Section 1: Introduction |
|
Introduction |
8:43 |
| |
Intro |
0:00 | |
| |
Lesson Overview |
0:10 | |
| |
Why Does This Test Exist? |
0:36 | |
| |
| Designed to test your ability to understand and interpret English literature |
0:42 | |
| |
| Tests skills you'll develop in a first-year English literature class |
0:54 | |
| |
| Worth college credit if you score a 4 or 5 on the exam |
1:00 | |
| |
What's on the Test? |
1:12 | |
| |
| Section I - Multiple Choice |
1:16 | |
| |
| Section II - Essays |
1:36 | |
| |
| Poetry |
1:56 | |
| |
| Prose |
2:10 | |
| |
| Open Essay |
2:26 | |
| |
How is the Test Scored? |
2:50 | |
| |
| There is no penalty for guessing |
2:58 | |
| |
| Each essay is scored by a different reader |
3:46 | |
| |
| Essay's scored from 0 to 9 |
4:00 | |
| |
What Does All That Mean? |
4:30 | |
| |
| You want to get 30 out of 55 right on multiple choice section |
4:40 | |
| |
| You want to get at least 5 out of 9 points on each essay |
4:52 | |
| |
How is the Test Scored? (Table) |
5:10 | |
| |
How This Course Will Work |
6:30 | |
| |
| Introduction |
6:36 | |
| |
| Multiple Choice |
7:04 | |
| |
| The Essays |
7:16 | |
| |
| The Walkthrough |
7:42 | |
| |
| Bonus Unit: Shakespeare |
8:00 | |
|
Literary Movements at Lightspeed |
27:10 |
| |
Intro |
0:00 | |
| |
Lesson Overview |
0:12 | |
| |
Lesson Overview, cont. |
0:34 | |
| |
What is a Literary Movement? |
0:58 | |
| |
| A group of writers who have something in common |
1:00 | |
| |
Why Do Literary Movements Matter? |
1:42 | |
| |
| Knowledge of literary movements is like a cheat sheet for the exam |
1:48 | |
| |
| Gives you context |
1:54 | |
| |
| Gives you great buzzwords |
2:16 | |
| |
Metaphysical |
2:40 | |
| |
| When/Where |
2:42 | |
| |
| What is it? |
2:54 | |
| |
| What to look for |
3:22 | |
| |
| Examples |
3:50 | |
| |
Augustans |
4:28 | |
| |
| When/Where |
4:30 | |
| |
| What is it? |
4:44 | |
| |
| What to look for |
4:46 | |
| |
| Examples |
5:10 | |
| |
Romantics |
5:40 | |
| |
| When/Where |
5:48 | |
| |
| What is it? |
5:52 | |
| |
| What to look for |
6:14 | |
| |
| Examples |
6:28 | |
| |
Symbolists |
7:18 | |
| |
| When/Where |
7:22 | |
| |
| What is it? |
7:46 | |
| |
| What to look for |
7:52 | |
| |
| Examples |
8:46 | |
| |
Modernists |
9:28 | |
| |
| When/Where |
9:38 | |
| |
| What is it? |
9:52 | |
| |
| What to look for |
10:08 | |
| |
| Examples |
11:04 | |
| |
Harlem Renaissance |
11:54 | |
| |
| When/Where |
12:02 | |
| |
| What is it? |
12:12 | |
| |
| What to look for |
12:30 | |
| |
| Examples |
12:58 | |
| |
Postmodernists |
13:30 | |
| |
| When/Where |
13:34 | |
| |
| What is it? |
13:42 | |
| |
| What to look for |
14:10 | |
| |
| Examples |
15:02 | |
| |
The Beats |
15:26 | |
| |
| When/Where |
15:28 | |
| |
| What is it? |
15:34 | |
| |
| What to look for |
15:50 | |
| |
| Examples |
17:02 | |
| |
Confessionals |
17:32 | |
| |
| When/Where |
17:40 | |
| |
| What is it? |
17:44 | |
| |
| What to look for |
17:52 | |
| |
| Examples |
18:36 | |
| |
New York School |
18:54 | |
| |
| When/Where |
18:56 | |
| |
| What is it? |
19:02 | |
| |
| What to look for |
19:08 | |
| |
| Examples |
20:04 | |
| |
Black Arts Movement |
20:34 | |
| |
| When/Where |
20:40 | |
| |
| What is it? |
20:48 | |
| |
| What to look for |
21:10 | |
| |
| Examples |
21:24 | |
| |
Black Mountain Poets |
22:00 | |
| |
| When/Where |
22:06 | |
| |
| What is it? |
22:18 | |
| |
| What to look for |
22:24 | |
| |
| Examples |
22:34 | |
| |
Other Poets |
22:52 | |
| |
| Emily Dickinson |
22:58 | |
| |
| Robert Frost |
23:54 | |
| |
| W.H. Auden |
25:00 | |
| |
| Elizabeth Bishop |
25:32 | |
| |
| Adrienne Rich |
26:04 | |
| |
| Seamus Heaney |
26:24 | |
| |
A Great Resource for Poetry |
26:41 | |
| |
| www.poets.org |
26:51 | |
|
Reading List |
9:40 |
| |
Intro |
0:00 | |
| |
Lesson Overview |
0:12 | |
| |
What Does This List Do? |
0:38 | |
| |
| Provides you with an overview of what the exam expects you to know going into the test |
0:40 | |
| |
| Provides a context for the passages you'll encounter |
0:52 | |
| |
| Great place to start |
1:00 | |
| |
What Does This List Not Do? |
1:10 | |
| |
| Not a substitute for not reading |
1:12 | |
| |
| Wont get you a good score by itself |
1:18 | |
| |
| Do not try to read everything on this list |
1:32 | |
| |
Pre-20th Century Authors |
1:50 | |
| |
20th Century to the Present |
2:34 | |
| |
| 20th Century to the Present, cont. |
3:24 | |
| |
| 20th Century to the Present, cont. |
4:10 | |
| |
| 20th Century to the Present, cont. |
4:58 | |
| |
Wait. What? |
5:33 | |
| |
Essential Texts |
5:41 | |
| |
| Don't read everything on that list! |
5:47 | |
| |
| Go back and look for authors you recognize |
6:11 | |
| |
| Pay attention to what's been assigned to you |
6:35 | |
| |
| What if you don't recognize any names? |
6:47 | |
| |
Essential Texts, cont. |
6:53 | |
| |
| Anthologies |
7:05 | |
| |
| Textbooks |
7:23 | |
| |
| Your teacher's bookshelf |
7:35 | |
| |
Ten Good Starting Points |
7:59 | |
| |
| Frankenstein |
8:08 | |
| |
| Hamlet |
8:09 | |
| |
| The Adventures of Huckleberry Finn |
8:17 | |
| |
| The Autobiography of Frederick Douglass |
8:19 | |
| |
| Walden |
8:23 | |
| |
| Guns, Germs, and Steel |
8:25 | |
| |
| Letter from Birmingham Jail |
8:31 | |
| |
| Heart of Darkness |
8:33 | |
| |
| 1984 |
8:35 | |
| |
| Oedipus Rex |
8:41 | |
| |
If All Else Fails
|
8:53 | |
|
Literary Criticism |
11:23 |
| |
Intro |
0:00 | |
| |
Lesson Overview |
0:10 | |
| |
What is Literary Criticism |
0:36 | |
| |
| The study, evaluation, and interpretation of literature |
0:40 | |
| |
| Asks the questions, what is the work about? |
0:46 | |
| |
| What is the author trying to say? |
0:48 | |
| |
| What does [something] mean? |
0:50 | |
| |
| How do these works relate to one another |
0:58 | |
| |
| Is this work any good? |
1:12 | |
| |
Why Does Literary Criticism Matter? |
1:24 | |
| |
| Helps you get through high school and college literature classes |
1:28 | |
| |
| Helps you understand what smart people are talking about |
1:36 | |
| |
| Helps you understand human beings |
1:40 | |
| |
Wait. What? |
1:46 | |
| |
Where to Find Literary Criticism |
2:33 | |
| |
| Critical anthologies |
2:41 | |
| |
| Literary journals |
2:53 | |
| |
| Book reviews |
3:07 | |
| |
| Popular literary magazines |
3:13 | |
| |
Major Critical Movements |
3:19 | |
| |
How to Write Your Own Literary Criticism |
5:19 | |
| |
| All about observation and interpretation |
5:31 | |
| |
How to Write Your Own Literary Criticism: Things to Look At |
6:05 | |
| |
| Context |
6:15 | |
| |
| Biography |
6:51 | |
| |
| Content |
7:11 | |
| |
| Undercurrents |
7:29 | |
| |
| Language |
8:17 | |
| |
| Critical Perspectives |
8:37 | |
| |
The Quick and Dirty Secret of Lit-Crit |
8:49 | |
| |
| Write about whatever the author didn't have to include |
8:57 | |
| |
Three Great Books on Lit-Crit |
10:49 | |
| |
| The Critical Tradition |
11:03 | |
| |
| Critical Theory Today |
11:09 | |
| |
| Beginning Theory |
11:15 | |
Section 2: Shakespeare: Plays & Sonnets |
|
Introduction to William Shakespeare |
22:20 |
| |
Intro |
0:00 | |
| |
First Things First |
0:18 | |
| |
Lesson Overview |
1:02 | |
| |
Who Was William Shakespeare? |
1:38 | |
| |
| Playwright |
1:40 | |
| |
| Poet |
1:44 | |
| |
| Businessman |
1:52 | |
| |
| Wordsmith |
2:00 | |
| |
What Do We Know About Shakespeare? |
2:06 | |
| |
| Birth |
2:08 | |
| |
| Father |
2:34 | |
| |
| Education |
2:56 | |
| |
| Marriage |
4:10 | |
| |
| Children |
4:51 | |
| |
| The Lost Period |
5:52 | |
| |
| Work in London |
6:36 | |
| |
| Globe Theater |
8:14 | |
| |
| Real Estate Investments |
8:28 | |
| |
| Writing Style |
8:52 | |
| |
Early Plays |
9:30 | |
| |
| Comedies |
9:36 | |
| |
| Histories |
9:54 | |
| |
| Others Written in Early Period |
10:26 | |
| |
Big Plays |
10:36 | |
| |
Problem Plays |
11:02 | |
| |
What Else Do We Know About Shakespeare? |
11:30 | |
| |
| Wrote Poetry |
11:32 | |
| |
| Fewer plays after 1607 |
11:42 | |
| |
| Died |
12:28 | |
| |
What Don't We Know About Shakespeare? |
14:02 | |
| |
| Few Personal Records |
14:46 | |
| |
| No Portraits During Lifetime |
14:52 | |
| |
| Little Unpaid Writing |
15:40 | |
| |
| Limited Education |
15:54 | |
| |
| Religion |
16:16 | |
| |
| Sexuality |
16:54 | |
| |
| Authorship |
17:32 | |
| |
Why Does Shakespeare Matter? |
18:12 | |
| |
| Invented Modern English |
18:16 | |
| |
| Most Quoted |
19:08 | |
| |
| Changed Storytelling |
19:26 | |
| |
| Most Human Human Being |
19:40 | |
| |
Am I Ever Going to Use This in the Real World? |
20:16 | |
| |
The Secret of Understanding Shakespeare |
21:10 | |
|
How This Course Will Work |
4:18 |
| |
Intro |
0:00 | |
| |
Lesson Overview |
0:10 | |
| |
What Does This Course Do? |
0:30 | |
| |
What Does This Course Not Do? |
0:54 | |
| |
Whats in Each Lesson? |
1:56 | |
| |
| Background of the work |
2:04 | |
| |
| Content of the work |
2:12 | |
| |
| Tips and tricks |
2:20 | |
| |
How to Use These Videos |
3:28 | |
|
Romeo and Juliet |
26:51 |
| |
Intro |
0:00 | |
| |
First Things First |
0:10 | |
| |
Lesson Overview |
0:44 | |
| |
Background |
1:30 | |
| |
Setting |
2:34 | |
| |
Characters |
3:30 | |
| |
| Romeo |
3:31 | |
| |
| Montague |
3:44 | |
| |
| Benvolio |
3:56 | |
| |
| Prince Escalus |
4:04 | |
| |
| Count Paris |
4:12 | |
| |
| Mercutio |
4:26 | |
| |
| Juliet |
4:44 | |
| |
| Capulet |
4:58 | |
| |
| Tybalt |
5:04 | |
| |
| Rosaline |
5:24 | |
| |
| Nurse |
5:42 | |
| |
| Friar Laurence |
6:06 | |
| |
Plot |
6:24 | |
| |
| The brawl |
6:26 | |
| |
| The barty |
7:32 | |
| |
| The balcony scene |
9:14 | |
| |
| Marriage arrangements |
10:34 | |
| |
| Lots and lots of fighting |
11:08 | |
| |
| Lots and lots of angst |
12:34 | |
| |
| The plot thickens |
13:30 | |
| |
| The tomb |
15:06 | |
| |
Themes |
17:06 | |
| |
Major Passages |
20:02 | |
| |
Jumping-off Points |
21:40 | |
| |
| Love |
21:42 | |
| |
| Fate |
22:08 | |
| |
| Blame |
22:16 | |
| |
| Light and Darkness |
22:44 | |
| |
| Tragedy or Dark Comedy? |
23:00 | |
| |
| Source of Family Feuds |
23:28 | |
| |
| Remakes |
24:06 | |
| |
The Secret of Understanding Shakespeare |
25:28 | |
|
Hamlet |
39:28 |
| |
Intro |
0:00 | |
| |
First Things First |
0:10 | |
| |
Lesson Overview |
0:40 | |
| |
Background |
1:20 | |
| |
Setting |
2:54 | |
| |
Major Characters |
4:02 | |
| |
| Hamlet |
4:10 | |
| |
| Claudius |
4:34 | |
| |
| Gertrude |
4:54 | |
| |
| Polonius |
5:14 | |
| |
| Laertes |
5:38 | |
| |
| Ophelia |
5:48 | |
| |
| Horatio |
6:14 | |
| |
| Rosencrantz and Guildenstern |
6:28 | |
| |
| The Ghost |
6:44 | |
| |
| Fortinbras |
7:14 | |
| |
| Gravediggers |
7:18 | |
| |
Plot |
7:32 | |
| |
| A death, a wedding, and a coronation |
7:34 | |
| |
| Appearance of the ghost |
8:36 | |
| |
| The mad prince |
9:54 | |
| |
| Laertes leaves for Paris and Ophelia gets advice |
10:30 | |
| |
| Rosencrantz and Guildenstern |
11:08 | |
| |
| Hamlet and Ophelia |
11:38 | |
| |
| The Mouse-Trap |
12:08 | |
| |
| Reaction |
15:44 | |
| |
| Ophelia's madness |
16:52 | |
| |
| Laertes returns and Ophelia dies |
17:40 | |
| |
| Hamlet returns; Yorick and Ophelia's grave |
18:40 | |
| |
| The duel |
20:22 | |
| |
| Everybody dies (except Horatio) |
20:56 | |
| |
Themes |
22:10 | |
| |
Major Passages |
26:18 | |
| |
| Act I, scene 2, 129-158 |
26:34 | |
| |
| Act I, scene 4, 67 |
27:12 | |
| |
| Act II, scene 2, 297-298 |
28:04 | |
| |
| Act III, scene 1, 58-90 |
28:52 | |
| |
| Act V, scene 1, 122 |
29:46 | |
| |
| Act V, scene 1, 185-195 |
31:18 | |
| |
Jumping-off Points |
31:58 | |
| |
| Uncertainty in the play |
32:00 | |
| |
| Examine comedy |
32:38 | |
| |
| Hinge points in the play |
33:46 | |
| |
| The role of women |
34:30 | |
| |
| Suicide |
35:28 | |
| |
| Examine theatricality |
36:32 | |
| |
| Soliloquies |
37:10 | |
| |
| The Secret of Understanding Shakespeare |
38:10 | |
|
Macbeth |
24:00 |
| |
Intro |
0:00 | |
| |
First Things First |
0:10 | |
| |
Public Service Announcement |
0:44 | |
| |
Lesson Overview |
1:18 | |
| |
Background |
1:54 | |
| |
Setting |
4:20 | |
| |
Major Characters |
4:52 | |
| |
| Macbeth |
4:58 | |
| |
| Lady Macbeth |
5:20 | |
| |
| Duncan |
5:28 | |
| |
| Malcom and Donalblain |
5:30 | |
| |
| Banquo |
5:32 | |
| |
| Fleance |
5:38 | |
| |
| Macduff |
6:04 | |
| |
| Lady Macduff |
6:16 | |
| |
| Witches |
6:22 | |
| |
| Siward |
6:25 | |
| |
| Hecate |
6:27 | |
| |
| Ross, Lennox, Angus, Menteith, Caithness |
6:39 | |
| |
Plot |
6:45 | |
| |
| Macbeth's and Manquo's victories |
6:46 | |
| |
| The witches' prophecy |
6:59 | |
| |
| Prophecy fulfilled |
7:59 | |
| |
| Lady Macbeth's encouragement |
8:05 | |
| |
| The murder of Duncan |
8:29 | |
| |
| Malcom and Donalblain flee |
8:41 | |
| |
| Banquo killed, Fleance excapes |
9:05 | |
| |
| The feast |
9:23 | |
| |
| Witches redux |
9:59 | |
| |
| Move against Macduff |
11:05 | |
| |
| Lady Macbeth's madness and suicide |
12:29 | |
| |
| Birnam Wood comes to Dunsinane |
12:41 | |
| |
| Macbeth vs. Macduff |
12:59 | |
| |
| Prophecies fulfilled |
13:31 | |
| |
| Macbeth dies, Malcolm becomes king |
13:43 | |
| |
Themes |
13:47 | |
| |
Major Passages |
17:19 | |
| |
| Act I, scene 5, 36-52 |
17:25 | |
| |
| Act I, scene 7, 1-28 |
18:09 | |
| |
| Act II, scene 2, 55-61 |
18:21 | |
| |
| Act V, scene 1, 30-34 |
18:55 | |
| |
| Act V, scene 5, 16-27 |
19:19 | |
| |
Jumping-off Points |
19:55 | |
| |
| How does the idea of prophecy play out? |
19:57 | |
| |
| How are the five kings in the play alike and different? |
20:11 | |
| |
| Who is the hero of the play? |
20:39 | |
| |
| Is Macbeth villainous or tragic? Or both? |
20:59 | |
| |
| Is this play misogynistic? |
21:11 | |
| |
| What role does blood play in the story? |
21:23 | |
| |
| Key events offstage |
21:39 | |
| |
| Is Macbeth a moral play? |
22:39 | |
| |
| The Secret of Understanding Shakespeare |
23:03 | |
|
King Lear |
30:59 |
| |
Intro |
0:00 | |
| |
First Things First |
0:08 | |
| |
Lesson Overview |
0:38 | |
| |
Background |
1:08 | |
| |
Setting |
2:26 | |
| |
Major Characters |
3:04 | |
| |
| Lear |
3:05 | |
| |
| Goneril |
3:12 | |
| |
| Regan |
3:16 | |
| |
| Cordelia |
3:24 | |
| |
| Earl of Kent |
3:32 | |
| |
| Fool |
3:44 | |
| |
| Dukes of Albany and Cornwall |
3:48 | |
| |
| Oswald |
3:50 | |
| |
| Earl of Gloucester |
3:58 | |
| |
| Edgar/Poor Tom |
4:06 | |
| |
| Edmund |
4:12 | |
| |
Plot |
4:26 | |
| |
| Gloucester and his bastard |
4:40 | |
| |
| Lear's contest; kingdom divided; Cordelia disinherited |
5:00 | |
| |
| Lear's visit and Goneril's complaints |
6:36 | |
| |
| Kent becomes Caius |
7:00 | |
| |
| Message to Gloucester and off to Regan's castle |
7:24 | |
| |
Plot, cont. |
7:36 | |
| |
| Edmund tricks Gloucester |
7:42 | |
| |
| Kent vs. Oswald |
8:42 | |
| |
| Edgar's disguise |
9:12 | |
| |
| Lear Betrayed |
9:42 | |
| |
| The storm |
10:06 | |
| |
| Edmund rises with Cornwall |
11:42 | |
| |
| Kent and Gloucester make plans |
12:14 | |
| |
Plot, cont. |
12:24 | |
| |
| Gloucester captured and tried |
12:30 | |
| |
| Lear's madness and the Fool vanishes |
13:22 | |
| |
| Gloucester reunited with Edgar |
14:10 | |
| |
| Albany splits from Goneril and Cornwall dies |
14:34 | |
| |
| Kent arrives in Dover; Lear won't see Cordelia |
15:10 | |
| |
Plot, cont. |
15:28 | |
| |
| Regan schemes against Goneril |
15:34 | |
| |
| Gloucester's miracle |
15:52 | |
| |
| Edgar kills Oswald |
16:34 | |
| |
| Mad Lead pardons Gloucester's sins and flees |
16:58 | |
| |
| Edgar gives Albany a letter, theres a fight and more scheming |
17:32 | |
| |
Plot, cont. |
17:56 | |
| |
| Battle; Lear and Cordelia captured |
17:58 | |
| |
| Edgar saves Gloucester |
18:18 | |
| |
| Lear and Cordelia sent away; Edmund lies |
18:26 | |
| |
| Edgar vs. Edmund; treachery revealed |
19:02 | |
| |
| Goneril and Regan die |
19:20 | |
| |
| Lear weeps over Cordelia; Edmund dies; Lear dies |
19:58 | |
| |
| Kent dying; Edgar ascends |
20:16 | |
| |
Themes |
20:22 | |
| |
| Major Passages |
22:40 | |
| |
| Act I, scene 2, 1-22 |
23:28 | |
| |
| Act IV, scene 1, 37-38 |
24:04 | |
| |
| Act V, scene 3, 256-260 |
24:42 | |
| |
Jumping-off Points |
25:44 | |
| |
| What is nature's role in the play? |
25:45 | |
| |
| How do your perceptions of the major characters change throughout the play? |
26:30 | |
| |
| Relationship between Cordelia and Lear; Edgar and Gloucester; Goneril and Regan and Edmund |
26:40 | |
| |
| What purpose does the Fool serve? Why does he vanish? |
27:26 | |
| |
| What role does age play in the story? |
28:10 | |
| |
| Dissolution of authority |
29:12 | |
| |
| Why did Shakespeare change the ending? |
29:26 | |
| |
The Secret of Understanding Shakespeare |
29:58 | |
|
Othello |
24:32 |
| |
Intro |
0:00 | |
| |
First Things First |
0:08 | |
| |
Lesson Overview |
0:30 | |
| |
Background |
1:04 | |
| |
Setting |
2:58 | |
| |
Major Characters |
3:54 | |
| |
| Othello |
4:02 | |
| |
| Desdemona |
4:04 | |
| |
| Michael Cassio |
4:28 | |
| |
| Iago |
4:46 | |
| |
| Brabantio |
5:04 | |
| |
| Emilia |
5:10 | |
| |
| Bianca |
5:20 | |
| |
| Roderigo |
5:26 | |
| |
| Duke of Venice |
5:32 | |
| |
| Gratiano |
5:34 | |
| |
| Lodovico |
5:40 | |
| |
| Montano |
5:46 | |
| |
| Clown |
5:52 | |
| |
Plot |
5:58 | |
| |
| Roderigo and Iago; Othello's secret marriage; Iago's plot |
6:00 | |
| |
| Othello's trail |
7:04 | |
| |
| The army goes to Cyprus |
7:48 | |
| |
| The feast of Cyprus |
8:06 | |
| |
| Iago sends Cassio to Desdemona |
9:16 | |
| |
Plot, cont. |
9:30 | |
| |
| Cassio asks Desdemona for help |
9:36 | |
| |
| Iago suggests to Othello that Desdemona is unfaithful |
9:42 | |
| |
| Othello's self-doubt |
10:28 | |
| |
| Handkerchief stolen |
11:04 | |
| |
| Iago goads Othello even more |
11:06 | |
| |
| Iago gets Cassio to laugh and Biana gets Othello to believe |
12:20 | |
| |
Plot, cont. |
12:48 | |
| |
| Othello rages at Desdemona |
12:56 | |
| |
| Othello goes for a walk |
13:56 | |
| |
| Roderigo and Iago attack Cassio; Iago kills Roderigo |
14:50 | |
| |
| Othello kills his wife |
15:18 | |
| |
| Iago is revealed; Emilia dies |
15:54 | |
| |
| Othello kills himself |
16:16 | |
| |
Themes |
16:18 | |
| |
Major Passages |
18:14 | |
| |
| Act I, scene 1, 57-65 |
18:26 | |
| |
| Act I, scene 3, 179-188 |
19:08 | |
| |
| Act III, scene 3, 267-279 |
20:00 | |
| |
| Act V, scene 2, 341-354 |
20:40 | |
| |
Jumping-off Points |
22:00 | |
| |
| How does race play out in this play? |
22:12 | |
| |
| Examine the role of sex in this play |
22:40 | |
| |
| How does Emilia change? |
22:54 | |
| |
| How does Iago play with the audience's sympathies? |
23:00 | |
| |
| Male characters' dual roles as military men and lovers |
23:10 | |
| |
| Physical and emotional isolation |
23:24 | |
| |
| How is this Iago's story? How is it Othello's? |
23:38 | |
| |
The Secret of Understanding Shakespeare |
23:50 | |
|
A Midsummer Night's Dream |
30:12 |
| |
Intro |
0:00 | |
| |
First Things First |
0:08 | |
| |
Lesson Overview |
0:54 | |
| |
Background |
1:48 | |
| |
Setting |
3:50 | |
| |
Characters |
5:44 | |
| |
| Theseus |
5:50 | |
| |
| Hippolyta |
5:56 | |
| |
| Hermia |
6:02 | |
| |
| Lysander |
6:10 | |
| |
| Helena |
6:22 | |
| |
| Demetrius |
6:52 | |
| |
| Egeus |
7:04 | |
| |
| Bottom |
7:16 | |
| |
| Quince, Flute, Starveling, Snout, Snug |
7:32 | |
| |
| Oberon |
7:56 | |
| |
| Titania |
8:08 | |
| |
| Puck |
8:20 | |
| |
| Peaseblossom, Cobweb, Moth, Mustardseed |
8:46 | |
| |
Plot |
9:02 | |
| |
| A wedding or an execution |
9:04 | |
| |
| The lovers run away |
10:12 | |
| |
| Helena and Demetrius run after them |
10:18 | |
| |
| Everybody gets lost in the woods |
10:48 | |
| |
| Titania and Oberon fight |
11:00 | |
| |
| Flower juice |
11:42 | |
| |
| Oberon feels sorry for Helena |
13:20 | |
| |
| Stupid actors in the forest |
13:24 | |
| |
| Puck helps |
15:32 | |
| |
Plot, cont. |
15:44 | |
| |
| Lysander falls in love with Helena |
15:52 | |
| |
| Everyone runs around in circles |
17:40 | |
| |
| Demetrius falls in love with Helena |
17:46 | |
| |
| Duels, tears, and more running around |
18:16 | |
| |
Plot, cont. |
18:32 | |
| |
| The actors rehearse |
18:38 | |
| |
| Puck, Bottom, and the donkey head |
18:44 | |
| |
| Titania in love |
19:20 | |
| |
| Oberon gets the child |
19:28 | |
| |
| Lovers go back to normal |
19:36 | |
| |
| Discovery |
19:54 | |
| |
| A group wedding |
20:24 | |
| |
| And it was all a dream! |
20:36 | |
| |
Themes |
20:54 | |
| |
| Love |
20:58 | |
| |
| Shape-shifting |
21:08 | |
| |
| Dreams |
21:56 | |
| |
| Authority |
22:26 | |
| |
| Gender roles |
22:48 | |
| |
Major Passages |
23:24 | |
| |
| Act I, scene 1, 132-134 |
23:28 | |
| |
| Act I, scene 1, 227-235 |
23:50 | |
| |
| Act III, scene 2, 115 |
24:22 | |
| |
| Act IV, scene, 199-209 |
24:52 | |
| |
| Act V, epilogue, 1-8 |
25:18 | |
| |
Jumping-off Points |
26:30 | |
| |
| Development of dreams |
26:34 | |
| |
| Love |
26:48 | |
| |
| Rules and tradition |
26:58 | |
| |
| Changes |
27:12 | |
| |
| Sex and coarse jokes |
27:22 | |
| |
| Puck and Bottom |
27:45 | |
| |
| Honesty |
28:22 | |
| |
| Play within a play |
28:36 | |
| |
| Humor |
29:02 | |
| |
The Secret of Understanding Shakespeare |
29:24 | |
|
Much Ado About Nothing |
30:34 |
| |
Intro |
0:00 | |
| |
First Things First |
0:08 | |
| |
Lesson Overview |
0:44 | |
| |
Background |
1:18 | |
| |
Setting |
2:44 | |
| |
Major Characters |
3:32 | |
| |
| Don Pedro |
3:34 | |
| |
| Benedick |
3:48 | |
| |
| Claudio |
4:20 | |
| |
| Don John |
4:34 | |
| |
| Borachio and Conrade |
5:06 | |
| |
| Leonato |
5:20 | |
| |
Major Characters (Cont.) |
5:30 | |
| |
| Hero |
5:32 | |
| |
| Beatrice |
6:00 | |
| |
| Antonio |
6:26 | |
| |
| Ursula and Margaret |
6:32 | |
| |
| Friar Francis |
6:42 | |
| |
| Dogberry |
6:46 | |
| |
Plot |
6:58 | |
| |
| Visitors on the way home from the wars |
7:04 | |
| |
| The guests arrive |
7:36 | |
| |
| The ball |
8:42 | |
| |
| A plot against the lovers |
10:26 | |
| |
| Eavesdropping in the garden |
11:16 | |
| |
| Beatrice and Benedick in love-ish |
13:18 | |
| |
| An accusation and promised proof |
13:28 | |
| |
| The polite watchmen |
13:42 | |
| |
| The wedding |
14:28 | |
| |
| An interrogation |
16:28 | |
| |
| Two challenges to a duel |
16:48 | |
| |
| The watchmen reveal all |
16:50 | |
| |
| Claudio's grief |
16:58 | |
| |
| Leonato's terms |
17:08 | |
| |
| The Bs attempt to flirt |
17:40 | |
| |
| The wedding day |
18:18 | |
| |
Themes |
19:36 | |
| |
Major Passages |
22:32 | |
| |
| Act II, scene 3, 204-208 |
22:33 | |
| |
| Act IV, scene 1, 217-221 |
23:54 | |
| |
| Act IV, scene 2, 67-78 |
24:24 | |
| |
Jumping-off Points |
26:28 | |
| |
| Beatrice and Benedick |
26:34 | |
| |
| Tragedy or Dark Comedy? |
26:54 | |
| |
| Deception |
27:26 | |
| |
| Language and puns |
27:42 | |
| |
| Honor |
28:22 | |
| |
| Words and wit |
28:56 | |
| |
The Secret of Understanding Shakespeare |
29:40 | |
|
The Merchant of Venice |
30:55 |
| |
Intro |
0:00 | |
| |
First Things First |
0:08 | |
| |
Lesson Overview |
0:54 | |
| |
Background |
1:24 | |
| |
Setting |
2:54 | |
| |
Characters |
5:16 | |
| |
| Antonio |
5:16 | |
| |
| Bassanio |
5:24 | |
| |
| Gratiano |
5:44 | |
| |
| Lorenzo |
5:48 | |
| |
| Portia |
5:58 | |
| |
| Nerissa |
6:14 | |
| |
| Shylock |
6:36 | |
| |
| Jessica |
7:02 | |
| |
| Duke of Venice |
7:06 | |
| |
| Launcelot Gobbo and Old Gobbo |
7:16 | |
| |
Plot |
7:28 | |
| |
| Antonio and Bassanio |
7:30 | |
| |
| Portia and Nerissa |
8:38 | |
| |
| Shylock |
10:02 | |
| |
| The Prince of Morocco |
11:24 | |
| |
| Gobbo's new job |
12:14 | |
| |
| Jessica and Lorenzo |
12:58 | |
| |
| The Prince of Morocco fails |
13:42 | |
| |
| Shylock's daughter and ducats |
14:04 | |
| |
| The prince of Arragon fails |
14:54 | |
| |
| Antonio' s fortune lost? |
15:20 | |
| |
| Bassanio wins Portia's hand |
15:42 | |
| |
| Antonio in prison |
16:32 | |
| |
| I'll have my bond |
16:46 | |
| |
| Portia and Nerissa: Road trip! |
17:00 | |
| |
| Antonio and Shylock go to trial |
17:32 | |
| |
| Balthazar |
17:34 | |
| |
| The quality of mercy is not strained |
18:14 | |
| |
| A loophole in the contract |
18:34 | |
| |
| Shylock loses everything |
19:18 | |
| |
| Fun with rings, happy ending |
20:30 | |
| |
Themes |
20:48 | |
| |
| Major Passages |
24:14 | |
| |
| Act IV, scene 1, 89-99 |
24:42 | |
| |
| Act IV, scene 1, 179-197 |
24:52 | |
| |
Jumping-off Points |
25:58 | |
| |
| The portrayal of Shylock |
26:06 | |
| |
| How would you portray Shylock? |
27:02 | |
| |
| Justice and mercy |
27:40 | |
| |
| Is this play a comedy or not? |
27:54 | |
| |
| The relationship between Antonio and Bassanio |
28:14 | |
| |
| The roles of Venice and Belmont |
28:40 | |
| |
| The relationship between Jessica and Shylock |
29:06 | |
| |
The Secret of Understanding Shakespeare |
30:04 | |
|
Twelfth Night |
19:08 |
| |
Intro |
0:00 | |
| |
First Things First |
0:10 | |
| |
Lesson Overview |
0:42 | |
| |
Background |
1:24 | |
| |
Setting |
3:08 | |
| |
Characters |
3:40 | |
| |
| Viola/Cesario |
3:38 | |
| |
| Sebastian |
4:04 | |
| |
| Orsino |
4:10 | |
| |
| Olivia |
4:24 | |
| |
| Malvolio |
4:52 | |
| |
| Maria |
5:08 | |
| |
| Antonio |
5:16 | |
| |
| Sir Toby Belch |
5:34 | |
| |
| Sir Andrew Aguecheek |
5:36 | |
| |
| Feste |
6:00 | |
| |
Plot |
6:11 | |
| |
| Orsino in love |
6:28 | |
| |
| The shipwreck |
6:32 | |
| |
| A visit to Olivia |
7:26 | |
| |
| A prank on Malvolio |
8:12 | |
| |
| Viola and Orsino |
8:18 | |
| |
| Olivia tries to woo Cesario |
9:10 | |
| |
| Antonio and Sebastian appear in town |
9:18 | |
| |
| Malvolio tries to woo Olivia |
9:32 | |
| |
| Sir Andrew picks fight with Viola |
9:52 | |
| |
| Antonio rescues Sebastian, is arrested |
10:12 | |
| |
| Sebastian is challenges, courted, married |
11:04 | |
| |
| The clown mocks Malvolio |
11:30 | |
| |
| Marriage and beating revealed |
11:48 | |
| |
| Twins are reunited |
11:56 | |
| |
| Orsino falls for Viola |
12:22 | |
| |
| Prank on Malvolio is revealed |
12:28 | |
| |
| Laughing and singing |
12:34 | |
| |
Themes |
12:36 | |
| |
Major Passages |
14:33 | |
| |
| Act I, scene 1, 1-15 |
14:34 | |
| |
| Act I, scene 5, 237-245 |
14:54 | |
| |
| Act II, scene 4, 91-101 |
15:28 | |
| |
| Act V, scene 1, 258-266 |
15:48 | |
| |
Jumping-off Points |
16:28 | |
| |
| Gender roles |
16:22 | |
| |
| The Twelfth Night Holiday |
16:44 | |
| |
| Comical characters |
16:58 | |
| |
| Malvolio |
17:18 | |
| |
| The ending |
17:34 | |
| |
| Compare Orsino and Olivia |
17:48 | |
| |
| Mistaken identity |
18:14 | |
| |
The Secret of Understanding Shakespeare |
18:30 | |
|
Julius Caesar |
23:55 |
| |
Intro |
0:00 | |
| |
First Things First |
0:08 | |
| |
Lesson Overview |
0:38 | |
| |
Background |
1:18 | |
| |
Setting |
3:29 | |
| |
Major Characters |
4:41 | |
| |
| Julis Caesar |
4:47 | |
| |
| Calpurnia |
4:53 | |
| |
| Octavius, Mark Antony, Lepidus |
5:07 | |
| |
| Cicero, Publius, Popilius Lena |
5:33 | |
| |
| Brutus |
5:37 | |
| |
| Cassius |
6:03 | |
| |
| Portia |
6:17 | |
| |
| Casca, Tredonius, Ligarius, Decius Brutus, Metellus, Cimber, Cinna |
6:23 | |
| |
| Cinna |
6:25 | |
| |
| Soothsayer |
6:33 | |
| |
| Flavius and Marullus |
6:47 | |
| |
Plot |
6:53 | |
| |
| The two tribunes |
6:55 | |
| |
| Caesar's triumph |
7:11 | |
| |
| Brutus and Cassius |
7:59 | |
| |
| The conspiracy |
8:43 | |
| |
Plot, cont. |
8:51 | |
| |
| The assassination |
8:55 | |
| |
| The funeral |
10:09 | |
| |
| Brutus and Cassius fall out |
11:43 | |
| |
Plot, cont. |
12:03 | |
| |
| Conspirators go to war |
12:04 | |
| |
| A tribute to Brutus |
12:29 | |
| |
Themes |
13:07 | |
| |
Major Passages |
15:37 | |
| |
| Act III, scene 2, 82-96 |
15:41 | |
| |
| Act IV, scene 2, 269-276 |
15:51 | |
| |
Jumping-off Points |
17:51 | |
| |
| The use of fate and prophecy |
17:55 | |
| |
| How can the text be applied to different moments in history? |
19:05 | |
| |
| Deviations from the oringinal |
19:18 | |
| |
| The role of reputation in the play |
20:09 | |
| |
| Is Brutus truly the hero? |
21:03 | |
| |
| Friendship in the play |
21:41 | |
| |
| Who is the protagonist? |
22:25 | |
| |
The Secret of Understanding Shakespeare |
22:56 | |
|
Henry V |
29:12 |
| |
Intro |
0:00 | |
| |
First Things First |
0:10 | |
| |
Lesson Overview |
0:54 | |
| |
Background |
1:38 | |
| |
Setting |
2:56 | |
| |
Major Characters |
3:26 | |
| |
| Henry V |
3:30 | |
| |
| Cambridge, Scrope, Grey |
3:40 | |
| |
| Chorus |
3:46 | |
| |
| Dukes of Exeter |
4:12 | |
| |
| Charles VI |
4:18 | |
| |
| Dauphin |
4:28 | |
| |
| Catherine |
4:30 | |
| |
| King Fluellen |
4:48 | |
| |
| Pistol, Bardolph, Nim |
5:36 | |
| |
| Michael Williams, John Bates, Alexander Court |
5:42 | |
| |
| Hostess |
5:46 | |
| |
| Sir John Falstaff |
6:10 | |
| |
Plot |
6:22 | |
| |
| The chorus |
7:10 | |
| |
| The plan to invade France |
7:16 | |
| |
| The plot against the prince |
8:36 | |
| |
| In France |
9:20 | |
| |
| Charles' offer |
10:04 | |
| |
| Henry's speech and its dubious reception |
10:24 | |
| |
| Harfleur surrenders |
11:26 | |
| |
| Catherine's English lessons |
11:38 | |
| |
| French taunting |
12:00 | |
| |
Plot, cont. |
12:22 | |
| |
| Hanging a friend |
12:26 | |
| |
| A French ultimatum |
13:04 | |
| |
| Henry in disguise |
13:18 | |
| |
| Agincourt |
14:44 | |
| |
Plot, cont. |
17:14 | |
| |
| Victory at Agincourt |
17:20 | |
| |
| Aftermath |
18:32 | |
| |
Themes |
19:44 | |
| |
Major Passages |
22:14 | |
| |
| Act I, scene 1, 1 ff |
22:46 | |
| |
| Act III, scene 1, 6-27 |
23:02 | |
| |
| Act IV, scene 1, 242-266 |
23:50 | |
| |
| Act IV, scene 3, 20-39 |
24:24 | |
| |
Jumping-off Points |
25:12 | |
| |
| How does the play deal with relationships between men? |
25:22 | |
| |
| What kind of king is Henry? |
26:00 | |
| |
| Examine Henry's use of language in the play |
26:32 | |
| |
| Does this play glorify war and conquest? |
26:54 | |
| |
| Marriage, families, and parenting |
27:20 | |
| |
| How does this play deal with diversity among the English forces? |
27:46 | |
| |
The Secret of Understanding Shakespeare |
28:09 | |
|
Richard III |
23:42 |
| |
Intro |
0:00 | |
| |
First Things First |
0:08 | |
| |
Lesson Overview |
0:40 | |
| |
Background |
1:16 | |
| |
Setting |
2:04 | |
| |
Major Characters |
2:58 | |
| |
| Richard III |
3:04 | |
| |
| Edward, Prince of Wales and Richard, Duke of York |
3:14 | |
| |
| Lady Anne |
3:42 | |
| |
| Lord Buckingham |
3:48 | |
| |
| Edward IV |
3:54 | |
| |
| Clarence |
4:04 | |
| |
| Queen Elizabeth |
4:28 | |
| |
| Dorset, Rivers and Gray |
4:40 | |
| |
| Duchess of York |
4:48 | |
| |
| Margaret |
4:54 | |
| |
| Young Elizabeth |
5:20 | |
| |
| Tyrell |
5:34 | |
| |
| Richmon |
5:46 | |
| |
| Hastings |
5:54 | |
| |
Plot |
6:06 | |
| |
| Richard's jealousy |
6:14 | |
| |
| Clarence in the Tower of London |
8:16 | |
| |
| Marriage to the Lady Anne |
8:24 | |
| |
| Queen Margaret warns the court about Richard |
9:00 | |
| |
| Clarence is killed, Edward is blamed |
9:18 | |
| |
| The Princes in the Tower |
9:38 | |
| |
| Richard's next marriage |
11:10 | |
| |
Plot, cont. |
12:12 | |
| |
| Richard's paranoia grows |
12:18 | |
| |
| The Earl of Richmond invades |
12:24 | |
| |
| Richard's nightmare |
12:36 | |
| |
| The Battle of Bosworth Field |
13:06 | |
| |
| Richmond becomes King Hengry VII, marries Elizabeth |
13:14 | |
| |
Themes |
13:20 | |
| |
Major Passages |
16:14 | |
| |
| Act I, scene 1, 1-40 |
16:20 | |
| |
| Act I, scene 3, 220-230 |
16:58 | |
| |
| Act IV, scene 4, 118-123 |
17:30 | |
| |
| Act V, scene 5, 134-145 |
18:48 | |
| |
Jumping-off Points |
19:46 | |
| |
| Is Richard a hero or a villain? |
19:56 | |
| |
| Examine the use of language in the play? |
20:28 | |
| |
| What form does evil take in the play? |
20:46 | |
| |
| How does Shakespeare portray the relationship between monarchs and those they rule? |
21:24 | |
| |
| Portrayal of Richard against history |
21:56 | |
| |
| The roles of men and women in the play, who has power? |
22:06 | |
| |
| Examine the concept of loyalty in the play? |
22:16 | |
| |
The Secret of Understanding Shakespeare |
22:47 | |
|
The Winter's Tale |
20:46 |
| |
Intro |
0:00 | |
| |
First Things First |
0:08 | |
| |
Lesson Overview |
0:40 | |
| |
Background |
1:12 | |
| |
Setting |
2:01 | |
| |
Major Characters |
3:09 | |
| |
| Leontes |
3:10 | |
| |
| Hermione |
3:17 | |
| |
| Polixenes |
3:37 | |
| |
| Camillo |
3:51 | |
| |
| Paulina |
3:59 | |
| |
| Antigonus |
4:13 | |
| |
| Perdita |
4:27 | |
| |
| Dion and Cleomenes |
4:35 | |
| |
| Manilius |
5:07 | |
| |
| Florizel |
5:15 | |
| |
| Shepherd |
5:21 | |
| |
| Clown |
5:29 | |
| |
| Autolycus |
5:33 | |
| |
Plot |
5:43 | |
| |
| Polixenes visits Leontes |
5:45 | |
| |
| Leontes suspects Hermione |
6:21 | |
| |
| Hermione on trial |
7:13 | |
| |
| Antigonus and the baby |
8:17 | |
| |
| Prince Florizel finds the coutryside interesting |
9:45 | |
| |
| Polixenes and Camillo go in disguise |
9:55 | |
| |
| The sheep-shearing |
10:07 | |
| |
| An escape |
11:15 | |
| |
| At the Sicilian court |
11:31 | |
| |
| At Paulina's house |
12:21 | |
| |
Themes |
13:33 | |
| |
Major Passages |
15:09 | |
| |
| Act II, scene 1 |
15:33 | |
| |
| Act II, scene 3 |
15:51 | |
| |
| Act IV, scene 4 |
16:11 | |
| |
| Act v, scene 3 |
16:31 | |
| |
Jumping-off Points |
17:01 | |
| |
| Contrast Leontes and Florizel |
17:03 | |
| |
| Two stories at once |
17:23 | |
| |
| Traditional fairytales |
17:33 | |
| |
| Influence of women in the play |
17:59 | |
| |
| Jealousy |
18:25 | |
| |
| Autolycus |
18:51 | |
| |
| Comedy? Tragedy? Romance? |
19:13 | |
| |
| Innocence and guilt |
19:27 | |
| |
| Hermione's return |
19:55 | |
| |
The Secret of Understanding Shakespeare |
20:13 | |
|
The Tempest |
19:38 |
| |
Intro |
0:00 | |
| |
First Things First |
0:08 | |
| |
Lesson Overview |
0:44 | |
| |
Background |
1:16 | |
| |
Setting |
2:24 | |
| |
Major Characters |
2:46 | |
| |
| Prospero |
2:47 | |
| |
| Miranda |
2:56 | |
| |
| Ariel |
3:02 | |
| |
| Caliban |
3:06 | |
| |
| Antonio |
3:20 | |
| |
| Gonzalo |
3:28 | |
| |
| Alonso |
3:54 | |
| |
| Sebastian |
3:56 | |
| |
| Ferdinand |
4:04 | |
| |
| Trinculo |
4:12 | |
| |
| Stephano |
4:16 | |
| |
Plot |
4:26 | |
| |
| The tempest and the shipwreck |
4:42 | |
| |
| The island |
4:46 | |
| |
| Elsewhere |
6:42 | |
| |
| The lovers get to know each other |
7:38 | |
| |
| Ariel messes with the murderous drunks |
7:58 | |
| |
| Prospero's banquet |
8:02 | |
| |
| Pretty clothes and supernatural dogs |
8:54 | |
| |
| A lost son and a lost daughter |
9:30 | |
| |
| All is revealed |
9:40 | |
| |
| Loose ends |
9:56 | |
| |
Themes |
10:54 | |
| |
Major Passages |
13:14 | |
| |
| Act II, scene 2, 366-368 |
13:22 | |
| |
| Act III, scene 1, 77-86 |
13:42 | |
| |
| Act IV, scene 1, 148-158 |
13:58 | |
| |
| Epilogue |
14:40 | |
| |
Jumping-Off Points |
15:32 | |
| |
| Is Prospero Shakespeare? |
15:38 | |
| |
| Analyze the character of Caliban |
15:43 | |
| |
| Prospero's and Miranda's relationship |
16:37 | |
| |
| Stephano, Trinculo, and Caliban |
17:04 | |
| |
| Examine the use of noise in the play |
17:50 | |
| |
| Governing the island |
18:22 | |
| |
The Secret of Understanding Shakespeare |
18:34 | |
|
The Sonnets |
21:09 |
| |
Intro |
0:00 | |
| |
First Things First |
0:10 | |
| |
Lesson Overview |
0:40 | |
| |
What is a Sonnet? |
1:26 | |
| |
| A 14-line lyric poem, usually about love |
1:32 | |
| |
| Structure calls for four quatrains and a couplet |
1:36 | |
| |
| Rhyme scheme |
1:50 | |
| |
| Written in iambic pentameter |
2:04 | |
| |
What is a Sonnet?, cont. |
2:46 | |
| |
| First quatrain establishes theme |
2:48 | |
| |
| Second quatrain develops theme |
2:50 | |
| |
| Third quatrain rounds off theme |
2:56 | |
| |
| Final rhyming couplet concludes with twist or surprise |
3:04 | |
| |
What Do We Know? |
3:10 | |
| |
| Poems probably written in the 1590s |
3:12 | |
| |
| Theaters closed in 1592 due to plague |
3:14 | |
| |
| Some poetry written on commission |
3:46 | |
| |
| Probably circulated in manuscript form |
4:06 | |
| |
| Published in 1609 without Shakespeare's permission |
4:14 | |
| |
What Don't We Know? |
4:58 | |
| |
| Who commissioned the sonnets |
5:04 | |
| |
| How Thomas Thorpe for his hands on them |
5:12 | |
| |
| Who W.H. was |
5:18 | |
| |
| Who the characters were |
5:48 | |
| |
Why Do the Sonnets Matter? |
5:54 | |
| |
| Some of the finest poetry ever written |
6:00 | |
| |
| Created new sonnet form |
6:12 | |
| |
| Writing by Shakespeare that isn't a play |
6:32 | |
| |
| Great for quoting |
6:52 | |
| |
What It Means: Sonnet 18 |
6:58 | |
| |
What It Means: Sonnet 20 |
9:00 | |
| |
Sonnet Characters: The Fair Youth |
11:06 | |
| |
| Attractive young man, identity unknown |
11:20 | |
| |
| Some sonnets encourage him to procreate |
11:26 | |
| |
| Romantic or platonic love? |
11:32 | |
| |
| Affair with Dark Lady? |
11:50 | |
| |
| Possibly Henry Wriothesley |
12:02 | |
| |
| Was Shakespeare gay? |
12:22 | |
| |
Sonnet Characters: The Dark Lady |
13:58 | |
| |
| Attractive young woman, identity unknown |
14:00 | |
| |
| Dark features |
14:20 | |
| |
| Object of sexual love |
14:30 | |
| |
| Married? |
14:56 | |
| |
| Mystery |
15:08 | |
| |
Sonnet Characters: The Rival Poet |
15:20 | |
| |
| A competitor |
15:26 | |
| |
| Possibly George Chapman or Christopher Marlowe |
15:28 | |
| |
| Possibly fictitious |
16:02 | |
| |
What It Means: Sonnet 130 |
16:26 | |
| |
How to Read a Shakespearean Sonnet |
19:06 | |
| |
| Break it up |
19:08 | |
Section 3: Multiple-Choice Section |
|
Multiple-Choice Introduction |
14:22 |
| |
Intro |
0:00 | |
| |
Lesson Overview |
0:12 | |
| |
Standardized Tests Are Like Video Games |
0:32 | |
| |
| They don't test real world competence |
0:38 | |
| |
| It only matters that you win |
1:10 | |
| |
| There are cheat codes |
1:46 | |
| |
| You must be smart and aggressive |
2:12 | |
| |
| There is a time limit |
2:54 | |
| |
Multiple-Choice Basics |
3:18 | |
| |
| Pace yourself and keep eye on your watch |
3:24 | |
| |
| Do easy passage first, hardest last |
3:36 | |
| |
| Eliminate wrong answers |
4:48 | |
| |
| Pick the strongest answer |
5:18 | |
| |
| Concentrate, be present |
5:56 | |
| |
Multiple-Choice Masterclass |
6:13 | |
| |
| Read the questions first |
6:17 | |
| |
| Skim the passage, then read it |
6:53 | |
| |
| Watch for the main idea |
7:17 | |
| |
| Guess aggressively |
8:29 | |
| |
| Answer questions according to type |
9:09 | |
| |
| Recheck |
9:23 | |
| |
| Remember only College Board keeps score |
9:43 | |
| |
Final Tips |
10:43 | |
| |
| Bring a watch |
10:51 | |
| |
| Read for answers |
10:57 | |
| |
| Watch for what the author didn't have to include |
11:11 | |
| |
| When it doubt
|
11:53 | |
| |
| Save hardest for last |
12:53 | |
| |
| Be aggressive |
13:17 | |
| |
| Know thyself |
13:35 | |
| |
| Breathe |
14:05 | |
|
Multiple-Choice Question Types |
9:17 |
| |
Intro |
0:00 | |
| |
Lesson Overview |
0:12 | |
| |
General Comprehension Questions |
0:42 | |
| |
| Ask about passage as a whole |
0:50 | |
| |
| Answer them based on entire passage |
1:10 | |
| |
| Examples |
1:24 | |
| |
Detail Questions |
2:20 | |
| |
| Ask about specific parts of a passage |
2:22 | |
| |
| Always go back and look at the part in question |
2:38 | |
| |
| Examples |
2:44 | |
| |
Factual Knowledge Questions |
3:30 | |
| |
| Ask about English language, grammar, terminology |
3:24 | |
| |
| Can't really study for these |
4:00 | |
| |
| Examples |
4:12 | |
| |
Grammar Questions |
5:08 | |
| |
| Ask about subsets of factual knowledge |
5:14 | |
| |
| Reading comprehension questions in disguise |
5:26 | |
| |
| Examples |
5:46 | |
| |
How to Order Your Questions |
6:58 | |
| |
| Answer in the best order for you |
7:10 | |
| |
| If you feel confident
|
7:18 | |
| |
| If you're not confident
|
7:46 | |
| |
Making Friends with the Hobgoblin |
7:58 | |
|
Prose Passages |
11:41 |
| |
Intro |
0:00 | |
| |
Lesson Overview |
0:10 | |
| |
Prose Passage Sources |
0:38 | |
| |
| Authors you've had in class but works you haven't read |
0:44 | |
| |
| Pre-twentieth century |
1:04 | |
| |
| 20th century and later |
1:10 | |
| |
| Adapted passages |
1:16 | |
| |
| Fiction and nonfiction |
1:28 | |
| |
How To Read Prose Passages |
1:34 | |
| |
| Questions first? |
1:36 | |
| |
| Dont skip italicized text |
2:04 | |
| |
| Skim then read |
2:18 | |
| |
| Read for main idea |
2:26 | |
| |
| Watch for details |
2:42 | |
| |
| Keep going |
3:08 | |
| |
The Topic Sentence is Not There |
3:28 | |
| |
| Look for tone and flow |
4:30 | |
| |
The Great Detective Takes the AP Exam |
4:42 | |
| |
| Read for details |
5:20 | |
| |
| Let the details build |
5:32 | |
| |
| Infer, dont assume |
6:34 | |
| |
| Data, data, data |
6:58 | |
| |
| Eliminate |
7:20 | |
| |
How to Know Words You Don't Actually Know |
7:50 | |
| |
| Context |
7:52 | |
| |
| Look for familiar parts and roots |
8:24 | |
| |
| Use other languages |
8:54 | |
| |
| Replace word with a black |
9:06 | |
| |
| Use opposite of the wrong word |
9:30 | |
| |
What to Do if You're Out of Time |
9:54 | |
| |
| Go to the questions |
10:08 | |
| |
| Focus on literary terms and grammar |
10:24 | |
| |
| Answer questions with line references |
10:42 | |
| |
| Answer tone questions |
10:56 | |
| |
| Read if you can, guess if you can't |
11:16 | |
|
Poetry Passages |
9:48 |
| |
Intro |
0:00 | |
| |
Lesson Overview |
0:10 | |
| |
Poetry Sources |
0:48 | |
| |
| Poets you've read in class, but works you havent read yet |
0:54 | |
| |
| Pre-twentieth century |
1:16 | |
| |
| 20th century and later |
1:18 | |
| |
| A variety of forms |
1:20 | |
| |
| Rhyming and non-rhyming |
1:26 | |
| |
Poetry Questions vs. Prose Questions |
1:38 | |
| |
| More about literary terms and poetic devices |
1:40 | |
| |
| Maybe rhyme scheme or structure |
1:56 | |
| |
| More grammar questions |
2:18 | |
| |
How to read Poetry |
2:44 | |
| |
| Read poems like they're prose |
2:56 | |
| |
| Focus on main idea |
3:04 | |
| |
| Watch for what poet didn't have to include |
3:32 | |
| |
Except/Not/Least |
3:42 | |
| |
| Can be tricky |
3:46 | |
| |
| Cross out the negative word and eliminate |
4:14 | |
| |
Watch Out for Grammar |
5:08 | |
| |
| Poetry questions likely to involve grammar |
5:16 | |
| |
| Usually pretty simple |
5:48 | |
| |
| Answer based on your understanding |
5:58 | |
| |
| Example |
6:18 | |
| |
One Group of Poets to Read |
7:42 | |
| |
| The Metaphysicals |
7:46 | |
Section 4: The Essays |
|
Intro to The Essay Section |
21:54 |
| |
Intro |
0:00 | |
| |
Lesson Overview |
0:12 | |
| |
The Numbers |
0:34 | |
| |
| Three Essays, 120 minutes |
0:40 | |
| |
| Worth 55% of your grade |
1:10 | |
| |
| Scored 0 to 9 |
1:42 | |
| |
The Prompt |
1:48 | |
| |
| What the prompt says |
1:50 | |
| |
| What does that mean? |
2:16 | |
| |
Holistic Scoring |
3:16 | |
| |
What the Reader Wants |
4:34 | |
| |
| An essay that is easy to score |
4:36 | |
| |
| An essay that is interesting |
5:06 | |
| |
Scoring Guide |
5:38 | |
| |
| Scores 8-9 (6%) |
5:40 | |
| |
| Scores 6-7 (30%) |
6:16 | |
| |
| Score 5 (23%) |
6:58 | |
| |
| Scores 3-4 (37%) |
8:10 | |
| |
| Scores 1-2 (4%) |
8:42 | |
| |
| Score 0 |
9:16 | |
| |
| Score -- |
9:28 | |
| |
The Two Secrets of Essay Scores |
9:34 | |
| |
| Clarity is everything! |
9:38 | |
| |
| Its all about level 5 |
10:04 | |
| |
How to Make Any Essay Better |
11:14 | |
| |
| Write neatly |
11:16 | |
| |
| Indent your paragraphs |
11:54 | |
| |
| Write first paragraph perfectly |
12:22 | |
| |
| Use literary vocab |
13:06 | |
| |
| Use verbs that sizzle and nouns that soar |
13:32 | |
| |
| Be specific |
14:30 | |
| |
| Beware of logorrhea |
14:50 | |
| |
| Answer the question |
15:40 | |
| |
How to Make a Good Essay Great |
15:58 | |
| |
| Focus on the what and the how |
16:00 | |
| |
| Talk about language |
16:14 | |
| |
| Use opposition |
16:32 | |
| |
| Trust your instincts |
17:20 | |
| |
| Make it original |
18:24 | |
| |
The Ultimate Essay Secret |
18:47 | |
|
The Prose Essay |
11:03 |
| |
Intro |
0:00 | |
| |
Lesson Overview |
0:10 | |
| |
Passage Sources |
0:36 | |
| |
| May be an introductory text |
1:02 | |
| |
| There may be footnotes |
1:06 | |
| |
| May be abridged from original |
1:10 | |
| |
Two Questions to Ask |
1:22 | |
| |
| What does this passage mean? |
1:28 | |
| |
| How does the author make me understand that? |
2:00 | |
| |
Elements to Include |
2:18 | |
| |
| Content |
2:26 | |
| |
| Point of View |
2:46 | |
| |
| Characterization |
2:58 | |
| |
| Diction |
3:18 | |
| |
| Imagery |
3:36 | |
| |
| Metaphor |
3:40 | |
| |
| Oppositions |
3:52 | |
| |
Your Job is to Score Above a 5 |
4:28 | |
| |
Tips and Tricks |
5:18 | |
| |
| Get mechanics right |
5:20 | |
| |
| Make first paragraph perfect |
5:40 | |
| |
| Perfectly structured essays are boring |
6:10 | |
| |
| Don't restate the prompt |
6:54 | |
| |
| Don't summarize |
7:02 | |
| |
| Use clear transitions and topic sentences |
7:28 | |
| |
| Don't pad, don't ramble |
7:38 | |
| |
| Have a hook and conclusion |
7:52 | |
| |
The Ultimate Essay Secret |
8:10 | |
|
The Poetry Essay |
11:08 |
| |
Intro |
0:00 | |
| |
Lesson Overview |
0:10 | |
| |
Passage Sources |
0:36 | |
| |
| There's an effort to avoid duplication |
0:46 | |
| |
| May have introductory text |
1:00 | |
| |
| If given two poems to compare, may be from same or different poets |
1:06 | |
| |
| There may be footnotes |
1:12 | |
| |
Two Questions to Ask |
1:19 | |
| |
| What does this poem mean? |
1:23 | |
| |
| How does the poet make me understand that? |
1:59 | |
| |
Elements to Include |
2:13 | |
| |
| Content |
2:19 | |
| |
| Diction |
2:31 | |
| |
| Imagery |
2:43 | |
| |
| Metaphor |
2:49 | |
| |
| Rhyme |
3:03 | |
| |
| Form |
3:15 | |
| |
| Oppositions |
3:33 | |
| |
Your Job is to Score Above a 5 |
3:59 | |
| |
| Get mechanics right |
4:59 | |
| |
| Make first paragraph perfect |
5:11 | |
| |
| Perfectly structured essays are boring |
5:57 | |
| |
| Don't restate the prompt |
6:29 | |
| |
| Don't summarize |
6:33 | |
| |
| Use clear transitions and topic sentences |
6:59 | |
| |
| Don't pad, don't ramble |
7:11 | |
| |
| Have a hook and conclusion |
7:25 | |
| |
The Ultimate Essay Secret |
7:49 | |
|
The Open Essay |
17:28 |
| |
Intro |
0:00 | |
| |
Lesson Overview |
0:10 | |
| |
What is the Open Essay? |
0:54 | |
| |
| Usually the third essay on the exam |
1:00 | |
| |
| Prompt gives you a theme |
1:06 | |
| |
| You can study for it |
1:30 | |
| |
What ETS Wants |
1:36 | |
| |
| All about your ability to think deeply |
2:08 | |
| |
| A well-written essay |
3:12 | |
| |
| An essay showing complex thought |
3:16 | |
| |
| An essay that applies the given theme to the work |
3:30 | |
| |
An Essay About Anything |
3:42 | |
| |
| Work it out in advance |
3:50 | |
| |
| Use sample prompts |
4:04 | |
| |
| How will you know which books to prepare? |
4:12 | |
| |
Your First Book |
4:18 | |
| |
| Prepare at least one major work of literature |
4:26 | |
| |
| Choose something you've read in class |
4:34 | |
| |
| Choose something with a lot of themes |
4:44 | |
| |
| Choose something you like |
4:50 | |
| |
| Shakespeare! |
5:14 | |
| |
Some Good Choices |
5:20 | |
| |
Your Second and Third Books |
6:38 | |
| |
| Have backups |
6:40 | |
| |
| Choose something different |
7:12 | |
| |
| Choose something shorter |
7:44 | |
| |
Some Good Choices |
7:52 | |
| |
How to Prepare a Book |
8:34 | |
| |
| Reread within four weeks of test |
8:36 | |
| |
| Work from critical editions |
8:50 | |
| |
| Write your own study guide |
9:14 | |
| |
A Dirty Trick You'll Want to Use |
10:20 | |
| |
| Download samples |
10:26 | |
| |
| Writing beginning of each essay for each |
10:36 | |
| |
| Make sure you've got
|
10:42 | |
| |
Your Job is to Score Above a 5 |
11:18 | |
| |
Tips and Tricks |
11:54 | |
| |
| Get mechanics right |
11:56 | |
| |
| Make first paragraph perfect |
12:04 | |
| |
| Perfectly structured essays are boring |
12:20 | |
| |
| Don't restate the prompt |
12:42 | |
| |
| Don't summarize |
12:44 | |
| |
| Use clear transitions and topic sentences |
13:22 | |
| |
| Don't pad, don't ramble |
13:30 | |
| |
| Have a hook and conclusion |
13:48 | |
| |
The Ultimate Essay Secret |
14:06 | |
|
How to Use Hamlet For Everything |
21:15 |
| |
Intro |
0:00 | |
| |
Lesson Overview |
0:10 | |
| |
Why Hamlet Works for Everything (Almost) |
1:16 | |
| |
| Considered one of the greatest works of English literature |
1:36 | |
| |
| It's long enough to be broken down |
1:58 | |
| |
| Rich range of male and female characters |
2:10 | |
| |
| Variety of interpretations |
2:32 | |
| |
| Elements of many genres |
2:52 | |
| |
| It's public domain |
3:02 | |
| |
Where to Find the Questions |
3:18 | |
| |
2011: Hamlet and the Search for Justice |
4:18 | |
| |
| Life is a search for justice |
4:28 | |
| |
| What are you being asked to analyze? |
4:48 | |
| |
How to Answer |
5:06 | |
| |
| How does Hamlet understand justice? |
5:16 | |
| |
| Is his search for justice successful? |
6:10 | |
| |
2011B: Hamlet and the Illuminating Incident |
7:10 | |
| |
| A work of fiction uses the illuminating incident as a magic casement |
7:24 | |
| |
| What are you being asked to explain? |
7:44 | |
| |
How to Answer |
8:08 | |
| |
| The play Hamlet puts on before Claudius |
8:16 | |
| |
| Literal summary and window into the soul |
8:38 | |
| |
| Focus on Claudius's prayer |
9:20 | |
| |
2009: Hamlet and the Symbol |
9:40 | |
| |
| The definition of a symbol |
9:48 | |
| |
| What are you being asked to focus on and analyze? |
10:10 | |
| |
How to Answer |
10:24 | |
| |
| Yorick's skull |
10:28 | |
| |
| How does it function in the work? |
10:48 | |
| |
| What does it reveal about the characters or themes? |
11:38 | |
| |
2009B: Hamlet and the Social Issue |
12:14 | |
| |
| What are you being asked to do? |
12:34 | |
| |
How to Answer |
12:52 | |
| |
| Uh-oh! Hamlet isn't very socially or politically conscious |
12:54 | |
| |
| Class conflict in the play |
13:10 | |
| |
| Gender in the play |
13:42 | |
| |
How to Answer, cont. |
14:02 | |
| |
| What literary elements does Shakespeare use to explore this issue? |
14:04 | |
| |
| How does this contribute to the meaning of the work as a whole? |
15:44 | |
| |
Don't Just Use Hamlet |
16:37 | |
| |
| How about The Adventures of Huckleberry Finn and racism? |
17:15 | |
| |
| Remember you are writing under a time limit |
17:47 | |
| |
| Don't use Hamlet if you haven't read it |
17:55 | |
| |
The Ultimate Essay Secret |
18:03 | |
Section 5: Test Walkthrough |
|
Multiple-Choice Walkthrough, Part 1 |
15:24 |
| |
Intro |
0:00 | |
| |
Lesson Overview |
0:14 | |
| |
Where to Find the Questions |
0:28 | |
| |
| College Board's 1999 multiple-choice section |
0:32 | |
| |
| Questions begin on page 23 (page 17) |
0:42 | |
| |
Reading the Passages |
0:54 | |
| |
| What's the point of this passage? |
0:56 | |
| |
| How does the author get that point across? |
1:02 | |
| |
Passage 1 |
1:08 | |
| |
| The Big Idea |
1:10 | |
| |
| How It's Expressed |
1:32 | |
| |
| The Questions |
1:52 | |
| |
Passage 1, Question 1 |
1:58 | |
| |
| Answer |
2:26 | |
| |
Passage 1, Question 2 |
2:32 | |
| |
| Answer |
3:10 | |
| |
Passage 1, Question 3 |
3:14 | |
| |
| Answer |
3:28 | |
| |
Passage 1, Question 4 |
3:36 | |
| |
| Answer |
3:56 | |
| |
Passage 1, Question 5 |
4:00 | |
| |
| Answer |
4:30 | |
| |
Passage 1, Question 6 |
4:38 | |
| |
| Answer |
5:14 | |
| |
Passage 1, Question 7 |
5:20 | |
| |
| Answer |
5:46 | |
| |
Passage 1, Question 8 |
5:52 | |
| |
| Answer |
6:00 | |
| |
Passage 1, Question 9 |
6:06 | |
| |
| Answer |
6:26 | |
| |
Passage 1, Question 10 |
6:32 | |
| |
| Answer |
6:48 | |
| |
Passage 1, Question 11 |
6:54 | |
| |
| Answer |
7:20 | |
| |
Passage 1, Question 12 |
7:24 | |
| |
| Answer |
7:52 | |
| |
Passage 1, Question 13 |
7:58 | |
| |
| Answer |
9:00 | |
| |
Passage 2 |
9:10 | |
| |
| The Big Idea |
9:12 | |
| |
| How It's Expressed |
9:28 | |
| |
| The Questions |
9:54 | |
| |
Passage 2, Question 14 |
10:00 | |
| |
| Answer |
10:18 | |
| |
Passage 2, Question 15 |
10:24 | |
| |
| Answer |
10:38 | |
| |
Passage 2, Question 16 |
10:46 | |
| |
| Answer |
11:12 | |
| |
Passage 2, Question 17 |
11:18 | |
| |
| Answer |
11:22 | |
| |
Passage 2, Question 18 |
11:28 | |
| |
| Answer |
11:42 | |
| |
Passage 2, Question 19 |
11:46 | |
| |
| Answer |
12:02 | |
| |
Passage 2, Question 20 |
12:10 | |
| |
| Answer |
12:28 | |
| |
Passage 2, Question 21 |
12:32 | |
| |
| Answer |
12:46 | |
| |
Passage 2, Question 22 |
13:10 | |
| |
| Answer |
13:40 | |
| |
Passage 2, Question 23 |
13:42 | |
| |
| Answer |
14:00 | |
| |
Passage 2, Question 24 |
14:06 | |
| |
| Answer |
14:52 | |
| |
Passage 2, Question 25 |
14:58 | |
| |
| Answer |
15:18 | |
|
Multiple-Choice Walkthrough, Part 2 |
19:25 |
| |
Intro |
0:00 | |
| |
Lesson Overview |
0:16 | |
| |
Where to Find the Questions |
0:30 | |
| |
| College Board's 1999 multiple-choice section |
0:32 | |
| |
| Begin on page 29 (page 23) |
0:52 | |
| |
Reading the Passages |
1:00 | |
| |
| What's the point of this passage? |
1:10 | |
| |
| How does the author get that point across? |
1:12 | |
| |
Passage 3 |
1:20 | |
| |
| The Big Idea |
1:28 | |
| |
| How Its Expressed |
1:38 | |
| |
| The Questions |
1:46 | |
| |
Passage 3, Question 26 |
1:52 | |
| |
| Answer |
2:02 | |
| |
Passage 3, Question 27 |
2:08 | |
| |
| Answer |
2:58 | |
| |
Passage 3, Question 28 |
3:02 | |
| |
| Answer |
3:22 | |
| |
Passage 3, Question 29 |
3:28 | |
| |
| Answer |
3:54 | |
| |
Passage 3, Question 30 |
4:00 | |
| |
| Answer |
4:24 | |
| |
Passage 3, Question 31 |
4:30 | |
| |
| Answer |
5:02 | |
| |
Passage 3, Question 32 |
5:08 | |
| |
| Answer |
5:42 | |
| |
Passage 3, Question 33 |
5:52 | |
| |
| Answer |
6:12 | |
| |
Passage 3, Question 34 |
6:18 | |
| |
| Answer |
6:40 | |
| |
Passage 4 |
6:46 | |
| |
| The Big Idea |
6:48 | |
| |
| How Its Expressed |
7:08 | |
| |
| The Questions |
7:36 | |
| |
Passage 4, Question 35 |
7:48 | |
| |
| Answer |
8:00 | |
| |
Passage 4, Question 36 |
8:06 | |
| |
| Answer |
8:40 | |
| |
Passage 4, Question 37 |
8:48 | |
| |
| Answer |
9:04 | |
| |
Passage 4, Question 38 |
9:10 | |
| |
| Answer |
9:40 | |
| |
Passage 4, Question 39 |
9:46 | |
| |
| Answer |
10:06 | |
| |
Passage 4, Question 40 |
10:12 | |
| |
| Answer |
10:38 | |
| |
Passage 4, Question 41 |
10:44 | |
| |
| Answer |
11:00 | |
| |
Passage 4, Question 42 |
11:06 | |
| |
| Answer |
11:28 | |
| |
Passage 4, Question 43 |
11:34 | |
| |
| Answer |
12:18 | |
| |
Passage 5 |
12:26 | |
| |
| The Big Idea |
12:28 | |
| |
| How Its Expressed |
12:48 | |
| |
| The Questions |
13:06 | |
| |
Passage 5, Question 44 |
13:12 | |
| |
| Answer |
13:28 | |
| |
Passage 5, Question 45 |
13:34 | |
| |
| Answer |
13:56 | |
| |
Passage 5, Question 46 |
14:02 | |
| |
| Answer |
14:18 | |
| |
Passage 5, Question 47 |
14:24 | |
| |
| Answer |
14:56 | |
| |
Passage 5, Question 48 |
15:02 | |
| |
| Answer |
15:22 | |
| |
Passage 5, Question 49 |
15:30 | |
| |
| Answer |
15:54 | |
| |
Passage 5, Question 50 |
16:02 | |
| |
| Answer |
16:26 | |
| |
Passage 5, Question 51 |
16:32 | |
| |
| Answer |
17:08 | |
| |
Passage 5, Question 52 |
17:14 | |
| |
| Answer |
17:34 | |
| |
Passage 5, Question 53 |
17:40 | |
| |
| Answer |
17:56 | |
| |
Passage 5, Question 54 |
18:07 | |
| |
| Answer |
18:39 | |
| |
Passage 5, Question 55 |
18:45 | |
| |
| Answer |
19:15 | |
|
Prose Essay Walkthrough |
10:07 |
| |
Intro |
0:00 | |
| |
Lesson Overview |
0:12 | |
| |
Where to Find the Questions |
0:30 | |
| |
| From the 2010 free-response questions |
0:34 | |
| |
| Page 3 of PDF |
0:38 | |
| |
| Belinda by Maria Edgeworth |
0:46 | |
| |
| What are you being asked to do? |
0:52 | |
| |
Reading the Passage |
1:04 | |
| |
| What's the point of this passage? |
1:06 | |
| |
| How does the author get that point across? |
1:08 | |
| |
Reading the Passage, cont. |
1:12 | |
| |
| The answer to: What's the point of this passage? |
1:14 | |
| |
| The answer to: How does the author get that point across? |
1:34 | |
| |
| Point of View |
1:38 | |
| |
| Tone |
1:52 | |
| |
| Language |
2:02 | |
| |
Outlining the Essay |
2:16 | |
| |
| Thesis |
2:20 | |
| |
| Point of View |
3:14 | |
| |
| Tone |
3:58 | |
| |
| Language |
5:10 | |
| |
| Conclusion |
6:10 | |
| |
Tips and Tricks |
7:37 | |
| |
| Get mechanics right |
7:41 | |
| |
| Make first paragraph perfect |
7:55 | |
| |
| Perfectly structured essays are boring |
8:17 | |
| |
| Don't restate the prompt |
8:29 | |
| |
| Don't summarize |
8:31 | |
| |
| Use clear transitions and topic sentences |
8:39 | |
| |
| Don't pad, don't ramble |
8:43 | |
| |
| Have a hook and conclusion |
9:05 | |
| |
The Ultimate Essay Secret |
9:23 | |
|
Poetry Essay Walkthrough |
7:24 |
| |
Intro |
0:00 | |
| |
Lesson Overview |
0:16 | |
| |
Where to Find the Questions |
0:30 | |
| |
| From the 2010 free-response questions |
0:32 | |
| |
| Page 2 of the PDF |
0:36 | |
| |
| The Century Quilt by Marilyn Nelson Waniek |
0:38 | |
| |
| What are you being asked to do? |
0:52 | |
| |
Reading the Passage |
1:09 | |
| |
| What's the point of this passage? |
1:11 | |
| |
| How does the author get that point across? |
1:13 | |
| |
Reading the Passage, cont. |
1:19 | |
| |
| The answer to: What's the point of this passage? |
1:21 | |
| |
| The answer to: How does the author get this point across? |
1:37 | |
| |
| Structure |
1:41 | |
| |
| Imagery |
2:01 | |
| |
| Tone |
2:15 | |
| |
Outlining the Essay |
2:27 | |
| |
| Thesis |
2:29 | |
| |
| Structure |
2:43 | |
| |
| Imagery |
3:21 | |
| |
| Tone |
3:58 | |
| |
| Conclusion |
4:29 | |
| |
Tips and Tricks |
5:29 | |
| |
The Ultimate Essay Secret |
6:53 | |
|
Open Essay Walkthrough |
14:43 |
| |
Intro |
0:00 | |
| |
Lesson Overview |
0:14 | |
| |
Where to Find the Question |
0:32 | |
| |
| Essay from the 2010 free-response questions |
0:36 | |
| |
| Page 4 of PDF |
0:40 | |
| |
| What are you being asked to do? |
1:00 | |
| |
Choosing the Work |
1:20 | |
| |
Brainstorming |
2:02 | |
| |
| How does Odysseus fit this question? |
2:04 | |
| |
| How is his exile both alienating and enriching? |
2:08 | |
| |
| How does it illuminate the meaning of the work? |
3:28 | |
| |
Outlining the Essay |
4:16 | |
| |
| Thesis |
4:20 | |
| |
| Hook |
5:14 | |
| |
| Alienation |
6:38 | |
| |
| Enrichment |
8:08 | |
| |
| Theme |
9:50 | |
| |
| Conclusion |
10:58 | |
| |
Tips and Tricks |
12:10 | |
| |
The Ultimate Essay Secret |
14:03 | |