Wednesday, December 15, 2010
Exam Vent
Overall, I wrote the ideas I had planned in my essay and used most of the quotes that I had planned. However, I spent an extensive amount of time reading about my subject, and in the end, I didn't get to convey many of the ideas. When I wrote my outline, I left most of the thought for the moment I was in the exam because I knew I couldnt write it all down and memorize it before hand. During the exam at the hour mark, I had just finished writing about my first topic, the presence, and realized I needed to pick up the pace. Then, it became a mad sprint for couple minutes that probably didn't make perfect sense or flow well. By the end, I focused on what I really wanted to write about. There were so many more connections I could have made and I could have used way better concrete examples and support
Sunday, December 12, 2010
Saturday, December 11, 2010
Othello quotes
Nostbakken, Faith. Understanding Othello: A Student’s Casebook to Issues, Sources, and Historical Documents. Ed. Claudia Durst Johnson. Westport, Connecticut: Greenwood Press, 2000.
1. Despite malice lurking in his heart, he cloaked with proud and valorous speech and with a specious presence the villainy of his soul (9).
2. Othello provides the play’s emotional focus as a man of stature who rises and falls from greatness (19)
3. Iago is the intellectual focus as the manipulator who convinces his victims to respond and act in certain ways (20).
4. The end – whether it be money, ambition, or personal gains – can justify the means, whatever cruel and inhuman actions are required (22).
5. Iago, as a consummate plotter and schemer who sometimes appears to be in control of everyone’s actions and responses on stage (6)
Potter, Nicholas. Othello Character Studies. London: Continuum, 2008.
6. He takes delight in showing us just how casually wicked he is. He is lightly but determinedly vindictive (54).
7. But if ‘black’ is not ‘white’ the ‘white’ is not ‘black,’ and so ‘black’ is not ‘not-black’ and ‘white’ is not ‘not-white.’ In other words they need each other to define themselves (42).
Bloom, Harold. An Essay by Harold Bloom. Othello. By William Shakespeare. Yale: Riverhead Books, 1998.
8. The love of power, which is another name for the love mischief, was natural to man (205).
9. Othello was everything to Iago, because war was everything; passed over, Iago is nothing, and in warring against Othello, his war is against ontology (209).
10. He will die under torture, silently, but he will have left a mutilated reality as his monument (209).
11. Othello, the skilled professional who maintains the purity of arms by sharply dividing the camp of war from that of peace (208).
12. [Iago’s] web has all of war’s game like magic, but no place in it for Emilia’s honest indignation (221).
13. [Othello] presents himself as a living legend or walking myth, nobler than any antique Roman (222).
14. Othello’s warlike fullness of being was in part another emptiness (242).
15. By working so close to his victim, Iago becomes the Devil-as-matador (242-243).
1. Despite malice lurking in his heart, he cloaked with proud and valorous speech and with a specious presence the villainy of his soul (9).
2. Othello provides the play’s emotional focus as a man of stature who rises and falls from greatness (19)
3. Iago is the intellectual focus as the manipulator who convinces his victims to respond and act in certain ways (20).
4. The end – whether it be money, ambition, or personal gains – can justify the means, whatever cruel and inhuman actions are required (22).
5. Iago, as a consummate plotter and schemer who sometimes appears to be in control of everyone’s actions and responses on stage (6)
Potter, Nicholas. Othello Character Studies. London: Continuum, 2008.
6. He takes delight in showing us just how casually wicked he is. He is lightly but determinedly vindictive (54).
7. But if ‘black’ is not ‘white’ the ‘white’ is not ‘black,’ and so ‘black’ is not ‘not-black’ and ‘white’ is not ‘not-white.’ In other words they need each other to define themselves (42).
Bloom, Harold. An Essay by Harold Bloom. Othello. By William Shakespeare. Yale: Riverhead Books, 1998.
8. The love of power, which is another name for the love mischief, was natural to man (205).
9. Othello was everything to Iago, because war was everything; passed over, Iago is nothing, and in warring against Othello, his war is against ontology (209).
10. He will die under torture, silently, but he will have left a mutilated reality as his monument (209).
11. Othello, the skilled professional who maintains the purity of arms by sharply dividing the camp of war from that of peace (208).
12. [Iago’s] web has all of war’s game like magic, but no place in it for Emilia’s honest indignation (221).
13. [Othello] presents himself as a living legend or walking myth, nobler than any antique Roman (222).
14. Othello’s warlike fullness of being was in part another emptiness (242).
15. By working so close to his victim, Iago becomes the Devil-as-matador (242-243).
PL quotes
Lewis, C.S. A Preface to Paradise Lost. London: Oxford University Press, 1961.
1. In the midst of a world of light and love, of song and dance, he could find nothing to think of more interesting than his own prestige. P.96
2. A creature revolting against a creator is revolting against the source of his own powers – including even his power to revolt. P. 96
3. What we see in Satan is the horrible co-existence of a subtle and incessant intellectual activity with an incapacity to understand anything. P.99
4. Heaven understand Hell and Hell does not understand Heaven. P.101
5. Satan is already wilting under the doom of Nonsense – that his brain is already in process of decay. P.79
Waldock, A. J. A. “Satan and the Technique of Degradation.” Milton Paradise Lost: A Collection of Critical Essays. Louis L. Martz. Englewood Cliffs, New Jersey: Prentice Hall Inc., 1966.
6. Each great speech lifts Satan a little beyond what Milton really intended. P.86
7. Satan’s character as made up of aesthetically harmonious qualities – of qualities that match. P. 85
8. In a true Hell, the damned have come to the end of their road. P. 96
9. Each of them is like a man who has just sold his country or his friend and now knows himself to be a pariah. P101
Bush, Douglass. “Characters and Drama.” Milton Paradise Lost: A Collection of Critical Essays. Louis L. Martz. Englewood Cliffs, New Jersey: Prentice Hall Inc., 1966.
10. Satan would certainly have been an ineffectual villain if he had not had magnetism enough to sway a host of followers. P. 111
11. Satan sees only a conflict between himself, the world conqueror, and a temporarily superior force; he cannot see that it is a conflict between good and evil. P. 114
Steadman, John M. “Satan and Oratory.” John Milton’s Paradise Lost: Bloom’s Notes. Ed. Harold Bloom. Broomall, Pennsylvania: Chelsea House Publishers, 1996.
12. His fall is itself a visible and tangible sign of his degradation in more than one respect: political and moral, physical and metaphysical. P. 67
13. Satan is already degraded for the moment he first makes his appearance, even though he does his best to disguise the fact from his fellows and himself. P. 67
14. Satan as orator – as rhetorician and as sophist – is just as heroic as the earlier portrait of Satan as martial combatant. P. 68
15. Satanic heroism is….the perversion of all heroic values that we have admired. P. 65
1. In the midst of a world of light and love, of song and dance, he could find nothing to think of more interesting than his own prestige. P.96
2. A creature revolting against a creator is revolting against the source of his own powers – including even his power to revolt. P. 96
3. What we see in Satan is the horrible co-existence of a subtle and incessant intellectual activity with an incapacity to understand anything. P.99
4. Heaven understand Hell and Hell does not understand Heaven. P.101
5. Satan is already wilting under the doom of Nonsense – that his brain is already in process of decay. P.79
Waldock, A. J. A. “Satan and the Technique of Degradation.” Milton Paradise Lost: A Collection of Critical Essays. Louis L. Martz. Englewood Cliffs, New Jersey: Prentice Hall Inc., 1966.
6. Each great speech lifts Satan a little beyond what Milton really intended. P.86
7. Satan’s character as made up of aesthetically harmonious qualities – of qualities that match. P. 85
8. In a true Hell, the damned have come to the end of their road. P. 96
9. Each of them is like a man who has just sold his country or his friend and now knows himself to be a pariah. P101
Bush, Douglass. “Characters and Drama.” Milton Paradise Lost: A Collection of Critical Essays. Louis L. Martz. Englewood Cliffs, New Jersey: Prentice Hall Inc., 1966.
10. Satan would certainly have been an ineffectual villain if he had not had magnetism enough to sway a host of followers. P. 111
11. Satan sees only a conflict between himself, the world conqueror, and a temporarily superior force; he cannot see that it is a conflict between good and evil. P. 114
Steadman, John M. “Satan and Oratory.” John Milton’s Paradise Lost: Bloom’s Notes. Ed. Harold Bloom. Broomall, Pennsylvania: Chelsea House Publishers, 1996.
12. His fall is itself a visible and tangible sign of his degradation in more than one respect: political and moral, physical and metaphysical. P. 67
13. Satan is already degraded for the moment he first makes his appearance, even though he does his best to disguise the fact from his fellows and himself. P. 67
14. Satan as orator – as rhetorician and as sophist – is just as heroic as the earlier portrait of Satan as martial combatant. P. 68
15. Satanic heroism is….the perversion of all heroic values that we have admired. P. 65
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