Saturday, August 20, 2016

Welcome to the IBDP 
English Language & Literature course!

This term we will be covering the following parts of the curriculum:



Part 2: Language and mass communication

  • Language & Presentation of Speeches & Campaigns (SL & HL)
  • Textual Bias (HL only)
Part 3: Literature— texts and contexts:
Whale Rider (SL & H L)

Part 1: Language in cultural context
Gender


Sunday, October 5, 2014

For those of you learning about THE APOSTROPHE, Click here to learn how the apostrophe is like Batman.

Monday, June 23, 2014

Year 9 summer homework: moving into IGCSE English Literature!

When you come back next term, you'll be doing IGCSE English Language & IGCSE Literature with Miss Liz and Mr Michael.



Over the summer they are setting you all some reading homework to help you prepare for your IGCSE English course.



As you know, for Literature there are some set texts you have to study, and you will be examined on them at the end of the 2-year course.



One topic you will cover is 'Short Stories', and there are ten short stories you need to read.


For homework, each of you will be assigned to a particular story.


You need to prepare a presentation for the rest of the class explaining what the story is about - you can do this in whatever format you like - for example: as a blog post, a Powerpoint presentation, a poster, a YouTube vlog, a diorama, a short play, a song, or any other form you like, so long as you clearly explain the following things:

  • Introduce the writer (name, gender, where they're from, what other things they wrote, what they were well known for - anything you can find that is interesting.)
  • Introduce the story: (where & when is it set? Is it from a particular genre like horror, mystery, scifi, romance etc?
  • Is it told in the first person (as if the main character is telling you their story directly) or the third person (as if the writer is telling you a story about somebody else)?
  • Introduce the main character (name, where they are, what they're doing, what they want etc)
  • Summarise the key points of the story in 500 words or less.
  • Identify which part of the story you think is the most exciting & memorable.
  • What do you think the main THEME of the story is?


All ten stories can be found in the Cambridge IGCSE fiction anthology "Stories of Ourselves."


They are:

Sredni Vashtar (written in 1912, by Saki) - UTSAV AND OAK

The Phoenix (written in 1940, by Sylvia Townsend Warner) - ALEX  AND FARREL

The Prison (written in 1950, by Bernard Malamud) - POJ AND JAY

Billenium (written in 1961, by J.G. Ballard) - A.K. AND SAMYAK

The People Before (written in 1963, by Maurice Shadbolt) - RAY

Ming's Biggest Prey (written in 1975, by Patricia Highsmith) - KEVIN AND MARK

Games at Twilight (written in 1978, by Anita Desai) - ANSHUMAN AND TAO

To Da-duh, in Memoriam (written in 1985, by Paule Marshall) - KHUSH

Of White Hairs and Cricket (written in 1987, by Rohinton Mistry) - AKSHIT

Tyres (written in 2000, by Adam Thorpe) - NIDHI



Obviously the first thing you need to do is read your story, and try to understand it yourself! (There are bound to be words that you don't know - dictionary.com is your friend!) 


If you weren't at school (hello Kevin!) and you didn't get given a copy of the story, try to find a copy online - but if you can't do that, you can STILL research the story online and prepare a presentation to help yourself and your classmates learn about the story.


If you type the title & the writer's name into Google, you will find prezi presentations, sparknotes, blogs and other sources of information to help you understand your story and its background.



Once you've finished creating your presentation, it would be A VERY GOOD IDEA to read the rest of the stories (or as many as you can!) over the summer holiday, if you have the time.



(If you find your story super hard, and you are completely stuck, it would be better to pick one of the other stories to read and research - if you show up at the start of term having done nothing I WILL COME BACK FROM UGANDA AND GO HULK SMASH RAAAAH.)

Wednesday, June 18, 2014

Seeing 'Blurred Lines' clearly...

IB English Language & Literature

A text, as defined by IB, is
anything  that carries meaning
 
Objectives include:
 
  • Analyse how audience and purpose affect the structure and content of texts;
  • Analyse the impact of language changes;
  • Demonstrate an awareness of how language and meaning are shaped by culture and context;
  • Examine different forms of communication within the media;
  • Show an awareness of the potential for educational, political or ideaological influence of the media;
  • Show the way mass media use language to inform, persuade or entertain.
 
Here's an example of the kind of work you'll be doing next year with Miss Liz & Mr Michael:

 
EXPLORING POWER, PRIVILEGE, OBJECTIFICATION & EXPLOITATION IN THE MUSIC VIDEO FOR 'BLURRED LINES' & ITS PARODIES.
 
A music video comprises two interwoven texts: song lyrics and visual imagery. The lyrics may contrast with the visuals, or mirror them, or create an interesting juxtaposition from which entirely new meaning is drawn.

The music video for Robin Thicke's song 'Blurred Lines' was originally removed from YouTube, as a result of the controversy it caused, but has since been restored.

We're going to analyse both the lyrics and the visuals for the 'Blurred Lines' video and consider the layers of meaning it contains & communicates. We're also going to look at some of the parody videos created in response to the original; these parodies work in dialogue with the source text.


A frame from the original video
 
 
A frame from one of the parodies
 
'We tried to do everything that was taboo. Bestiality, drug injections, and everything that is completely derogatory towards women. Because all three of us are happily married with children, we were like, "We're the perfect guys to make fun of this." People say, "Hey, do you think this is degrading to women?" I'm like, "Of course it is. What a pleasure it is to degrade a woman. I've never gotten to do that before. I've always respected women." So we just wanted to turn it over on its head and make people go, "Women and their bodies are beautiful. Men are always gonna want to follow them around."' -  Robin Thicke, interviewed in GQ magazine

 
"With the exception of that time when I got The Great Brooklyn Stomach Bug of 2013 and spent three straight days watching Downton Abbey on my bathroom floor, I have not gone a single day in New York without a man yelling at me, rubbing up against me, making lewd gestures in my direction, providing unsolicited commentary on my body, or badgering me for my contact information.
"But that sounds crazy!" the dudes protest. And it is! Until you talk to literally any woman ever and they tell you the exact same thing.Maggie Carr, writing about everyday street harrassment in New York City

"I wanted to deal with the misogynist, funny lyrics in a way where the girls were going to overpower the men. Look at Emily Ratajkowski’s performance; it’s very, very funny and subtly ridiculing. That’s what is fresh to me. It also forces the men to feel playful and not at all like predators. I directed the girls to look into the camera, this is very intentional and they do it most of the time; they are in the power position. I don’t think the video is sexist. The lyrics are ridiculous, the guys are silly as fuck. That said, I respect women who are watching out for negative images in pop culture and who find the nudity offensive, but I find [the video] meta and playful."
  Diane Martel, director of the video, defends it against the charge of misogyny

"Here’s a sure-fire way to get the No. 1 record in the country: engineer a fake controversy by making an unrated version of your video featuring strutting, mostly naked supermodels. That’s the route blue-eyed crooner Robin Thicke took with his single “Blurred Lines,” which sits atop the Billboard charts this week, ending Macklemore’s long reign" Tricia Romano, writing for The Daily Beast - 'BLURRED LINES IS KIND OF RAPEY'

 


 

"There are no “blurred lines.” There is only one line: consent. And the absence of consent is a crime." - Sezin Koehler, ethnographer & novelist


Pharrell defends the song's lyrics



Pharrell points out that Diane Martel (the director) was inspired by the kind of High Fashion photoshoots that feature half-naked women. However, behind the surface of glamour the modelling industry has a pretty sordid reputation in its own right when it comes to wealthy older adults in positions of power - like photographer Terry Richardson  taking advantage of young models and pressurising them into doing things they really don't want to do.  Supermodel Kate Moss says "I see a 16-year-old now, and to ask her to take her clothes off would feel really weird. But they were like, If you don’t do it, then we’re not going to book you again. So I’d lock myself in the toilet and cry and then come out and do it. I never felt very comfortable about it."

The original 'Blurred Lines' video, directed by Diane Martel, is available in 2 versions - one in which the models wear nothing but flesh-coloured thongs & shoes, and one where they mostly wear underwear & crop tops with just occasional careful frames from the uncensored version.



This video spawned a lot of parodies, including Melinda Hughes' version  Lame Lines  and a version called  Defined Lines  by some New Zealand Law students, and a stack of others. We're going to look at three of them & consider how/why they work as parodies & what they say about the original text.

The BBC's 'Goodness Gracious Me' sketch team didn't quite dare risk copyright infringement, so their parody 'No Blurred Lines' steers carefully clear of copying the exact tune. Their parody responds to both the visuals and the lyrics:



Here's another response to the original video - a cover by Seattle-based male "boylesque" performance troupe 'Mod Carousel' - which concentrates more upon subverting the mostly-naked visuals from the unrated version of the video rather than the words; however, simply by swapping the genders of the singers & dancers they've already given a different impact to the lyrics:


Mod Carousel said: "It's our opinion that most attempts to show female objectification in the media by swapping the genders serve more to ridicule the male body than to highlight the extent to which women get objectified and do everyone a disservice. We made this video specifically to show a spectrum of sexuality as well as present both women and men in a positive light, one where objectifying men is more than alright and where women can be strong and sexy without negative repercussions."

Meanwhile this parody, by singer/songwriter Rosalind Peters, responds to the message contained in the words more than the message contained in the visuals:

 
Questions to answer:

(1) What does/could the title "Blurred Lines" refer to*?
(2) What is the purpose & intended audience of the original video?
(3) How has this shaped the structure & content of the video?
(4) What are the purposes & intended audiences of the various replies & parodies?
(5) How has that shaped the structure & content of those videos?
(6) What impact does the genderflip have in the 'Mod Carousel' version?
(7) Who seems to have the most power in the original video and the parodies below? How is this communicated?
(8) Pharrell argues that the lyrics 'I know you want it' can be taken innocently to refer to food, or buying a car, or dancing. How convincing is that argument in the context of the song? How convincing is it in the context of the video?
(9) How important are the INTENTIONS of the musicians and/or the music directors when it comes to the impact that the songs & videos make? Why?
(10) How significant is it that the director of the original "Blurred Lines" is a woman? Why?
(11) Discuss the idea of 'respect', 'consent' and 'degradation'. To what extent are the participants in each video treated with respect?
(12) Which of the parodies do you think is the best/most successful response to the original? Why?

* (A note on grammar: some English teachers will argue that you can't end a sentence with a preposition such as 'to', and thus you should structure that question: "To what does/could the title 'Blurred Lines' refer?" This is a rule invented by some dead old white dudes who thought English would sound more like a proper language if they forced it to follow the same grammar structures as Latin. It is a stupid rule, based on snobbery, which doesn't pay any attention to HOW LANGUAGE ACTUALLY WORKS, and is just there so some people can feel superior. They don't understand language nearly as well as they think they do, and are more interested in reinforcing class barriers than facilitating communication.)










Monday, June 18, 2012

Homework

As I told you in Monday's lesson, to do this week's homework you need to find out the meaning of the word HUBRIS. (It is used a lot when talking about Greek tragedy.)

Mary Shelley's novel Frankenstein is subtitled "The Modern Prometheus"; last week we talked about the Greek myth of Prometheus.

Your homework is to write two paragraphs, one explaining why the story of Frankenstein is like the story of Prometheus, and the other to explain how Frankenstein's story is an example of hubris.

Tuesday, June 5, 2012

Homework: Reading comprehension

Re-read the following chapter and answer the questions that follow:

CHAPTER ONE

Captain Robert Walton Meets Victor Frankenstein

The Arctic wind chilled me to the bone as I stood on deck looking out at the frozen land around me. I was in the North Pole. My lifelong dream to come here was now a reality. But at what cost to me and my men? Our ship was trapped on ice, and we did not know if we would live or die.

I felt foolish. The entire trip had gone terribly wrong. My need to see a part of the world untouched by human bengs had turned my trip into a complete disaster. We had ended up so far north because of my own actions. I should have taken the first chance to turn around,b ut I refused and stubbornly drove on. I didn't care how unhappy it made my crew. My spirit was broken, but I was determined not to quit. 

Time passed very slowly. Most days I wished I had a good friend to keep me company. I wanted someone I could talk to during the long, cold nights. I missed having friends more than anything else in the world. Yes, I had a crew of great men on board my ship, but they took orders from me. They were not my friends.

By the next morning, the situation had gotten worse. The ship was completely surrounded by ice. We could do nothing but wait. By mid-afternoon, the fog cleared from the sky and we were able to see more. White snow and ice stretched out from the ship in every direction. 

One of the men pointed out a strange sight in the distance. We watched as a sled being pulled by a large man headed even farther north. The whole crew watched until the man and his sled disappeared on the ice. We turned to one another and asked, "Who was that? What was that?" As far as we knew, there were no people in this part of the world.

The next morning I came on deck to find my sailors talking to someone over the side of the ship. I leaned over the side and saw a man floating on a piece of ice! All around him were pieces of a broken sled. The ice must have drifted toward us in the night. My men tried to convince him to board our ship so he wouldn't drown. 

Something told me that this was not the same man we had seen yesterday. That creature had looked wild and savage, not entirely human. This man was European and he spoke with a thick accent.

"My name is Victor Frankenstein," he shouted up. "Before I come on board, can you please tell me where you are going?"

"I am Captain Robert Walton," I answered. "This is my ship, and we are on a voyage to the North Pole." Frankenstein was wrapped in many layers of fur, but he still looked cold. "You must come on board. You will freeze out there."

The man nodded. A couple of my sailors threw down some rope and helped him climb on board.

* * * 

Frankenstein was almost frozen and in a terrible state! He was pale and thin, and it was clear that he  needed a good, warm meal. I could tell that he had been through a hard time. Even before we could get him into a warm cabin, he fainted. We wrapped him up in warm blankets and made him drink a cup of hot tea. He got better slowly and then ate some soup.

When he started to look and feel better, I moved him into my cabin. For some reason, I wanted to help him as much as I could. He tossed and turned in his sleep that first night. There was a great sadness in his eyes, as if he carried the weight of the world on his shoulders.

What a surprise to find a man in the middle of the cold Arctic seas! The sailors wanted to ask him a million questions, but Frankenstein was still sick and I didn't want them to bother him too much. One night after dinner, my first mate, Hardy, came to visit.

"Why did you come so far on such a small sled?" he asked.

Frankenstein stopped smiling and a dark look came into his eyes. "I was chasing someone who ran away from me."

Hardy paused and then said, "Was he travelling on the same kind of sled?"

Frankenstein looked straight at him. "Yes. How did you know that?"

"I think we saw him. We saw a man pulling the same kind of sled across the ice."

"It must be the monster!" Frankenstein yelled. "Which way did he go? Did you see if he made it across the ice? How fast was he going?"

"To the north, but that's all we could see," Hardy answered.

A pale Frankenstein lay back down on the bed.

"That's enough for now!" I said. "He needs his rest. I'll see you in the morning, Hardy." Hardy nodded politely and took his leave.

Frankenstein put his head down on the pillow and said softly, "You must want to know how I got here and what I'm doing. You are polite not to ask."

"You need to get your strength back," I said. "That's far more important than answering any questions that I may have."

Frankenstein smiled gently at me. "But you saved my life. I am in your debt."

"None of that is important now. You need to rest."

After a quiet moment, Frankenstein asked, "Do you think the ice broke up enough to destroy the other sled? Do you think it is forever lost?"

I told him that it was hard to know for sure because the ice was still solid. Frankenstein fell back into deep thought. "I should like to go back on deck," he said. "I need to watch for that sled."

"No," I said strongly. "You are far too weak. The air is far too cold. I'll get one of mymen to watch out for the sled."

"Thank you, Robert." He smiled. "That is so kind."

The next few days passed without event. Frankenstein's health got better, but he was still weak and spent a lot of time thinking. Despite his sadness, Frankenstein and I talked until late most nights. He became the very friend I so wanted to have on this unlucky journey. All I wanted to do was help him in any way I could. Frankenstein was gentle, wise, and smart. The more I got to know him, the harder it was for me to watch him suffer. 

We spoke one night about my Arctic voyage. I told him the whole story and then, for some reason, I grew upset. 

I said harshly, "I worry that you think me silly, Frankenstein, for spending all of my money and for pushing my men so hard to get here. I don't know why it is so important to find lands no man has ever seen before. Something inside of me pushes me forward, and I fear nothing will stop me until I have succeeded. I hope you can understand and not think less of me."

Frankenstein's eyes filled with tears when he heard the passion in my voice. He cried out, "Unhappy man! Robert, you must listen carefully to my story. You must know the danger of such strong wishes!"

I was surprised by his outburst. "What story? Frankenstein, what are you talking about?"

"I'm sorry," he said quickly. "Please forgive me for speaking so sharply. Let's talk about something else, shall we?"

At his wish, I changed the subject. We talked about my childhood and my sister in England, and then we went to sleep.

Frankenstein apologised again the next morning. "Robert, I didn't mean to yell. You see, I have lost everything that I loved in this world, including my wife and a dear friend. I want to tell you the whole story. I think it may help you find your own way."


1) Who is Robert Walton and why is he at sea?
2) Describe Robert Walton's personality, using quotations from the text.
3) How does Robert feel at the start of this chapter? (Include quotations from the text to prove your point.)
4) How does Robert feel about Frankenstein? (Include quotations from the text to prove your point.)
5) Frankenstein does not immediately jump onto Robert's ship, even though he is stranded all alone on a lump of melting ice in the middle of the sea. Why do you think he hesitates? (It may help to think hard about the question he asks Robert before he gets onto the ship. You will have to make a sensible guess from reading the text, like a detective - the text does not give you the answer directly.) 
6) How does Robert feel after Frankenstein comes to live on the ship? (Include quotations.)
7) Why does Robert get upset at the end of the chapter? (Include quotations)
8) Why do you think Frankenstein's eyes fill with tears?
9) Do you think this is a good beginning to a story? If so, why? If not, why not? 
10) Does it make you want to read on and find out what happened to Frankenstein?

Monday, May 28, 2012

Homework

Khush - your homework is to learn all your lines for A Midsummer Night's Dream.

Nidhi, Rose, Vishwa, you guys can also concentrate on your lines this week instead of writing something; you're doing very well, but the more you go over them the more confident you'll be.

Everyone else - we've been working on spooky stories, so here is a suitably spooky song!

THRILLER
by Michael Jackson

It's close to midnight and something evil's lurking in the dark
Under the moonlight, you see a sight that almost stops your heart
You try to scream but terror takes the sound before you make it
You start to freeze as horror looks you right between the eyes
You're paralyzed'Cause this is thriller, thriller night
And no one's gonna save you from the beast about strike
You know it's thriller, thriller night
You're fighting for your life inside a killer, thriller tonight

You hear the door slam and realize there's nowhere left to run
You feel the cold hand and wonder if you'll ever see the sun
You close your eyes and hope that this is just imagination, girl!
But all the while you hear the creature creeping up behind
You're out of time

'Cause this is thriller, thriller night
There ain't no second chance against the thing with forty eyes, girl
Thriller, thriller night
You're fighting for your life inside a killer, thriller tonight

Night creatures calling, the dead start to walk in their masqueradeThere's no escaping the jaws of the alien this time
(They're open wide)
This is the end of your life

They're out to get you, there's demons closing in on every side
They will possess you unless you change that number on your dial
Now is the time for you and I to cuddle close together, yeah
All through the night I'll save you from the terror on the screen
I'll make you see

That this is thriller, thriller night
'Cause I can thrill you more than any ghost would ever dare try
Thriller, thriller night
So let me hold you tight and share a
Killer, diller, chiller, thriller here tonight

'Cause this is thriller, thriller night
Girl, I can thrill you more than any ghost would ever dare try
Thriller, thriller night
So let me hold you tight and share a killer, thriller, ow!

(I'm gonna thrill ya tonight)
Darkness falls across the land
The midnight hour is close at hand
Creatures crawl in search of blood
To terrorize your neighborhood

And whosoever shall be found
Without the soul for getting down
Must stand and face the hounds of hell
And rot inside a corpse's shell!

The foulest stench is in the air
The funk of forty thousand years
And grizzly ghouls from every tomb
Are closing in to seal your doom

And though you fight to stay alive
Your body starts to shiver
For no mere mortal can resist
The evil of the thriller

For each red word, please write the definition and use it correctly in a sentence.


http://www.youtube.com/embed/sOnqjkJTMaA

Housepoint-winning opportunity for anyone who can learn and perform the full Thriller routine.

http://www.youtube.com/embed/hhbYxXg7p-A
http://www.youtube.com/embed/X6EDAZ3crdY