Sunday, May 17, 2009

Ideas for youth activism


As the school year comes to an end, it's time to tie together some loose ends. Think what you have accomplished this year! You've use a plethora of literacy skills to expand your thinking and your knowledge of your cultural worlds. You've tapped into a depth of abilities within you to explore other people's viewpoints and to extend the 'you' who is a student, citizen, and learner.

Now it's time to look ahead as well. As you leave your classmates to embark on new experiences and opportunities to learn, you also have the potential to leave a lasting impression on others. You have the ability to make an impact --- to leave an imprint --- to change the world.

How will you do it? What will you do to make a difference?

I invite you to peruse the links below. They are a small potion of the variety of inspirational websites that offer ideas about "Youth Activism." When you engage in youth activism, you join with others of your same age group who also want to create a better tomorrow for all the world's citizens. Explore these links, make connections with your own areas of interest, and declare a means for your own life as a U.S. youth to have meaning beyond your peer group.

You can make a difference!

http://www.blogcatalog.com/topic/youth+activism/

http://www.yesmagazine.org/article.asp?ID=2269

http://www.empowerchange.org/

http://www.dosomething.org/

http://www.peaceactionme.org/tenth-annual-youth-activism-gathering

http://www.freechild.org/youth_activism_2.htm

http://gcyp.wikispaces.com/Methods+of+Youth+Activism

Monday, April 6, 2009

Film Trailer as Composition


Inherit the Wind Final Project: A Contemporary Film Trailer

Project Overview:
You have finished reading/ viewing Inherit the Wind, by Lawrence and Lee, and now you are ready for your final project. You are going to create the script for a ‘film trailer’ to inspire others to experience this text. The ability to build an intelligent discussion around the viewing of a film is very important. In your film trailer, you are going to describe a contemporary/ current version of the film. Think of it as a version of the text that’s going to be released in 2010.

You will create a blog, which is an internet publication that you, as a composer, can access from any computer with internet. Your finished product will have twenty sections: each section represents a frame of the trailer. You’ll incorporate 20 graphics, 20 excerpts from the Lawrence and Lee print text, and 20 interpretations that you draw from research you have already conducted.
Resources for reviewing the play and film

Introduction:
You will unveil your film trailer to a prospective audience through identifying an essential question and developing a blog narrative that entices the viewer to learn more about the plot through the ways you answer that essential question.

What is a film trailer? A ‘film trailer’ is an advertisement for a future film that will be exhibited in the future at a cinema. Film trailers have now become extremely popular on the internet. Of some 10-billion videos watched online annually, movie trailers rank #3, after news and user-created video. Trailers consist of a series of selected shots from the film being advertised. Since the purpose of the trailer is to attract an audience to the film, these excerpts are usually drawn from the most exciting, funny, or otherwise noteworthy parts of the film but in abbreviated form and without giving away the ending. For this purpose the scenes are not necessarily in the order in which they appear in the film. A trailer has to achieve that in less than two and a half minutes, the maximum length allowed by theaters.

What is an essential question? An essential question is a question you pose as a central organizing principle. All information that is collected is helps the audience to learn answers to the essential question you have proposed. Essential questions help to clarify why people have different kinds of ideas. Have you ever wondered where ideas originate? This project is designed to encourage you to become a self-conscious learner, exploring not only the what, but also the how and why of knowing. The project focuses on the nature of truth and reality and the role in the world each of us has constructed. The project challenges you to become an independent, introspective, and self-motivated learner. This project will embrace the nature of ideas via three different, but very much related ways of zooming in to look at the world: (1) the human; (2) the natural/biological; and (3) the spiritual. Through the use of ethical and moral themes, you will confront, examine, and explain personal and social belief systems.

What is a blog? The word ‘blog’ is short for ‘Web log.’ A blog is a specialized site that allows an individual to share a running log of events and personal insights with online audiences. You will use a pseudonym, or a false name, when posting your blog for audiences on the internet.

Some ideas for the foundation of essential questions tied to Inherit the Wind:
1. Individual rights and the good of society
2. Creationism and Darwin’s theory of evolution in our contemporary world 3. The possible incompatibility of science and religion
4. Freedom of speech and pluralism in a democratic society
5. Separation of church and state in a democratic society
6. Fundamentalism in the United States: Impacts on the contemporary political scene
7. Loss of privacy rights in times of national security
8. Dividing lines: Geographic differences that lead to different points of view
9. Freedom to think and believe outside institutional constraints
10. Inevitability and need for progress in uncertain times
11. The relationship between self-esteem and self-worth
12. The value and chaos of multiple perspectives as means of human progress
13. Reconciling culture, custom, and tradition with changing times
14. Censorship and the pursuit of the common good: Irreconcilable differences?
15. Controversies and successes: The American Civil Liberties Union

Gathering your thoughts --- and materials you’ve already constructed
Now it’s time to start. When do you begin? Begin by assembling the materials you have already created during the Inherit the Wind unit. What can you draw out of these materials to use in your film trailer? They can help you to draw ideas for this project; let them serve as your initial brainstorming.
These include:

a) Camera devices they did and should’ve used in the black-and-white version of the film
b) Five (5) talking points for each of two non-fiction articles from the 2005 New York Times about ‘intelligent design’
c) Reviewing Act One/ Previewing Act Two: Interpreting Select Lines
d) The famous court scene in the film text: Characters, the color of their clothes, and the symbolic meaning behind the colors you identified
e) Research about Inherit the Wind from five sources (2 websites, 3 authored works)
Go for it! This is new media composition in the classroom for the 21st century learner: you.

Wednesday, February 11, 2009


Heart of Darkness by Joseph Conrad (1902) is a novella of journey into the corruptibility of humankind. Like the narrator, Marlow, Conrad piloted a small steamboat up the Congo River. This area was then being ruthlessly exploited as the private property of King Leopold of Belgium. Conrad became morally shaken and physically ill from the experience. While some of the experiences in Heart of Darkness are autobiographical, much is imaginary, as is indicative of fiction.


Conrad, in 1897, just a short time before Heart of Darkness, wrote:


"The thinker plunges into ideas, the scientist into facts--whence, presently, emerging they make their appeal to those qualities of our being that fit us best for the hazardous enterprise of living. They speak authoritatively to our common-sense, our intelligence . . . It is otherwise with the artist. Confronted with the same enigmatical spectacle, the artist descends within himself, and in that lonely region of stress and strife . . . he finds the terms of his appeal. His appeal is made to our less obvious capacities [less obvious, that is, than intelligence and common sense] . . . The changing wisdom of successive generations discards ideas, questions facts, demolishes theories. But the artist appeals to that part of our being which is not dependent on wisdom . . . He speaks to our capacity for delight and wonder, to that sense of mystery surrounding our lives; to our sense of pity, and beauty, and pain; to the latent feeling of fellowship with all creation--and to the subtle but invincible conviction of solidarity that knits together the loneliness of innumerable hearts . . . which binds together all humanity--the dead to the living and the living to the unborn."


Heart of Darkness asks questions of epistemology, or what knowledge becomes valued over other knowledge; of the history of a brutal era of imperialism; of social and cultural conventions and their transmission; of psychology, or the private inner lives of humans; of religion as an institution; and, of literature as a form of a work of art. Like Kurtz’ journey back into time through his jungle environment, we, as contemporary readers, question our own particular versions of what is good, dark, and real about being human.
[1]

Questions for Contemplation
[2]

1.
It has been said that Heart of Darkness by Conrad illustrates how “the darkness of the landscape can lead to the darkness of social corruption.” What does this statement mean? How can one’s environment --- whether an environment of the natural world or of the human-created society --- affect one’s actions, feelings, and morals? Is this statement believable or not? How have humans changed, grown, and fallen in demise through social corruption? What kind of changes lead to “progress” for the good of all? What parallels might you draw between Marlow’s journey in Heart of Darkness and the journeys of contemporary western society? In what ways can social change foster climates of hope?


2.
Heart of Darkness seems to blur the line between the so-called “advanced” society of Europe and the “primitive” society of Africa. What makes one culture “civilized” and another “savage” in the eyes of the western world? Are these distinctions valid? Do you think that the culture you live in is “advanced” or “civilized”? Why? Why not? What peer-reviewed, scholarly research might you draw in as support for your position?


3.
In Heart of Darkness, Kurtz is depicted as an upstanding European who has been transformed by his time in the jungle—away from his home, away from familiar people and food, and away from any community moral support that might have helped from his demise into a life of terror and madness. What implications does Conrad make about westerner away from the western society? Are those valid implications? Can contemporary western society move ahead through lessons learned from non-western societies? If so, how?


4.
Kurtz’s dying words are a cryptic whisper: “The horror, the horror.” What “horror” could Kurtz have been talking about? Is there more than one possibility? Why do you think Conrad made this scene so ambiguous? To what degree do humans have horror within them? Has Africa moved beyond its own “horrors” toward a sense of shared community? If so, how? If not, why not?


5.
Some readers claim that Heart of Darkness is strictly a political novella. Others, however, say it’s really a story about the human condition. What is the condition of being human, according to Conrad? How can contemporary society draw lessons from this text?


6.
Heart of Darkness can sometimes seem to readers like an incredibly dark, depressing story that paints civilizations in a very negative light. Did it seem this way to you, or did the story contain any positive moments? If so, what were they? Why did they seem positive? What lessons of hope can we draw from the text?


[1] Adapted from http://mural.uv.es/rosegar/critica1.htm, Mark Dintenfass, Professor of English

[2] Adapted from http://school.discoveryeducation.com/lessonplans/programs/heartofdarkness/

Sunday, February 1, 2009

One Hundred Years of Solitude: Links and Helpful Information


I’ve been feeling a little guilty lately. I have professed my love for Gabriel Garcia Marquez' One Hundred Years of Solitude so much that several of my students have chosen it for an independent reading assignment. A long and clever tale that chronicles one hundred years in the lives of Jose and Ursula Buendia, the book seems to have baffled some of my students.


So I’ve spent some time surfing the ‘net and finding some links that I think may offer some of my students --- and others --- a few ideas for deconstructing the text through sociocultural analysis. I hope these help! Happy reading….

CF

The first link is a 1999 profile of the author from The New Yorker magazine. It describes his relationship with his family members, inspirations from his youth that fostered his love of writing, and his complex relationship with Latin America and its politics.
http://www.themodernword.com/gabo/gabo_power.html

This second link is the speech Gabriel Garcia Marquez made as he accepted the Nobel Prize for Literature in 1982: “The Solitude of Latin America.”
http://www.themodernword.com/gabo/gabo_nobel.html

The third link is a New York Times interview with Gabriel Garcia Marquez.
http://www.nytimes.com/books/97/06/15/reviews/marquez-talk.html

The next link is the Wikipedia entry for One Hundred Years of Solitude.
http://en.wikipedia.org/wiki/One_Hundred_Years_of_Solitude

The subsequent link is a compilation of motifs, themes, and symbols for One Hundred Years of Solitude on the Spark Notes website.
http://www.sparknotes.com/lit/solitude/themes.html

The following is a link to a series of reading group guide questions to One Hundred Years of Solitude.
http://www.readinggroupguides.com/guides_O/one_hundred_years_of_solit1.asp

The following New York Times book review from 1970 was published soon after One Hundred Years of Solitude’s release.
http://www.nytimes.com/books/97/06/15/reviews/marque-solitude.html

The next link is to an instructor’s notes regarding the text, written for students to consider as they attempt to deconstruct themes of One Hundred Years of Solitude as well as to write using magical realism.
http://www.hotchkiss.k12.co.us/HHS/nobelnov/marquez.htm

The following Amazon.com.ca website listing for One Hundred Years of Solitude contains a fascinating review that may be of some use to student researchers.
http://www.amazon.ca/Hundred-Years-Solitude-Oprahs-Book/dp/0060740450

The next link is an essay about the ways that “death” is considered in One Hundred Years of Solitude.
http://www.themodernword.com/gabo/gabo_paper_simpson.html

The following is a college student’s paper about loss of innocence in One Hundred Years of Solitude.
http://www.geocities.com/relishguy/ggm0.html

A library card is needed to log into Ebsco Host and read the following peer-reviewed article from the Journal of Iberian and Latin America Studies, 2003: “Magical Realism in the Americas: Politicised Ghosts in One Hundred Years of Solitude, The House of the Spirits, and Beloved,” by Stephen M. Hart, University College, London.
http://0-web.ebscohost.com.helin.uri.edu/ehost/pdf?vid=3&hid=108&sid=425cd0b5-1d61-419a-84bf-9581a3c13b7a%40sessionmgr107

Also available on Ebsco Host is the following article: “Apathy and the Politics of Identity: Garcia Marquez's One Hundred Years of Solitude and Contemporary Cultural Criticism,” by Krapp, John, LIT: Literature Interpretation Theory, 10436928, 2001, Vol. 11, Issue 4.
http://0-web.ebscohost.com.helin.uri.edu/ehost/detail?vid=3&hid=108&sid=425cd0b5-1d61-419a-84bf-9581a3c13b7a%40sessionmgr107&bdata=JnNpdGU9ZWhvc3QtbGl2ZQ%3d%3d#db=a9h&AN=4393788