Wider reading for the dedicated English Literature student with a Faustian thirst for knowledge.
Showing posts with label A2. Show all posts
Showing posts with label A2. Show all posts

Wednesday, 18 November 2015

Feminism and 1984

Hi,

Here are a few things to get you started on the feminism/misogyny question in terms of Orwell and 1984.
  • Daphne Patai on 1984 (in your folder)
  • A Prezi:




Mr M

Friday, 29 May 2015

More Faustus Revision resources

Hi,



A few more bits for you...

Faustus links:

Faustus at Sparknotes 
A guide to the Gothic
A better Gothic blog
Faustus quote cards 1
Faustus quote cards 2
Some useful gothic info and example questions etc. here




Here's some useful revision material for Faustus (through not as good as the notes in your copy of the text!):




Here is a walkthrough of the LITB3 exam:




And here are the Gothic videos starring David Punter:




I hope this is useful. Still, my top bit of advice is:

READ YOUR TEXTS (and the notes therein)!

Happy revision,


Mr M

Thursday, 28 May 2015

Gothic past papers

Hi,

Here's a link to where you can find past papers for your exam. Remember, your paper is Unit 3.

In addition, I've uploaded a last year's paper, mark scheme and examiner's report, which you can find below:




  

More stuff to follow shortly. Let me know if you need anything.

Mr M

Wednesday, 20 May 2015

Y13: Gothic revision - Some resources

Oh hi,

As promised, I have a number of useful resources for you.

In this post, you'll find some top grade (and full mark) exam answers. Shortly, I'll be sticking up a few past papers for your perusal.

But first, some advice for how to make the most of your revision:

1) Selectively re-read your texts (I would re-read all the scenes involving Faustus, if I were you)
2) Try to memories key quotes
3) Read and make notes on context and criticism (the stuff in the back of your Faustus book is excellent: characters, contexts, language, criticism = all essential reading)
4) Revise your gothic checklists
5) Read model responses (below)
6) Practise making plans in response to questions
7) Do some practice essays

The following docs are all examples of excellent responses to past questions - and they've all been produced by students like you. 

You know what you're ready when:
a) you can see a way through the past paper questions
b) reading these model answers no longer makes you feel inadequate!

Here goes:



I hope that you find these useful. Past papers will be coming shortly, followed by some links and essays.

Get revising!


Mr M 

Wednesday, 25 February 2015

September 1st 1939: A Lecture

Oh hi,

Here's a very useful analysis of Auden's September 1st 1939.

Enjoy:



Mr M

Sunday, 11 January 2015

(Y13) Faustus: A vs B

Hi folks,


Arthur Darvill as Mephostopheles (Globe Theatre, 2011)



As I'm sure you've already gathered, there are two different versions of Doctor Faustus: the A text of 1604 and the B text of 1616. 

As I said last lesson, I struggle to read the opening lines of the A text, as I still expect to hear the lines that I still remember from when I studied the B text eighteen (argh!) years ago. 

Compare:

A) Not marching now in fields of Thrasimene, 
Where Mars did mate the Carthaginians...

B) Not marching in the fields of Thrasymene,
Where Mars did mate the warlike Carthagens...

So, why are there two texts? And what's the difference?

The A text:

The frontispiece of the 1604 quarto attributes the play to "Ch. Marl.". A second edition (A2 - 1609) is merely a reprint of the 1604 text. The text is short for an English Renaissance play, only 1485 lines long. (For comparison, Macbeth is around 2700 lines; Hamlet is over 4000).

The B text:

The 1616 quarto. This second text was reprinted in 1619, 1620, 1624, 1631, and as late as 1663.
The 1616 version omits 36 lines but adds 676 new lines, making it roughly one third longer than the 1604 version. Among the lines shared by both versions, there are some small but significant changes in wording; for example, "Never too late, if Faustus can repent" in the 1604 text becomes "Never too late, if Faustus will repent" in the 1616 text, a change that offers a very different possibility for Faustus's hope and repentance.


Comparison and theories:

A major change between texts A and B is the name of the devil summoned by Faustus. Text A states the name is generally "Mephastophilis", while the version of text B commonly states "Mephostophilis".The name of the devil is in each case a reference to the character in Faustbuch, the source work, which appeared in English translation in about 1588.

The relationship between the texts is uncertain and many modern editions print both. As an Elizabethan playwright, Marlowe had nothing to do with the publication and had no control over the play in performance, so it was possible for scenes to be dropped or shortened, or for new scenes to be added, so that the resulting publications may be modified versions of the original script.


The 1604 version (A) is believed by most scholars to be closer to the play as originally performed in Marlowe's lifetime, and the 1616 version to be a posthumous adaptation by other hands. However, some disagree, seeing the 1604 version as an abbreviation and the 1616 version as Marlowe's original fuller version. Some scholars believe the longer version, with additional scenes added by Samuel Rowley, would have been performed at the Rose Theatre, with the edited version performed when the play was taken out of London on tour - away from the resources of the Rose.

We're unlikely to ever learn the truth.


See here and here for more on the performance history and textual issues. 

See the A and B texts side-by-side here.

Mr M

Thursday, 25 September 2014

Monday, 22 September 2014

Theatre Review: 1984 at the York Theatre Royal

Hi folks,

Last week, the Headlong Theatre Company were in York to perform their stage adaptation of George Orwell's dystopian classic, 1984. 

The play has been touring the country for over a year now and has received a string of five-star reviews

Here, Y13 English Literature student Laura gives her take on it.



It is very difficult to go into a lot of detail with this version of the play as I think everyone who sees it would have come away with something different. What I found the most interesting about it was at the beginning and the end, it had people reading Winston's diary in the future and talking about the relevance of it, what they thought of it, how the Party had eventually fallen but no-one actually knew how - this opening scene was later reflected at the very end when it was said Winston Smith was never real, it is thought the diary could have been written by someone who did not wish the Party to know it was them. The most chilling part was when a character said "But what if the Party never fell? Surely, this could be their way of telling us that they are still here. Always watching" The play closed very shortly after that line.

The use of including future generations reading the book 1984 was incredibly clever as well as giving the audience the impression that the story never actually happened. How it was acted out was that Winston had perhaps never met Julia, he had always been a puppet of the Party. They'd let him imagine that all of his life had happened to him when in reality, they had always controlled him, giving a rather interesting point of view on it.

Repetition was also used during the play. For example, Winston would say something but not understand it, it would later come back round as to why he said that (basically the idea that he was in Room 101 the entire time). A scene in the canteen would play out, with characters doing the same thing every day at the same moment (As a side note, during this scene, I have never seen a man dry a teacup with such malice on his face), showing the monotonous life those in the book lead. It only changes when Syme is 'unpersoned' that Winston starts notice how similar every single day is.

The use of lighting and set was very good, even if I was blinded by the strobe light that was basically next to my head half the time! Lighting was used to create a mood, was switched on and off at the most dramatic times, increasing tension or diffusing it. The set was simple but incredibly effective. For example, Winston and Julia's room above Charrington's shop was hidden from the audience view behind the main set, it was played to the audience via a webcam - I at first thought it was a clip that they just played until the set revealed itself behind the main one when Julia and Winston were captured. This, I thought, was particularly clever as it showed even when they thought they were alone, someone was always watching.

All I really have left to say is a huge well done to the cast, particularly Matthew Spencer (Winston) and Tim Dutton (O'Brien) who both played their roles amazingly. The torture scenes were certainly not easy to watch so I imagine they were not easy to act out either, Spencer brought a very accurate portrayal of Winston (I may even say better than John Hurt in the movie version which is not easy for me to say as I adore John Hurt). Dutton as O'Brien was as terrifying as he should be, sinister and weirdly charming.
But to be honest, all of the cast were brilliant in their respective roles.

I only had one or two disappointments with this production which was there was no use of the famous first line with the clock striking thirteen, I felt that should have been a must! Another is that (even though loose ends were tied up) the beginning is rather confusing even to those who have read the book, it was difficult to understand why there were suddenly smartphones in 1984!! Obviously though, these are very minor things and it is more me just being picky.


All in all, I would give this a definite 9/10 and highly recommend you go see it while you can!

Laura (Y13)

Saturday, 13 September 2014

Orwell... a life in pictures


Chris Langham as Orwell
The man himself...















Hi,

Last lesson, I showed you a little bit of the BBC's docudrama, Orwell: A Life in Pictures.

It's an excellent place to start to get a sense of who Orwell was and what he was about. Remember, Orwell is played by an actor, but the words all come from the writing of the man himself.

You can watch the whole thing on YouTube by clicking here.


Enjoy!


Mr M

Y13: 1984 production and resources

Hi all,




Here's a link to the website of the Headlong Theatre Company's production of 1984, which is at York's Theatre Royal all next week.

If you click on 'explore' at the top of the page, you'll get to all that good stuff I showed you in the lesson. It's definitely worth having a rummage.

I hope some of you get yourself to York to see it! (Laura - I eagerly await your review!)


Mr M