RQ: The Tempest, Act 4 & 5

Directions

Keep the following questions in mind as you read The Tempest, Act 4.& 5 The questions are designed to guide your reading practices and our class discussions. You are not required to provide formal answers in class or online.

What’s the relationship between the disappearing banquet in 3.3 and the nuptial masque in 4.1?

In his aside at the end of act 3, Prospero says, “My high charms work” (3.3.88). What does he mean? Should we credit Prospero with saving Alonso or stirring up trouble between Trinculo and Stephano? Then compare Prospero’s previous claims to “art” with the play-in-the-play that he calls, “Some vanity of mine art” (4.1.41) he puts on for Miranda and Ferdinand.

What sorts of stipulations does Prospero attach to the the “gift” he gives to Ferdinand? What sorts of things will befall the couple if they do not follow Prospero’s instructions?

Compare Iris’ opening intonation to Ceres in the masque to Gonzalo’s utopian vision of the island? What rhetorical features do they share?

Does the weird pagan celebration at the heart of this play seem pagan and/or potentially sacrilegious? Is this the blessing that Prospero warned the couple to wait for?

Why can’t Venus come to the wedding celebration?

What sorts of blessings do the goddesses wish on the couple?

What does Ferdinand mean when he says: “Let me live here ever;/So rare a wondered father and a wise/Makes this place a paradise” (4.1.123-5)?

How & why does the masque end?

How does Prospero comfort Miranda and Ferdinand? Is he successful?

How does Prospero snare the conspirators?

Where does Prospero’s magic (or technical knowledge) come from?

Why does Prospero want to toss out his magic book and staff? Is he successful?

What is Prospero wearing when he reveals himself as “sometime Milan”?

Does Prospero get his revenge on Alonso? On Antonio?

How have the characters transformed over the course of the play? Is it possible for them to ever change back to what they were before the island?

Do the Europeans ever leave?

How does The Tempest end & why?

What’s “Original Pronunciation”? How does it compare to the pronunciation we’ve heard so far?

Why does The Tempest feel so contemporary? To what uses can put it in our world?

 

RQ: The Tempest, Acts 3 & 4

Directions

Keep the following questions in mind as you read The Tempest, Acts 2 & 3The questions are designed to guide your reading practices and our class discussions. You are not required to provide formal answers in class or online.

What does the Island look like? Where is it? Why can’t the nobles cannot agree on what should be object facts?

Who’s Dido & what purpose does the classical reference serve?

If Gonzalo had a plantation on the island, what would it be like? What assumptions does Gonzalo’s vision of his “plantation” make about “nature”?

Is Alonso, the King of Naples, a good leader/administrator? Compare Alonso’s leadership with some of the other characters and their leadership skills: Prospero, Gonzalo, Sebastian, and Trinculo. Who’s kingdom would you most like to live in? Why does Ariel save Alonso from assassination?

What does Caliban look like when Trinculo meets him for the first time? How does Trinculo react to his first meeting with Caliban?

Compare Caliban’s description of the Island to other descriptions.

Where does Trinculo get the “sack” (fortified wine) that he and the rest of the conspirators drink?

Do the two scenes in act two suggest that conspiracy to overthrow the king is natural?

What sorts of monsters do the Europeans believe inhabit the island? What sorts of monsters actually inhabit the island?

Why does Caliban agree to help Trinculo and Stephano? Can he ever really be set free?

What key words, phrases, or images that get repeated in this act?

What does Ferdinand mean when he says, “The mistress which I serve quickens what’s dead” (3.1.6)?

How’s Ferdinand’s history with women?

Ferdinand refers to himself as a “patient log man” (3.1.68) conscripted to “wooden slavery” (3.1.62). How do his descriptions of himself and his service compare to the epithet Stephano gives Caliban, “servant monster” (3.2.3)?

Has Miranda ever seen any other women?

Are Ferdinand and Miranda married by the end of 3.1?

Why does Caliban kneel before Trinculo & Stephano in 3.2? Why does Ariel contradict the story Caliban tells the other men?

There are a lot of vows taken in Act 3. Compare the vows Miranda and Ferdinand make to one another to the vows Caliban and Stephano exchange.

How do the conspirators plan to Kill Prospero? Compare the rebellion against Prospero to the plot to kill Alonso. Might also compare the two attempted murders to the attempted rape mentioned in 1.2.?

Why does Caliban instruct Stephano to “Burn but his books” (3.2.90) before he kills Prospero?

Why do you think that Caliban pledges his service to Stephano instead of leading the insurgency?

Is Caliban’s description of the isle based on experience or desire? Compare his description to Gonzalo & Trinculo’s.

What’s a “Living Drollery!” (3.3.21)? What does sight of it confirm for the nobles?

What’s a “quaint device” (SD 3.3.52)?

How does the sea function like a character in 3.3?

 

RQ: The Tempest, Act 1

Directions

Keep the following questions in mind as you read The Tempest, Act 1. The questions are designed to guide your reading practices and our class discussions. You are not required to provide formal answers in class or online.

How does Prospero cause the storm? Does he cause it? Why does he cause the tempest that seems, to the nobles and sailors, at least, to wreck their ship?

How does Shakespeare make the play feel like its set in the future?

What do Sycorax to Prospero have in common? What do Ariel to Miranda have in common? What do Caliban and Ferdinand have in common?

What sorts of transformations have all of the characters on the island undergone by the end of the first act?

Does Prospero manipulate Miranda and Ferdinand at the end of act one, or do they really experience “love at first site”? How does the “love a first site” motif compare to the tempest with which the play opens?

Feel free to use the a database such as Open Source Shakespeare for these sorts of usage questions: What’s the relationship between the words ‘wrack’ and ‘rack’? What does the lack of aural distinction imply? Does Shakespeare repeat any other words or phrases in the first act? If yes, what are the implications?

If you had to stage the magical elements the first act of The Tempest how would you do it? In other words, how would you communicate storm at sea (1.1); Ariel’s invisibility (1.2.374); or Caliban’s supposed strangeness?

RQ: hooks, Preface and “Kentucky is my Fate,” (1-24)

Directions

Keep the following questions in mind as you read bell hooks, Preface and “Kentucky Is My Fate.” The questions are designed to guide your reading practices and our class discussions. You are not required to provide formal answers in class or online.

Preface

Let’s start thinking about hook’s opening question:

“Can we embrace an ethos of sustainability that is not solely about the appropriate care of the world’s resources, but is also about the creation of meaning—the making of lives that we feel are worth living?” (1)

How does the “Shadowy history of slavery” find expression in the world of real estate (3)?

How/why will hooks engage with Wendell Barry’s work?

How will hooks look to the past and her past, but without idealizing the history/her past. In other words, how does she plan to avoid the problem of nostalgia when writing about place and family?

Chapter 2, “Kentucky Is My Fate”

How/why does the opening line of the chapter echo Thoreau? What does hooks do differently?

Why open a story about living in a place, and to a lesser extent the past, with the vision of her own death? How does the image of “scattering my remains as though they are seeds and not ash”(6), figure the future and also avoid the pitfalls of nostalgia?

What lines divide hooks’ childhood? How does the house she lived in with her family in the Kentucky hills illustrate the spatial and temporal differences of her childhood?

How is Nature (or the Nature hooks experienced as a child) the “foundation of our counter hegemonic black subculture” (8)?

What accounts for her experience where “white and black folks often lived in a racially integrated environment, with boundaries determined more by chosen territory than race” (7)?

How was racial difference enforced when she once hooks moved from the country to the city?

Why did hooks leave Kentucky and what was her experience of place when she was an undergraduate at Stanford?

How/why were hooks and her community separated from nature? Why/how did this separation produce fear of nature in her?

What are the two “competing cultures in Kentucky” (10)?

How does hooks define the term, “A Culture of Belonging” (13)?

How did hooks’ “experience of exile” while in CA for college, “transform [her] perception of the world of home” (13)? What takes her so long to go home to Kentucky?

 

RQ: Clark, “Nature, Post Nature” (75-89)

Directions

Keep the following questions in mind as you read Timothy Clark’s “Nature, Post Nature,” 75-89. The questions are designed to guide your reading practices and our class discussions. You are not required to provide formal answers in class or online.

1.What does Clark mean when he says that the language we have inherited to describe the current environmental crisis is “fragile” (75)? How do the words “nature” and “natural” get “pulled in opposite directions at once” (75)?

2. What are the three basic meanings of ‘nature’ according to Clark (75-6)?

3. How does nature function as a condition “prior to politics” (76)? What examples does Clark provide of this assumption? How is the concept of nature, when imagined by governments or philosophers, as a condition prior to politics, ironically, a political concept itself?

4. What does Clark mean when he calls the “’state of nature’” (76) (on which Rousseau and Hobbes base their concept of the social) “tendentious postulates serving to underwrite a particular view of the political” (76)?

5. What’s the trouble with using a concept of nature to underwrite politics—even if the concept of nature is more “ecological” or modern?

6. Are some genres of writing or some sets of terms/metaphors better suited to representing nature than others, why or why not? How would Clark respond to this question? Why is this a problem?

7. What is the Anthropocene? What’s the irony of the Anthropocene?

8.Why is the nature/culture dichotomy “too crude a tool” for thinking the Anthropocene (80)?

9. OR…are the following problems cultural or natural: “eating Danish pork sausages in Dublin” (80)? “A new car in San Fransciso or Shanghi must also be considered, however minutely, as a threat to the snow line in Nepal or Spitsbergen” (80)?

10. How do these sorts of environmental issues mess with the basic distinctions between “science and politics, nature and culture, fact and value” (80)?

11. What does Clark mean by the term “holism” as applied to humans and the natural world?

12. Are we ready to give up the notion that “some forms of writing are more natural than others” (81)?

13. What does it mean to be suspicious of “any traditionally realist aesthetic” (81)? What sorts of literary genres does Clark think work to represent the Anthropocene?

14. What are some benefits to what Clark calls the “end of externality” (82)? How does the series of literary examples he works through portrait the “end of externality (81)?

15. What “scenarios” does Clark propose would “avoid the disasters of the Anthropocene” (84) if implemented? What keeps his proposals from being implemented?

16. Why/how do critics”evade the question of human nature” (85)? Why is this evasion a problem? How does Clark propose we redress this evasion?

RQ: Sheldon, “Future” (23-53)

Directions

Keep the following questions in mind as you read Rebekah Sheldon, “Future,” (23-53). The questions are designed to guide your reading practices and our class discussions. You are not required to provide formal answers in class or online.

According to Sheldon, via Donna Haraway, what do the images of the blue marble earth and floating fetus ‘condone’ and represent?

What’s a metonym?

the substitution of the name of an attribute or adjunct for that of the thing meant, for example suit for business executive, or the track for horse racing.

If images of the planet in space and the child in the womb are “discursive technologies” as Sheldon argues, what threats do they pose forms of life?

What do these images obscure even as the stand for “life itself” (24)?

How is saving the child tantamount to saving the future according to environmentalist discourses?

According to Sheldon, what does environmentalism do well?

According to Sheldon, what are some of problems with environmentalism?

What is Sheldon’s response to the problems she identifies with the ways that environmentalism figures the future? How can we have forms of life and without the privileging of security, certainty, or closure promoted by popular environmentalism?

What is a ‘closed system’?

  • System with limited interface with their environments vis one determines factor
  • “’reduce all change to, all qualitative change…to spatial movement’ and all movement to ‘a mere rearrangement of already existing parts, thus the possibility of a simultaneous present and future” (32).
  • Allows for the designation of a threat that can be calculated and managed
  • Also, “suspends duration, collapsing future threat into a present configuration and cutting them both away from their moorings in the multiplicity of flowing relationships that constitute the open systems of the world” (32).

What is Reproductive Futurism?

  • “the conjunction of the figure of the child with the trope of the future
  • The infinitely differed promise that there will be a time in time that is not the present
  • The imperative to replicate the present into the future in the hope that the future will not come
  • “two-sided salvation narrative: someday we the future will be redeemed of the mess our present actions foretell; until then, we must keep the messy future from coming by reproducing the present through our children” (35).
  • Sheldon’s reading of Edelman: “the fantasy of a clean future actively seeks to thwart (protect against) contingency against the coming of a future that is neither a descendant nor a salvic redemption of the present. The clean future of descent, ostensibly the object of protection that necessitates weapons like the nuclear bomb, share with the dead future a refusal of those disorienting flows that characterize open systems” (35).

“Please Help the World,” Mikkel Blaabjerg Poulsen (2009)

RQ: Carson, “Silent Spring” 1-13

Directions

Keep the following questions in mind as you Rachel Carson, “Silent Spring,” 1-13. The questions are designed to guide your reading practices and our class discussions. You are not required to provide formal answers in class or online.

Chapter 1

What happens in the first chapter? What sort of scene does Carson establish? How does it set up the rest of the book?

What sorts of comparisons does Carson establish in the first chapter, ex: between winter and the blight; between bird and human migration; and between environmental and nuclear devastation?

What sort of detail does she include and what sort of work does the detail do?

What is blight, and how do the people in the town register they are in the midst of it?

What does the title of the book, Silent Spring, refer to?

Chapter 2

How does the first chapter set up the chapter that follows?

What, according to Carson, has man done to most harm the earth and why?

Why is the following an example of ecology, “Stonium 90, released through nuclear explosions into the air, comes to earth in rain or drifts down as fallout, lodges in the soil, enters into the grass or corn or wheat grown there, and in time takes up its abode in the bones of a human being, there to remain until death” (6).

Why does America after WWII require so much pesticide?

What solutions beyond mass spraying of pesticide does Carson offer to fight pests and infestation?

RQ: H.Res. 109 & A Message from the Future

Featured Image: Eberlin, Sven. “The Art of the Green New Deal.” Medium. 22 April 2019. 

Directions

Keep the following questions in mind as you read H.Res. 109. The questions are designed to guide your reading practices and our class discussions. You are not required to provide formal answers in class or online.

What is a “Simple Resolution?” What is its purpose?

Describe the form of the Resolution? What comes first, second, third, etc.?

What’s the context of H.Res. 109? To what is does it respond?

What are the major findings of the IPCC, “Special Report on Global Warming of 1.5 C,” report from Nov 2018?

What does the IPCC report recommend?

Why must US take leading role?

What interrelated crises is the US facing?

Who does climate change harm most?

What threats to national security does climate threat pose?

What does the resolution call for?

What are the parts of the 10-year national mobilization goals and projects?

A Message From the Future

 

Art from the Green New Deal

RQ: The Tempest, Act 1

Directions

Keep the following questions in mind as you read The Tempest, Act 1. The questions are designed to guide your reading practices and our class discussions. You are not required to provide formal answers in class or online.

How does Prospero cause the storm? Does he cause it? Why does he cause the tempest that seems, to the nobles and sailors, at least, to wreck their ship?

How does Shakespeare make the play feel like its set in the future?

What do Sycorax to Prospero have in common? What do Ariel to Miranda have in common? What do Caliban and Ferdinand have in common?

What sorts of transformations have all of the characters on the island undergone by the end of the first act?

Does Prospero manipulate Miranda and Ferdinand at the end of act one, or do they really experience “love at first site”? How does the “love a first site” motif compare to the tempest with which the play opens?

Feel free to use the a database such as Open Source Shakespeare for these sorts of usage questions: What’s the relationship between the words ‘wrack’ and ‘rack’? What does the lack of aural distinction imply? Does Shakespeare repeat any other words or phrases in the first act? If yes, what are the implications?

If you had to stage the magical elements the first act of The Tempest how would you do it? In other words, how would you communicate storm at sea (1.1); Ariel’s invisibility (1.2.374); or Caliban’s supposed strangeness?

RQ: Sheldon, “Future” (23-53)

Directions

Keep the following questions in mind as you read Rebekah Sheldon, “Future,” (23-53). The questions are designed to guide your reading practices and our class discussions. You are not required to provide formal answers in class or online.

According to Sheldon, via Donna Haraway, what do the images of the blue marble earth and floating fetus ‘condone’ and represent?

What’s a metonym?

the substitution of the name of an attribute or adjunct for that of the thing meant, for example suit for business executive, or the track for horse racing.

If images of the planet in space and the child in the womb are “discursive technologies” as Sheldon argues, what threats do they pose forms of life?

What do these images obscure even as the stand for “life itself” (24)?

How is saving the child tantamount to saving the future according to environmentalist discourses?

According to Sheldon, what does environmentalism do well?

According to Sheldon, what are some of problems with environmentalism?

What is Sheldon’s response to the problems she identifies with the ways that environmentalism figures the future? How can we have forms of life and without the privileging of security, certainty, or closure promoted by popular environmentalism?

What is a ‘closed system’?

  • System with limited interface with their environments vis one determines factor
  • “’reduce all change to, all qualitative change…to spatial movement’ and all movement to ‘a mere rearrangement of already existing parts, thus the possibility of a simultaneous present and future” (32).
  • Allows for the designation of a threat that can be calculated and managed
  • Also, “suspends duration, collapsing future threat into a present configuration and cutting them both away from their moorings in the multiplicity of flowing relationships that constitute the open systems of the world” (32).

What is Reproductive Futurism?

  • “the conjunction of the figure of the child with the trope of the future
  • The infinitely differed promise that there will be a time in time that is not the present
  • The imperative to replicate the present into the future in the hope that the future will not come
  • “two-sided salvation narrative: someday we the future will be redeemed of the mess our present actions foretell; until then, we must keep the messy future from coming by reproducing the present through our children” (35).
  • Sheldon’s reading of Edelman: “the fantasy of a clean future actively seeks to thwart (protect against) contingency against the coming of a future that is neither a descendant nor a salvic redemption of the present. The clean future of descent, ostensibly the object of protection that necessitates weapons like the nuclear bomb, share with the dead future a refusal of those disorienting flows that characterize open systems” (35).

“Please Help the World,” Mikkel Blaabjerg Poulsen (2009)