English 121, Intro to Shakespeare
Spring 2012

Monday, January 23

First day: Introductions and course outline

• Film: segment two of John Barton's Playing Shakespeare: Using the Verse

• Read Connections on The Sonnet

• Read Connections on Scansion

• And if you want to brush up on poetic terminology more general, have a look around the Terms section.
  • Hunter Davis as Ian McKellen as Popeye
  • Mr. William Shakespeare and the Internet, an all-purpose site maintained by Terry A. Gray

  • ERIC (English Renaissance in Context) from the Penn Libraries

Come to class prepared to apply the film and readings to a discussion of one of Shakespeare's sonnets.

Also, please go to the class discussion board and write a solid paragraph or two introducing yourself to the class. Aside from the obvious introductory function of this assignment, it also ensures that we flush out any technical problems before moving farther into the term.

Note: here and throughout this syllabus, the first (less indented) reading or link is required, while the second (more indented) reading or link is supplemental and optional. Here, for example, the film viewing and Connections links are required, whereas exploring the other websites is optional.

• Read Shakespeare's sonnets 1, 2, 3, 5, 15, 16, 17, and 18.

• Close reading handout
  • Sir John Gielgud reads the sonnets

  • The excellent BBC podcast In Our Time on Shakespeare's Life

Using the close reading handout as a guide, write a paragraph about something unusual and interesting you find in one of the sonnets. We will discuss some of your paragraphs in class, and I will collect them all.

• Read Marjorie Garber's introduction to Shakespeare After All.

• Shakespeare's "Young Man" sonnets (selections): 20, 30, 37, 62, 76, 84, 93, 115, 116, and 123

• And the "Dark Lady" sonnets (selections): 42, 127, 130, 133, 138, 144, 147, 148, and 152

Group 1: Write a response connecting some small issue you find in a close reading of one of these sonnets to one of the broader concerns that Garber raises about interpreting Shakespeare's works. The key to this assignment lies in conveying that connection between a few small details and the big issues or questions of Shakespeare criticism.

• Richard III, Act I
  • Shakespeare's Works in online texts from MIT

  • In Our Time on Shakespeare's Work

Group 2: Stage-setting response

• Richard III, Acts II and III

Group 3: Middle acts response

• Richard III, Acts IV and V

• Russ McDonald, "Theater à la Mode: Shakespeare and the Kinds of Drama"

  • ERIC (English Renaissance in Context) has a tutorial on Richard III

Group 4: Final acts response

• Richard Loncraine, Richard III (1995)
  • The film's IMDB page

  • And its MRQE page

Group 5: Film response

SONNET EXPLICATION DUE UNDER MY
OFFICE DOOR AT 4:00 P.M.

• Connections, Developing a Thesis
  • If you want to see more of what I say about writing papers, you are welcome (but not required) to look through the other sections of the Writing section of Connections.

No response required: we will talk about writing in class.

• Much Ado about Nothing, Act I

• Review the comedy section of Russ McDonald, "Theater à la Mode: Shakespeare and the Kinds of Drama"

Group 6: Stage-setting response

• Much Ado about Nothing, Acts II and III

Group 7: Middle acts response

• Much Ado about Nothing, Acts IV and V

Group 1: Final acts response

• Film: Kenneth Branagh, Much Ado about Nothing (1993)
  • The film's IMDB page

  • And its MRQE page

Group 2: Film response

• Titus Andronicus, Act I

Group 3: Stage-setting response

• Titus Andronicus, Acts II and III

Group 4: Middle acts response

• Titus Andronicus, Acts IV and V
  • In Our Time on Elizabethan Revenge

Group 5: Final acts response

• Film: Julie Taymor, Titus (1999)
  • The film's IMDB page

  • And its MRQE page

Group 6: Film response

MIDSEM EXAM IN CLASS

• Hamlet, Act I
  • Hamlet Works is one of the web's truly remarkable literary sites. You'll need to take a few minutes to figure out the interface, but the site will repay your efforts.

  • Facebook Hamlet

Group 7: Scene-setting response

• Hamlet, Acts II and III

Group 1: Middle acts response

• Hamlet, Acts IV and V

Group 2: Last acts response

• Parker on New Criticism
• Reading on the critical history of Hamlet
  • In Our Time on Shakespeare and Literary Criticism

Group 3: Write a response that finds some way of tying together the two readings for today. For instance, you might find a point from the critical history that illustrates the power or limitations of a New Critical approach to Hamlet.

• Readings on feminist criticism and Hamlet

Group 4: The response assignment will be the same for both critical approaches. For the approach we read about each day, discuss a point in the article that you consider especially instructive or, on the contrary, to be a misreading of Hamlet. You can talk about more general applications of the day's theory if you like, but every response should start by discussing a specific moment in the day's article.

• Readings on deconstructionist criticism and Hamlet

Group 5: See the assignment for March 14th.

• Connections, Argument

No response required: we will talk about writing in class.

• The Merchant of Venice, Act I

• Contextual readings on religion
  • ERIC (English Renaissance in Context) has a tutorial on The Merchant of Venice

Group 6: Stage-setting response

• The Merchant of Venice, Acts II and III

• Contextual readings on finance

Group 7: Middle acts response

• The Merchant of Venice, Acts IV and V

• Parker on queer studies

Group 1: Last acts response

FILMS: 8:00 Tuesday night in ARH 102

• Film: Michael Radford, The Merchant of Venice (2004)

• Film: Barton, section 4 of Playing Shakespeare: Exploring a Character (on Shylock)
• The Radford film's IMDB page

• And its MRQE page

Group 2: Film response

• Odegaard Writing & Research Center, Attending to Style

• Othello, Act I

Group 3: Stage-setting response

• Othello, Acts II and III

Group 4: Middle acts response

PAPER PROSPECTUS DUE IN CLASS

• Othello, Acts IV and V
  • Shakespearean Marbury

Group 5: Last acts response

• King Lear, Act I

Group 6: Stage-setting response

• King Lear, Acts II and III

Group 7: Middle acts response

• King Lear, Acts IV and V
  • An excellent conversation about Lear from the podcast Entitled Opinions, with Stephen Orgel and host Robert Harrison
  • ERIC (English Renaissance in Context) has a tutorial on history and truth in King Lear

Group 1: Last acts response

PAPER DUE IN CLASS

• Macbeth, Act I

• Sourcebooks edition introductory materials, pages 1-20, and CD tracks 1-18 (all material from Act I)

Group 2: Stage-setting response with special attention to the interpretive decisions made by at least one of the actors on the CD

• Macbeth, Acts II and III

• CD tracks 19-29 (all material from Acts II and III)

Group 3: Middle acts response

• Macbeth, Acts IV and V

• CD tracks 30-40 (all material from Acts IV and V)

Group 4: Last acts response

• The Tempest, Act I

• Parker on Postcolonial and Race Studies

Group 5: Stage-setting response

• The Tempest, Acts II and III

Group 6: Middle acts response

• The Tempest, Acts IV and V

No responses: we will leave time for end-of-course carnival events and contests of skill.

FINAL EXAM AT 2:00 P.M.