7) Absentees are fully responsible for any missed due dates, pop quizzes, scheduled assignments, notes, and lecture materials. School policy allows 2 make-up days per 1 day of excused absence. Make-up tests are subjective, which means they tend to be harder than the original version.
8) Tardies beyond 3 will earn lunch detention. Missing class repetitively for any reason is likely to impact learning, and therefore grades.
9) Concerns or objections must be raised privately and respectfully. Try to stay positive in the classroom.
10) Extra credit will be accepted only when a student has fewer than 3 zeroes for the quarter. Extra credit is not meant to compensate for irresponsibility.
2) Cheating earns a zero.
3) Point deductions will be taken for basic editing errors, including spelling, punctuation, run-ons and fragments. One "free" basic skills mistake is granted per 3 pages of text.
4) Essay revisions count separately. Each draft submitted should be the best draft possible at that time. Each draft's grade is final. Please follow the essay format as prescribed on the classroom poster, with former drafts stapled behind the newest version.
5) Extensions are available in stressful circumstances if requested in advance of the deadline. Only emergengies will justify extensions after the due date has arrived or passed.
6) Bathroom visits during class are not allowed during quizzes/tests or lectures/presentations.
7) Absentees are fully responsible for any missed due dates, pop quizzes, scheduled assignments, notes, and lecture materials. School policy allows 2 make-up days per 1 day of excused absence. Make-up tests are subjective, which means they tend to be harder than the original version.
8) Tardies beyond 3 will earn lunch detention. Missing class repetitively for any reason is likely to impact learning, and therefore grades.
9) Concerns or objections must be raised privately and respectfully. Try to stay positive in the classroom.
10) Extra credit will be accepted only when a student has fewer than 3 zeroes for the quarter. Extra credit is not meant to compensate for irresponsibility.
Monday, September 22, 2008
Archetype Blog
Please select either a folktale from your personal cultural heritage OR a movie which you might call an "all-time favorite." First, summarize the folktale or movie briefly. Next, analyze the piece for the presence of archetypes (universals). Finally, identify what is unique or culturally specific in the piece. There will be three short paragraphs. Due Monday Sept. 30.
In the Scottish folktale Redemption from Fairie Land, a young wife is stolen away from her home during childbirth. The next morning, what appears to be a corpse is discovered. However, her husband learns that the faeries have her spirit, and the "corpse" is nothing but wood. He is given instructions for how to rescue her and his infant son. He must first gain forgiveness for his wife (for telling him the secret) and then the woman's brother must wrestle her away from the fairie spirits. In the end, the woman and her newborn son are returned home.
The clearest archetype present in the tale is resurrection. The woman, although married, conveys the maiden archetype, and the husband plays her hero (monomyth). All evil takes place during the night, and goodness/realization come about in the morning, therefore illustrating a light-dark archetype. Also, the wife's ghostly form is dressed in white. Finally, the faeries function as evil tricksters, replacing the woman's body with a wooden corpse.
This tale is specifically Scottish in that the tricksters are faeries -- Scottish mythology features characters including faeries, brownies, mermaids, etc. Also, the Christian heritage of Scotland comes up in that the Reverend is the one who recognizes the evil deeds of the faeries. Often, Scottish faeries are defeated through Christian means. I wonder if the book in his pocket is a Bible, which he refuses to throw in the moat. The setting of the story is also quite Scottish (moat, bushes and brambles) and has a distinctly Scottish "feel" to it.
In the Scottish folktale Redemption from Fairie Land, a young wife is stolen away from her home during childbirth. The next morning, what appears to be a corpse is discovered. However, her husband learns that the faeries have her spirit, and the "corpse" is nothing but wood. He is given instructions for how to rescue her and his infant son. He must first gain forgiveness for his wife (for telling him the secret) and then the woman's brother must wrestle her away from the fairie spirits. In the end, the woman and her newborn son are returned home.
The clearest archetype present in the tale is resurrection. The woman, although married, conveys the maiden archetype, and the husband plays her hero (monomyth). All evil takes place during the night, and goodness/realization come about in the morning, therefore illustrating a light-dark archetype. Also, the wife's ghostly form is dressed in white. Finally, the faeries function as evil tricksters, replacing the woman's body with a wooden corpse.
This tale is specifically Scottish in that the tricksters are faeries -- Scottish mythology features characters including faeries, brownies, mermaids, etc. Also, the Christian heritage of Scotland comes up in that the Reverend is the one who recognizes the evil deeds of the faeries. Often, Scottish faeries are defeated through Christian means. I wonder if the book in his pocket is a Bible, which he refuses to throw in the moat. The setting of the story is also quite Scottish (moat, bushes and brambles) and has a distinctly Scottish "feel" to it.
Archetypes: Good Dreams
Archetypes are story elements -- character types and symbolic images -- that recur across time and culture. Is their presence a clue about God???
Romans 1:20 says that "since the creation of the world God's invisible qualities—his eternal power and divine nature—have been clearly seen, being understood from what has been made, so that men are without excuse." We can experience the grandeur of nature and study the complexity of creation to see God's eternal power. And, perhaps, God has also written his divine nature into the heart of man.
C.S. Lewis (author of the Narnia books) believed that God imprinted humans with a divine subconscious message. In Mere Christianity, he said: "And what did God do? First of all He left us conscience, the sense of right and wrong: and all through history there have been people trying (some of them very hard) to obey it. None of them ever quite succeeded. Secondly, He sent the human race what I call good dreams: I mean those queer stories scattered all through the heathen religions about a god who dies and comes to life again and, by his death, has somehow given new life to men."
So, in summary of Lewis, we could say that God revealed his divine nature into the subconscious mind of man by (1) giving us a natural sense of right and wrong and (2) imprinting us with certain expectations, desires and hopes. We could call these "good dreams" archetypes. Archetypes include the universal expectation of a hero, the desire for light in the darkness, and the hope for triumph over death. There are many archetypes.
But let us not stop there. Let us also joyfully acknowledge that he revealed himself most specifically through his son, Jesus, who fulfilled the archetypes. Where humanity had previously been dreaming, Jesus was the dream "come true."
ARCHETYPES YOU SHOULD RECOGNIZE: monomyth, hero cycle, journey/quest, maiden, wise old man, sidekick, crone, trickster, shadow, storyteller, light/dark, colors, numbers, forest, garden, desert, snakes, birds, water, fire, resurrection
Note about character archetypes: Many character archetypes were originally expressed out of a paternalistic framework (i.e. men are heroes and mentors, women are victims and witches). Modern expressions of archetype often swap gender. This is OK!
Romans 1:20 says that "since the creation of the world God's invisible qualities—his eternal power and divine nature—have been clearly seen, being understood from what has been made, so that men are without excuse." We can experience the grandeur of nature and study the complexity of creation to see God's eternal power. And, perhaps, God has also written his divine nature into the heart of man.
C.S. Lewis (author of the Narnia books) believed that God imprinted humans with a divine subconscious message. In Mere Christianity, he said: "And what did God do? First of all He left us conscience, the sense of right and wrong: and all through history there have been people trying (some of them very hard) to obey it. None of them ever quite succeeded. Secondly, He sent the human race what I call good dreams: I mean those queer stories scattered all through the heathen religions about a god who dies and comes to life again and, by his death, has somehow given new life to men."
So, in summary of Lewis, we could say that God revealed his divine nature into the subconscious mind of man by (1) giving us a natural sense of right and wrong and (2) imprinting us with certain expectations, desires and hopes. We could call these "good dreams" archetypes. Archetypes include the universal expectation of a hero, the desire for light in the darkness, and the hope for triumph over death. There are many archetypes.
But let us not stop there. Let us also joyfully acknowledge that he revealed himself most specifically through his son, Jesus, who fulfilled the archetypes. Where humanity had previously been dreaming, Jesus was the dream "come true."
ARCHETYPES YOU SHOULD RECOGNIZE: monomyth, hero cycle, journey/quest, maiden, wise old man, sidekick, crone, trickster, shadow, storyteller, light/dark, colors, numbers, forest, garden, desert, snakes, birds, water, fire, resurrection
Note about character archetypes: Many character archetypes were originally expressed out of a paternalistic framework (i.e. men are heroes and mentors, women are victims and witches). Modern expressions of archetype often swap gender. This is OK!
Wednesday, September 17, 2008
Wordy Wednesdays Fall '08
VOCABULARY SCHEDULE
KEY: L=Lesson, ex=exercises, rev=review exercises
You are not required to do exercises asking for original sentence or paragraph composition
9/17 - L 1 ex
9/24 - L 2 ex, L 1-2 rev
10/1 - L 1-2 test
10/8 - L 3 ex and know roots through L 4
10/15 - L 4 ex, L 3-4 rev
10/22 - L 3-4 test
10/29 - L 5 ex and know roots through L 6
11/5 - L 6 ex, L 5-6 rev
11/12 - L 5-6 test
11/19 - L 7 ex and know roots through L 8
11/26 - L 8 ex, L 7-8 rev
12/3 - L 7-8 test
1/7 - cumulative test on L 1-8
(no more vocab till 2nd semester)
KEY: L=Lesson, ex=exercises, rev=review exercises
You are not required to do exercises asking for original sentence or paragraph composition
9/17 - L 1 ex
9/24 - L 2 ex, L 1-2 rev
10/1 - L 1-2 test
10/8 - L 3 ex and know roots through L 4
10/15 - L 4 ex, L 3-4 rev
10/22 - L 3-4 test
10/29 - L 5 ex and know roots through L 6
11/5 - L 6 ex, L 5-6 rev
11/12 - L 5-6 test
11/19 - L 7 ex and know roots through L 8
11/26 - L 8 ex, L 7-8 rev
12/3 - L 7-8 test
1/7 - cumulative test on L 1-8
(no more vocab till 2nd semester)
Tuesday, September 09, 2008
Hero Essay
This is a formal essay assignment, not a blog assignment. It will be submitted on paper, typed, labeled with your name, date, and an essay title, edited to the highest standard possible, and consisting of 2-3 pages. Save your document for future revision.
TYPE OF ESSAY: Personal
TOPIC: anything related to heroes or heroism
DUE: Tuesday 16th (any time that day)
Please be creatively open-minded about your topic. What you write needs to be personal and specific to YOU. It should be drawn on your own memories, imagination, or opinions. Don't bore me.
TYPE OF ESSAY: Personal
TOPIC: anything related to heroes or heroism
DUE: Tuesday 16th (any time that day)
Please be creatively open-minded about your topic. What you write needs to be personal and specific to YOU. It should be drawn on your own memories, imagination, or opinions. Don't bore me.
Examples: a memory or description of a hero in your own life, an imaginative description of the hero you would be or wish for, an introspective exploration of some aspect of heroism (self-sacrifice, being bold, etc. - check out your hero blogs for ideas). ANYTHING goes, as long as it's PERSONAL in some way.
Examples from Mrs. Kirk's friends' blogs:
Monday, September 01, 2008
Hero Blog
You are to select a hero -- from movies, literature, or real life -- and identify its name, where it's from, and what heroic qualities it represents for you. As you complete the assignment, please sign my blog list (on the "paper table" beside my desk) so I will know where to find your work online!
Since I love books and movies so much, it's very hard for me to complete my own assignment! Two characters that come immediately to mind are Atticus Finch and King Arthur. But the one I will write about is Aslan from the Chronicles of Narnia. In reading these tales again as an adult, I find this symbolic depiction of Jesus to be emotionally grabbing as well as theologically illuminating. He is regal, wise, kind, and frighteningly fierce, all at the same time. Monday, August 25, 2008
World History
Pre- and Ancient History
4th and 3rd Mill's B.C.
oral tradition (myths, folktales)
archetypes
writing
Neolithic revolution
cultural diffusion
monotheism and polytheism
4th and 3rd Mill's B.C.
oral tradition (myths, folktales)
archetypes
writing
Neolithic revolution
cultural diffusion
monotheism and polytheism
Classical History
2nd Mill B.C. - 1st Mill A.D.
rationalism
rationalism
idealism / realism
democracy / republic
philosophy / atheism
Hellenism
Currently studying...
Hellenism
Currently studying...
Medieval History
1st-2nd Mill A.D.
feudalism
Christendom
chivalry
Crusades / Islam
mercantilism
Renaissance
feudalism
Christendom
chivalry
Crusades / Islam
mercantilism
Renaissance
2nd Mill A.D.
rebirth / neoclassicism
humanism
secularism
exploration (Columbian exchange)
Reformation
Ascension / Revolution
rebirth / neoclassicism
humanism
secularism
exploration (Columbian exchange)
Reformation
Ascension / Revolution
Latter 2nd Mill A.D.
Enlightenment
romanticism
social philosophy (salons)
East-West connection
Enlightenment
romanticism
social philosophy (salons)
East-West connection
Book Clubs
Why book clubs?
SCS has a tradition of asking students to maintain a reading habit outside of class, and this will be our format. I've chosen the club format because it's fun and realistic. Book clubbing is popular and worthwhile.
Guidelines for forming your club:
On a scale of 1-5, how serious a reader are you? As you form your club, I recommend that you team up with friends whose "serious reader rating" is near your own. Your club selections will be permanent! Also, consider where your friends live and what kinds of schedules they keep, because you will have to schedule one meeting per quarter outside of school. You are also welcome and encouraged to include your parents.
What your meeting will look like:
Plan your meeting at a member's home, a coffee shop, the library, or even a restaurant. It's a social occasion that doubles as study time! You might opt to match your event to your book, like having English tea and scones with your Shakespeare. Be creative! Your meeting must be at least one hour long, with most of that hour devoted to discussing the book. You will elect a secretary to take notes on the discussion questions as assigned (you can trade off on secretarial duties). You must use a book club reporting sheet and submit by the due date.
Grading:
Book club credit will be 30 points based on club reports. Excellent answers reflecting a lengthy, eager discussion of assigned questions will earn an A for all team members present. Accurate but short or sloppy responses will earn a C for all team members. I will not assign B's for book club -- acceptable effort will be deemed either average or superb. Furthermore, only members present at the meeting will earn credit; absentees may earn a D for having read the book but not attended the meeting. Also note that a school lunch period or study hall are not sufficient to meet the time requirement (one hour) nor is the venue sufficient to meet the requirement (outside of school).
First Quarter -- Christian fiction / Due date T.B.A.
OPTIONS: Stephen Lawhead sci-fi/fantasy novel, G.K. Chesterton Father Brown mystery or other, any 2 C.S. Lewis Narnia books, Madeleine L'Engle's A Wrinkle in Time or sequel, The Shack, any George MacDonald novel intended for adults, or Blue Like Jazz by Don Miller (not fiction, but largely narrative).
Second Quarter -- Western classics / Due Jan. 16
OPTIONS: The Count of Monte Cristo (French), Les Miserables (French), Don Quixote (Spanish), Crime and Punishment (Russian), The Lord of the Flies (English), The Once and Future King (English), A Midsummer Night's Dream (English), The Adventures of Tom Sawyer (American)
Third Quarter -- Club choice / Due March 30
OPTIONS: no adolescent lit, minimum 150 pages, fiction or nonfiction
Fourth Quarter -- Non-Western fiction / Due date June 5
OPTIONS: The 1001 Nights (Arabian), The Good Earth (Chinese/American), Iron and Silk (Chinese/American), any Amy Tan novel (Chinese/American), Pagoda, Skull and Samurai (Japanese), Siddhartha (Hindu), A Tiger for Malgudi (Indian), The Kite Runner (Muslim), A Thousand Splendid Suns (Muslim), The Alchemist (Brazilian)
SCS has a tradition of asking students to maintain a reading habit outside of class, and this will be our format. I've chosen the club format because it's fun and realistic. Book clubbing is popular and worthwhile.
Guidelines for forming your club:
On a scale of 1-5, how serious a reader are you? As you form your club, I recommend that you team up with friends whose "serious reader rating" is near your own. Your club selections will be permanent! Also, consider where your friends live and what kinds of schedules they keep, because you will have to schedule one meeting per quarter outside of school. You are also welcome and encouraged to include your parents.
What your meeting will look like:
Plan your meeting at a member's home, a coffee shop, the library, or even a restaurant. It's a social occasion that doubles as study time! You might opt to match your event to your book, like having English tea and scones with your Shakespeare. Be creative! Your meeting must be at least one hour long, with most of that hour devoted to discussing the book. You will elect a secretary to take notes on the discussion questions as assigned (you can trade off on secretarial duties). You must use a book club reporting sheet and submit by the due date.
Grading:
Book club credit will be 30 points based on club reports. Excellent answers reflecting a lengthy, eager discussion of assigned questions will earn an A for all team members present. Accurate but short or sloppy responses will earn a C for all team members. I will not assign B's for book club -- acceptable effort will be deemed either average or superb. Furthermore, only members present at the meeting will earn credit; absentees may earn a D for having read the book but not attended the meeting. Also note that a school lunch period or study hall are not sufficient to meet the time requirement (one hour) nor is the venue sufficient to meet the requirement (outside of school).
First Quarter -- Christian fiction / Due date T.B.A.
OPTIONS: Stephen Lawhead sci-fi/fantasy novel, G.K. Chesterton Father Brown mystery or other, any 2 C.S. Lewis Narnia books, Madeleine L'Engle's A Wrinkle in Time or sequel, The Shack, any George MacDonald novel intended for adults, or Blue Like Jazz by Don Miller (not fiction, but largely narrative).
Second Quarter -- Western classics / Due Jan. 16
OPTIONS: The Count of Monte Cristo (French), Les Miserables (French), Don Quixote (Spanish), Crime and Punishment (Russian), The Lord of the Flies (English), The Once and Future King (English), A Midsummer Night's Dream (English), The Adventures of Tom Sawyer (American)
Third Quarter -- Club choice / Due March 30
OPTIONS: no adolescent lit, minimum 150 pages, fiction or nonfiction
Fourth Quarter -- Non-Western fiction / Due date June 5
OPTIONS: The 1001 Nights (Arabian), The Good Earth (Chinese/American), Iron and Silk (Chinese/American), any Amy Tan novel (Chinese/American), Pagoda, Skull and Samurai (Japanese), Siddhartha (Hindu), A Tiger for Malgudi (Indian), The Kite Runner (Muslim), A Thousand Splendid Suns (Muslim), The Alchemist (Brazilian)
Be a Better Reader
If you're struggling with your reading assignments -- not doing well on reading quizzes, for instance -- then you need to stop and think about a new strategy...
TIP #1
Know your best reading pace and environment. Go ahead and give yourself a little reading test: set yourself up with a book and set the timer at 30 minutes. See how many pages you can comfortably read. Try this out with 2 or three different types of reading to see what the difference is. For instance, you might find that you can breeze through 20 pages of a good novel in half an hour, but only 10 pages of your science textbook. Also, be honest with yourself about the reading environment you need: dim or bright lights; silence, white noise, or music; cold or warm temperature; laying down or sitting up; long hauls or short sessions with exercise/snack breaks; reading aloud or silently. Know yourself and plan well for upcoming due dates.
THE "SLOW READING" TECHNIQUE: We've been modeling this in class and quiz scores are going up! Simply read one sentence at a time and then paraphrase it, incorporating any available footnotes into the paraphrase and avoiding any pronouns (say the characters' names). For aural learners, this should be done aloud. If this pace is a little too slow for you, try one paragraph at a time.
TIP #2
Know something about genre and audience. As already mentioned above, your reading speed may vary for different types of text. Indeed, different types of text will demand different skills in comprehension, interpretation, and recall. Get in the habit of recognizing the genre of your reading material before you begin reading it: factual versus imaginative, narrative versus nonfiction, written text versus performed text, poetry versus prose, etc. You should also know a bit about the intended audience of the text. Was it written for your age group? Was it written for a foreign culture? Was it written for a past time period? All these issues will impact the difficulty of what you're about to read and how you should "angle" yourself to receive its message clearly.
TIP#3
If you're reading narrative, your job is to get to know the characters and find out what they did and why. A great way of making sure you're following the most important points of the story is to write down a "Who-What-When-Where-Why/How" summary after each reading session you perform, perhaps after every chapter. At the very least, keep a "Who" list of character names and ID's. The"What" segment will be plot summary. The "Why/How" part gets you thinking in a higher Bloom level, which is the ultimate goal for readers. You might do a "WWWWWH" list at the end of each reading session. If you're a visual learner, keep it especially neat and organized.
TIP #4
If you're reading prose nonfiction, your job is to get new information "filed away" into your brain so that you can access the "files" later.
1)Look for new terms. Consider underlining or highlighting them.
2) Look for "chunks" of information. Group your notes into categories on the page so it feels like you're learning 3 sets of 5 facts rather than 15 unrelated, rambling facts.
3) Look for ways the book emphasizes information - repetition, bold text, etc. Underline or "star" these ideas in your notes. The beginning and ending ideas of the chapter or essay might also be clues to emphasis.
TIP #5
If you're reading something poetic, you must prepare your brain cells for imaginative and artistic thinking. How do you know it's poetic? It might look like poetry, with short lines and patterns. It might sound like poetry, with repetition and alliteration. It might feel like poetry, with a focus on the senses, particularly images. And it might "think" like poetry, if the statements can't be properly understood in a literal way. Once you've recognized your text as poetic, you must open the door to figurative interpretations. You should also consider reading the text aloud, letting your voice shape the words in a musical, emotional way. Where poetry is concerned, art and imagination are central to "getting it."
TIP #6
If you are not the originally intended audience, you must give the text some extra time and some extra context. In reading Shakespeare, recognize that you are living 400 years down the road, and you will need footnotes along the way. In reading the New Testament, find out something about the churches to whom the apostles were writing. In reading foreign literature, learn something about what the target culture expected in a work of literature. It will take some effort to get yourself into a place where you're ready to receive the "gift" originally wrapped up for a different "recipient."
TIP #7
Beginnings and endings are big keys to meaning. Regardless of what type of text you are reading, review the introduction and conclusion before you close the book. In the first and last words of a complete work of literature, you might find main ideas, point of view, important images or motifs, central themes, or implied instructions to the reader. ALSO: When you need to skim your reading, the best speed strategy is to read the first and last sentences of each paragraph.
TIP #8
If you feel like you are struggling as a reader... you might want to supplement the above methods with some learning-style strategies. For instance, a visual learner could make a chart or re-copy notes with colors and illustrations. An aural learner might need to read text and notes aloud, do slow reading out loud, or summarize what you read to a partner; you could also read along with a recording of the book, if available. Kinetic learners might respond well to rhythmic repetition or an active study technique like using flashcards; you should also get a little exercise before reading (to avoid feeling fidgety) and break your reading sessions into 20-30-minute chunks with movement or snack breaks. Every brain has the capacity to read!
TIP #1
Know your best reading pace and environment. Go ahead and give yourself a little reading test: set yourself up with a book and set the timer at 30 minutes. See how many pages you can comfortably read. Try this out with 2 or three different types of reading to see what the difference is. For instance, you might find that you can breeze through 20 pages of a good novel in half an hour, but only 10 pages of your science textbook. Also, be honest with yourself about the reading environment you need: dim or bright lights; silence, white noise, or music; cold or warm temperature; laying down or sitting up; long hauls or short sessions with exercise/snack breaks; reading aloud or silently. Know yourself and plan well for upcoming due dates.
THE "SLOW READING" TECHNIQUE: We've been modeling this in class and quiz scores are going up! Simply read one sentence at a time and then paraphrase it, incorporating any available footnotes into the paraphrase and avoiding any pronouns (say the characters' names). For aural learners, this should be done aloud. If this pace is a little too slow for you, try one paragraph at a time.
TIP #2
Know something about genre and audience. As already mentioned above, your reading speed may vary for different types of text. Indeed, different types of text will demand different skills in comprehension, interpretation, and recall. Get in the habit of recognizing the genre of your reading material before you begin reading it: factual versus imaginative, narrative versus nonfiction, written text versus performed text, poetry versus prose, etc. You should also know a bit about the intended audience of the text. Was it written for your age group? Was it written for a foreign culture? Was it written for a past time period? All these issues will impact the difficulty of what you're about to read and how you should "angle" yourself to receive its message clearly.
TIP#3
If you're reading narrative, your job is to get to know the characters and find out what they did and why. A great way of making sure you're following the most important points of the story is to write down a "Who-What-When-Where-Why/How" summary after each reading session you perform, perhaps after every chapter. At the very least, keep a "Who" list of character names and ID's. The"What" segment will be plot summary. The "Why/How" part gets you thinking in a higher Bloom level, which is the ultimate goal for readers. You might do a "WWWWWH" list at the end of each reading session. If you're a visual learner, keep it especially neat and organized.
TIP #4
If you're reading prose nonfiction, your job is to get new information "filed away" into your brain so that you can access the "files" later.
1)Look for new terms. Consider underlining or highlighting them.
2) Look for "chunks" of information. Group your notes into categories on the page so it feels like you're learning 3 sets of 5 facts rather than 15 unrelated, rambling facts.
3) Look for ways the book emphasizes information - repetition, bold text, etc. Underline or "star" these ideas in your notes. The beginning and ending ideas of the chapter or essay might also be clues to emphasis.
TIP #5
If you're reading something poetic, you must prepare your brain cells for imaginative and artistic thinking. How do you know it's poetic? It might look like poetry, with short lines and patterns. It might sound like poetry, with repetition and alliteration. It might feel like poetry, with a focus on the senses, particularly images. And it might "think" like poetry, if the statements can't be properly understood in a literal way. Once you've recognized your text as poetic, you must open the door to figurative interpretations. You should also consider reading the text aloud, letting your voice shape the words in a musical, emotional way. Where poetry is concerned, art and imagination are central to "getting it."
TIP #6
If you are not the originally intended audience, you must give the text some extra time and some extra context. In reading Shakespeare, recognize that you are living 400 years down the road, and you will need footnotes along the way. In reading the New Testament, find out something about the churches to whom the apostles were writing. In reading foreign literature, learn something about what the target culture expected in a work of literature. It will take some effort to get yourself into a place where you're ready to receive the "gift" originally wrapped up for a different "recipient."
TIP #7
Beginnings and endings are big keys to meaning. Regardless of what type of text you are reading, review the introduction and conclusion before you close the book. In the first and last words of a complete work of literature, you might find main ideas, point of view, important images or motifs, central themes, or implied instructions to the reader. ALSO: When you need to skim your reading, the best speed strategy is to read the first and last sentences of each paragraph.
TIP #8
If you feel like you are struggling as a reader... you might want to supplement the above methods with some learning-style strategies. For instance, a visual learner could make a chart or re-copy notes with colors and illustrations. An aural learner might need to read text and notes aloud, do slow reading out loud, or summarize what you read to a partner; you could also read along with a recording of the book, if available. Kinetic learners might respond well to rhythmic repetition or an active study technique like using flashcards; you should also get a little exercise before reading (to avoid feeling fidgety) and break your reading sessions into 20-30-minute chunks with movement or snack breaks. Every brain has the capacity to read!
Monday, August 18, 2008
Stories and Songs Around the World
Why focus on "stories and songs" in a world lit class? Because human beings have been telling stories and singing songs since the beginning. I imagine Adam told bedtime stories to Cain and Abel...
"Boys, did I ever tell you about the day I tried to come up with a name for Elephant?"
"Aw, Dad, not that one. Tell us the scary story again, about the snake!"
"And how God told you he would send someone one day to come back and crush his head!"
And then Eve would come in the cave and sing them to sleep. Perhaps it went something like this...
"In the beginning, God made the earth,
and it was good,
and it was good."
Seriously. Look at Genesis One and see if you don't find all the elements of a good song: rhythm, repetition, imagery, mood... it has a good beat and you can dance to it!
Literature came into being as soon as human beings learned to talk. In fact, the first words uttered by humankind in the Bible -- when Adam first sees Eve -- well, they are a poem. Take another look. It's not a simple statement of fact; it's artfully repetitive, richly emotional. I can almost hear Adam gasp with amazement and love. Yes! The first love poem!
As students of world literature, we start at creation and branch out from the cradle of civilization, geographically and chronologically tracing the stories and songs of early man. Our first stopping point will be the Sumerian epic of Gilgamesh, written down even before Genesis was. Then, on to praise songs of the Egyptians and myths of the early Greeks. We travel around the world to sample Middle Eastern folk tales and Asian wisdom poems. From each culture, we will select stories and songs that let us know what was going on in the minds of past cultures. How were they similar to us in their humanity? How were they different from us in their lifestyle and beliefs? Why does every culture on earth seem to tell stories of great heroes and sing songs of great yearning?
The proposition of this course will be that God designed it that way. God himself is the master storyteller, the "author of our faith." Did you know that more than 75% of the Bible is narrative? And, God is also the supreme poet. The most powerful passages in Scripture have poetic elements, rendering them with a higher purpose than simple everyday utterances. Even non-Christian scholars are amazed by the unity, complexity, and artistic excellence of the Bible. It is my central goal in this class that we inspire young people to sit up and take notice of the spiritual power of literature, as a reflection of the character of God. In doing so, we will see the beauty of God's Word, the power of the Christian story, and the importance of using language to God's glory. I invite your prayers as we explore the divine magic of stories and songs together in 10th Grade World Lit... hopefully it will become a lifelong habit.
"Boys, did I ever tell you about the day I tried to come up with a name for Elephant?"
"Aw, Dad, not that one. Tell us the scary story again, about the snake!"
"And how God told you he would send someone one day to come back and crush his head!"
And then Eve would come in the cave and sing them to sleep. Perhaps it went something like this...
"In the beginning, God made the earth,
and it was good,
and it was good."
Seriously. Look at Genesis One and see if you don't find all the elements of a good song: rhythm, repetition, imagery, mood... it has a good beat and you can dance to it!
Literature came into being as soon as human beings learned to talk. In fact, the first words uttered by humankind in the Bible -- when Adam first sees Eve -- well, they are a poem. Take another look. It's not a simple statement of fact; it's artfully repetitive, richly emotional. I can almost hear Adam gasp with amazement and love. Yes! The first love poem!
As students of world literature, we start at creation and branch out from the cradle of civilization, geographically and chronologically tracing the stories and songs of early man. Our first stopping point will be the Sumerian epic of Gilgamesh, written down even before Genesis was. Then, on to praise songs of the Egyptians and myths of the early Greeks. We travel around the world to sample Middle Eastern folk tales and Asian wisdom poems. From each culture, we will select stories and songs that let us know what was going on in the minds of past cultures. How were they similar to us in their humanity? How were they different from us in their lifestyle and beliefs? Why does every culture on earth seem to tell stories of great heroes and sing songs of great yearning?
The proposition of this course will be that God designed it that way. God himself is the master storyteller, the "author of our faith." Did you know that more than 75% of the Bible is narrative? And, God is also the supreme poet. The most powerful passages in Scripture have poetic elements, rendering them with a higher purpose than simple everyday utterances. Even non-Christian scholars are amazed by the unity, complexity, and artistic excellence of the Bible. It is my central goal in this class that we inspire young people to sit up and take notice of the spiritual power of literature, as a reflection of the character of God. In doing so, we will see the beauty of God's Word, the power of the Christian story, and the importance of using language to God's glory. I invite your prayers as we explore the divine magic of stories and songs together in 10th Grade World Lit... hopefully it will become a lifelong habit.
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